The Quest for Mariola La Ravenna / The Sensational Refusal of the Classes Director Maurizio Tarantino or The Art of Byzantine Ingratitude

But what did Maurizio Tarr do?Anthino deserves all this? I mean, what did he do wrong when he got into the meat grinder in Ravenna and came out with broken bones? Used and then throw it away like an old iron. we do not know. Maybe I got it wrong at the right time hybrid Take on tasks that are too heavy to bear. He may now be forced to foot the bill for settling scores (excuse the pun) within the government majority over the management of culture in Ravenna. Or perhaps, without necessarily seeing a particular plot, it was simply unfortunate.

So, let’s summarize a little. Maurizio Tarantino, Neapolitan, a Croce scholar, now 62, arrived in Ravenna from Perugia, where he ran the city’s library for years, in the spring of 5 years ago, in 2017. He won the competition to take on the role of Director of Culture, Sea and Classes, the complex tasks of which they are all combined and assigned.

took up The task is in the hands of the new mayor, Michel de Pascal, until one year ago. and then Tarantino has worked for 5 years alongside culture consultant Elsa Signorino and with – critics say, more obedience than cooperation – the task of reorganizing Ravenna’s politics and cultural institutions that were decoupled from the experience of Ravenna, Capital of Culture (missing) 2019. The mission is to get Mar, Classense, and RavennAntica to speak and work together in particular, which is what was first plantedvain jealousy their own gardens. When he arrives, he dreams of reading Dante – his other passion. Wandering Classense monasteries. very soon He realizes that he should forget this dessert old laziness And he begins to scramble left and right to manage all the thorny problems and the many open questions of Ravenna culture. And work and work and work. Often in the shade. without exaggerating it. without showing off. Without undue unemployment. My name is Tarantino – as he told me recently – but I don’t have the character of a director or lead actor, if we talk about cinema, I’d rather be a producer. behind the scenes.

Elsa Signorino between Michel de Pascal and Maurizio Tarantino

He works and makes an evaluation of his works for posterity, and here it is too early to draw a final balance, some things are better evaluated from a correct distance, as in the case of Byzantine mosaics or point paintings. work and produce In the meantime Always keep an eye. Others have a higher position than him, in the foreground. in spite of that, him too Criticisms and tiles pouring down on him. Especially for March, as he had to run a post-Spadoni season which still has many fans in town, to me The glories from its exhibits. Everyone has now forgotten that even the ones discussed and not all that glitters was gold. Above all because there was a lot of gold glitter in the San Domenico museums in Forli, even at that time. But in short, there are a lot of errors ostylesThis is spillingThe rapist Tarantino Come herellto his reference advisor.

He also had the honor and burden of organizing the seventh centenary of Dante in the absurd circumstances of an epidemic that put the entire world in crisis. But nothing will forgive him. Not even this. And in Ravenna the critic of the beautiful, someone insisted on coming out of pure masochism to talk about the Forlì Gallery rather than the many important things that were done here. You know, because the grass of the neighbor is always greener for the poor in their soul.

Finally – it’s a misery these days – the show’s never-ending and never-destructive action war is launched against Tarantino. Let’s talk about Sol LeWitt wall graphics #570. Tarantino is accused of everything, along with curator Mar. They ask for his resignation. If it were up to me, I would applaud him because he also showed a certain courage and disobedience (ah, the art of disobedience!) to the verbal requests sent by the author, he chose to display a work of art, that is, that he allowed one of del Mar’s assets to be shown and enjoyed by the public, according to For the principle that comes first in the public interest to enjoy a work and then the personal will of the author (who died in 2007) or his heirs (i.e. to ask for it this work he is destroyed). I do not go into bureaucratic matters or poetic affairs of the artist. It is a fact that the work exists and has not been destroyed, like the others by the same author. I guess who didn’t destroy it? You have Done perfectly. I think he did a good job also who chose to present it. Think That anyone who reaches Mar after Tarantino will do well Not to destroy it and negotiate with those who have any rights over the work so that they can do so expose again. Just like Tarantino thought he was doing. It’s common sense. The rest for me is the feuds from the provincial salons.

But let’s get to today. We know from press rumors – which have been confirmed – that Maurizio Tarantino will not be Director of Maritime Affairs and Cultural Policies. And he won’t even be a Classense Manager anymore. The Ravenna municipal administration decided, in fact, to divide the positions (Tarantino himself requested this) and launched two competitions, one for the sea director and the director of cultural activities and the other for the management of Classense. The first is competition with a comparative procedure, intended for permanent managers on the go. So a director of another department – local, regional or state – applies for mobility to fill this role if he has the qualifications; If there are several applicants for the competition, a comparative procedure is carried out by which the specific number that is most suitable is selected. For the Classense Library, on the other hand, the management decided to launch a general competition, thus the comparative procedure is no longer based on qualifications and interview, but rather a real general competition with written exam, psychological abilities interview and oral exam.

Maurizio Tarantino, according to his indications, took part not in the first competition but only in the second, only to be re-appointed to the Clasense. But the final development, did not pass the writing. So it came out, burnt out.

Now the critics will be able to unleash the plot. More than one will rub their hands. Elsa Signorino left the venue and Maurizio Tarantino’s safety net failed and he was welcomed back. Of course, in all this, mayor Michel de Pascal does not make a good impression in the first place, whom Maurizio Tarantino chose 5 years ago, and entrusted him with those important tasks. It is as if his administration gave up today its choice a decade ago and with all the options these five years.

I don’t know if this is the case. But even if – after all – it would be legitimate – is it right to ask the mayor and the new chancellor of culture what new direction they intend to take? So far I have understood that there will be continuity in cultural policy choices. Is it still so? Is there a change of course? Is it just a hiccup, or a poorly completed class test?

I do not want the heirs of Byzantium to decide to adopt the same ironic policy as the heirs of the Prince of Salina in the Tiger: everything must change so that nothing changes. Maurizio Tarantino’s sacrifice for this homework went well. Everyone is wrong. Previously!

Michel de Pascal with Elsa Signorino and Maurizio Tarantino

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