November 1980, after Cannibal and Evil, comes on newsstands the first issue of Frigidaire. Editorial by Vincent Sparagna, accompanied by drawings and photographs by Andrea Pazienza Mario Schifano, is the title - and a program - "Traveling between the goods" .  Frigidaire : a look across the best and worst of the '80s and '90s, including avant-garde and South America, new technology and imagination, myth-making and perversity, art and poetry, cinema and literature, science and comics experimental artists such as Patience, Liberatore, Mattioli, Scozzari, Tamburini, and Echaurren Giacon. It is therefore no coincidence that this glorious magazine, occasionally even on sale, create discussion in the world of culture, it is true that the Mart in Rovereto, in the NSA (Archive New Writing), owns a whole collection .
Sparagna Vincenzo, Naples, revolutionary the world, spent a politician who goes by the Workers Vanguard radical movements for civil rights was, in 1978, one of the lead in the de Evil, while in 1980 he founded Frigidaire. Collector of complaints (that was not satire Drive In), in the past has dabbled in collecting identity by Craxi Scalfari by Berlinguer in Montanelli, many other names, real, implied or non-existent. His publishing false, false headlines appeared in newspapers, have created confusion and embarrassment in the media, demonstrating that the false, sometimes, is very similar to the truth. How did the idea of \u200b\u200b Frigidaire and continuity with which the experience of Evil?
 | | Vincenzo Sparagna. |
"The project Frigidaire was born in '79, after the last issue of Cannibal , the one with the red cover and the American underground comics. Series at a newsstand of Cannibal was financed by Evil, but the administration had vetoed its continuation, since, unlike the Evil , had lost tens of millions in a few months, for the poor sales. Besides the energy contained in the comics cannibalistic were narrow in the cage of 'genre'. While Evil , always from my point of view, it was becoming too satirical, too specialized, even in its great freedom of enterprise and invention. It seemed to me as the only comic books, as revolutionaries, even the mere satire, as sensational and provocative, they were languages that were compared, merged with a larger community and ambitious, which is not self-limiting our right, our legitimacy, our 'duty' to do analysis and opinions, explain. It was this research converges, a journal of my most complete, and Tamburini comics and graphic space of a more stable and mature, which led us to design a new magazine, which were immediately made partakers Scozzari and others Cannibal ( Patience, Mattioli and Liberator). Tamburini had in mind the name: Frigidaire and we were all excited. True is false, the false is true. A technique of cultural guerrilla warfare that has created false Italian newspapers, as well as foreigners, against the Eastern regimes. What idea behind these media plagiarism? "Newspapers false false gods were born as the first major Italian newspapers, la Repubblica, Il Corriere dello Sport, L'Unità, Il Corriere della Sera and gradually the others. Parody and inversion, irony and truth , prophecies fired as news (without check-test), wishes on the move: these are the characteristics of our first fake '78 and '79. But the idea seemed so revolutionary that it can be extended and used almost to change the reality by changing its representation. For this reason, during the Pope's visit to Poland in June '79, I thought to make a false Trybuna Ludu, the organ of the Communist Party to power in Poland. I worked practically alone, with the help of a young Pole who lived in Florence (Wlodek Goldkorn, who later became a journalist de l'Espresso). I thought, of course, brought down the Polish regime, with the news of the dissolution of POUP (the ruling party) and the election of Wojtyla as King of Poland. Everything was seasoned in a sauce-surreal satirical: the POUP was melting on a mysterious cold that had upset the lives of all its members, the leaders wrote autodenunciare ferocious self-criticism for the barbarity of the regime, et cetera. By spreading the false illegally in Poland (me and the photographer Sandro Giustibelli) and managed to escape before the Polish police stops us. This was the start. The following year he picked up in a unique international editorial a large part of Soviet dissidents and prepared a fake Pravda, with the announcement of the end of the USSR. "Neither union nor socialist, nor Soviet republics only. Russia has defeated the demons " this title. In the first page is the ideologue Suslov autodenunciava hideous dictatorship regime and denounced the USSR. In this false worked a young Lithuanian exile, Savik Shuster. '83 with Savik, in Meanwhile now (with Frigidaire ) more and more mature as a journalist and writer (now runs Radio Free Europe in Monaco), we prepared the false Red Star, the newspaper of the Red Army, with the news of the end of war and (again) the dissolution of the USSR, and we went to distribute it to Soviet soldiers involved in Afghanistan, and Eastern Europe and in many Western countries, in millions of copies. Collaborated once again nearly all the dissidents in exile, particularly the militant Bukovski Vladimir, Natalia Gorbanievskaia the writer and the great writer Vladimir Maximov. False copyright and multiple identity, like Luther Blissett : where the differences in these two challenges to the status quo media?  "This technique of guerrilla communication, by its very nature an instrument offered to the small against the great and powerful, is an important and permanent Autonomous Community. In this sense, the multiple names can be an interesting variation of the 'false name' taken from me, styles that were also false, false confessions, false revelations ... However, false names and multiple names are different forms. In the first I see a light-hearted handling, light and ironic, playful guerrilla identity. Instead, the multiple names, sometimes it can slip into the partnership, or joint signature, which is something much more serious, more 'party' and rather less guerrilla. The problem is not hide our identity, but compared to revalue the total systems that we divest the word ". beyond the myth, what was your relationship with human and editorial Andrea Pazienza? " Andrew was a great artist (always positively and humbly doubt on their inventions, but also sure of his vocation or, if you will, obsession), but more importantly he was very affectionate friend, I tied common or similar sensitivity. Andrea fact (only one of the frigideriani) sincerely admired my drawings fantasy / monster no less than I was enchanted by Leonardo of his dall'inarrivabile harmony. He admired my decisions and my ironic seriousness of director / writer / actor, as much as I bow and I enjoyed his priceless ability to discover languages, histories and perspectives. It was also the invention of the policy (in 1985) 's maivista art, which has since remained the only valid definition of all our businesses artistic / political / editorial. What else to say without writing a book? We loved both of Toto, we were Southerners, there enchanted the great illustrators of the Golden Staircase, the adventure books, women (who were in love with both despair and a painful passion). Well Andrea was a confidant and friend, my darling I would say, given the age difference (he was ten years younger), even compared to esteemed and beloved Tamburini and Scozzari. In him rediscover that mystery of poetry and art that I had known my father, a kind of other dimension of sensitivity, humility, a love of beauty in itself and the poem itself ... But I should say many other things ... ". What is the relationship between art Frigidaire? "As I said, art has always been for us maivista art, namely a cross unpredictable, but illuminating, styles and images with no godfathers and no respect for fashion, critics, galleries, vanguard, rearguard , high art, low art, comics, illustration, paintings, photography ... This also explains the autonomy of our proximity to a nomad's critics as Achille Bonito Oliva (my friend from the days when I was a teenager committed library in Naples) in turn exceeded the theoretician of the avant-garde history, the parallel arrangement of images and aesthetic inventions. Moreover, the image Achilles naked in Issue 6 of Frigidaire , was the common manifesto of an ironic criticism antiartistica any seriousness, for each commercialization stupid image. We traveled clearly between the goods, even among the art market, ABO, while retaining differentissimo from us, he understood the novelty of this creative cross-fertilization ". Satire and Berlusconi? " On Berlusconi is still the logos of a pig with a dollar sign, designed by Scozzari Frigidaire and published in 1985, with my writing: "Berlusconi?" No, thank you. " were missing nine years to the famous' drop-down field'..." |
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