CARRARA
There is no peace for the Anna G corkscrew sculpture by Sagevan in Piazza Alberica. They didn’t even have time to fix the arms that someone already thought it was a good idea to damage the work that is part of the White Carrara. And this time too it was someone who damaged it by carelessness, as in the three previous cases. The Anna G corkscrew, a marble reproduction of the famous Alessi corkscrew, simulates the movement of a real corkscrew with its arms but it is a sculpture and not a metal object, and so the force used to lift the arms causes them to fall. In the first case, immediately after the inauguration, it was a child, then the second damage a few hours later by an adult. In recent days the work had been repaired, but again an adult in the night between Friday and Saturday, in order to understand how to activate the movement, once again severed an arm. As emerged from the video surveillance cameras in Piazza Alberica. And to think that the curator of White, Domenico Raimondi, had told our newspaper that Anna G would be equipped with safety devices to avoid new breakages. But that was not the case. Raimondi was unavailable all day yesterday and therefore it was impossible to know why safety devices were not placed on the marble corkscrew. A few days ago the marble and glass table ‘Gomitolo’ by Bufalini designed by Paolo Ulian and positioned in Piazza Accademia was broken. On that occasion it was a ‘careless’ father who had placed his little daughter on the work to take a photo of her, while a little further on someone deliberately unscrewed part of an element that makes up ‘Bambù’, the work by Gianni Giannarelli of Logica. While inside the hexagonal work by Franchi Umberto in front of Palazzo del Principe, human skulls were positioned and then removed.
In the city, people are talking about nothing else and many are wondering what logic was used to position the works, whether they should have been protected more from the careless or the imprudent, as curator Raimondi defined them, and whether, given the value of the works, they should have been monitored by security. In the city and on social media, everyone is talking about cultural degradation, about a lack of respect for culture and the city, but above all, everyone is asking for severe penalties for those who have damaged the works or will damage them.
Alexandra Poggi
