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The volume pays tribute to Edoardo Sanguineti (Genoa, 1930–2010), a poet, director, novelist, screenwriter, translator, critic, playwright, actor, theater author, librettist, university professor, politician, refined intellectual, and one of the leading figures and interpreters of contemporary culture. Through a selection of works from the rich private collection of Casa Sanguineti, the volume reconstructs the enduring bonds of friendship and the fruitful collaborations between Sanguineti and some of the most renowned artists of his time. This relationship is fully revealed by looking at the many pages Sanguineti dedicated to the world of art: for him, there exists a profound connection between images and literary words, which, indeed, unveils the poet’s true face. The exhibition catalog brings together over forty works created by artists such as Emilio Vedova, Enrico Baj, Pietro Cascella, Ugo Nespolo, and Carol Rama, among others. Each piece is accompanied by a text from Sanguineti - fragments of essays, poems, sonnets, as well as curious and playful word games - evoking the close friendships and fraternal bonds shared with the artists.

 

Table of contents

Edoardo Sanguineti:
il contributo critico al dibattito sulle arti visive all’indomani del secondo dopoguerra
Ada Patrizia Fiorillo

Una postilla per Enrico Baj
Federico Sanguineti

Appunti sull’arte in un epistolario inedito sanguinetiano (1978-1979)
Eleonisia Mandola

Kunststück. Edoardo Sanguineti in equilibrio sulla chiarezza e onirica e razionale di Antonio Bueno: un rapporto che si fa paradigma
Clara Allasia e Erminio Risso

Catalogo della mostra

 

Presentation of the volume

  • April 28, 2023, Turin, Circolo dei Lettori, with Giorgio Ficara, Franco Poli and Federico Vercellone
  • May 11, 2023, University of Salerno, with Rosa Giulio, Eleonisia Mandola, Clara Allasia, Federico Sanguineti, Erminio Risso, Lorenzo Resio, and Chiara Tavella

Just like the «acrobata» from Corollario 1, who «volteggia», «salta» e «ruota», heedless of limits and deftly defying the laws of gravity, so too did the extra-vagant Edoardo Sanguineti (1930–2010) throughout his career, «fachireggiando e funamboleggiando» across various disciplines with enviable ease, blending critical and literary production with playwriting, his passion for cinema and music with lexicography, and the work of a translator with that of a librettist. The breadth of his interests ensures that this tireless collector of words - who once described himself as a «scheda vivente» and who, since childhood, had been «mosso dall’idea utopica» of cataloguing «tutte le cose del mondo» through the words of his extraordinary verbal «insettario» - escapes any attempt at rigid classification. In order to sketch a possible portrait of Sanguineti, different from the «autoprodotto» one he created himself in 2003 — where he «autodigitalizzava, ologrammatico / replicandosi in toto, svelto e pratico» into an (auto)ironic 21st-century shroud — we have chosen to draw on a plurality of voices, perspectives, and occasions. In this way, his Portrait — or rather, his Portraits — emerge through the juxtaposition (or the montaggio/collage, to use two concepts particularly dear to him) of diverse testimonies (or tessere). The thirty contributions collected in the pages of this volume explore his biography and work in various ways, retracing the many stages of his journey as if they were (to borrow an effective image from Epifanio Ajello) «fotogrammi critici da ritagliare, montare per un film intero del nostro Novecento su cui guardare, sussultare, imparare».

 

Presentation of the volume

Review

  • Valentina Corosaniti, «Oblio», XI, 44 (click here to read the review)

     

    Table of content

    Ritratto/i di Sanguineti, dieci anni dopo 
    Epifanio Ajello, Un aneddoto. La sigaretta (e l’Abbecedario) di Sanguineti 
    Clara Allasia, Alle origini della Wunderkammer lessicografica: Edoardo Sanguineti e Luca Terzolo 
    Marco Berisso, Nella biblioteca di Sanguineti: la sezione dantesca
    Valérie T. Bravaccio, Da ‘Laszo Varga’ a ‘Laborintus’: la genesi
    Giuseppe Carrara, Dentro e fuori l’avanguardia: ‘T.A.T.’ 
    Monica Cini, Da interconnesso a interpersonale: il progetto Sanguineti’s Wunderkammer 
    Andrea Conti, Una poesia «molto giornalistica»: lettura di ‘Postkarten 62’ 
    Fausto Curi, Lo spadino di Giacomo 
    Nunzia D’Antuono, Prima della Wunderkammer: tra Salerno e Napoli 
    Giorgio Ficara, Eventuale destino dello scrittore italiano 
    Alberto Gozzi, L’archivio come rappresentazione 
    Lino Guanciale, Edoardo Sanguineti. Un incontro al buio 
    Andrea Liberovici, Per Edoardo dall’«amante giovane» 

    Niva Lorenzini, Sanguineti, Klee e la Wunderkammer
    Eleonisia Mandola, Il cinema nelle lettere di Sanguineti a Sanguineti 
    Laura Nay, Cesare Pavese: un sanguinetiano «sperimentatore» e «cattolico» 
    Paola Novaria, «Con la dignità che si richiede»: Edoardo Sanguineti nei documenti ufficiali conservati dall’Archivio Storico dell’Università di Torino (1949-1970) 
    Marcello Panni, Madrigale per Edoardo Sanguineti, in memoriam 
    Tommaso Pomilio, Stendendo il vinavil. Ancora una parola su ‘Tutto’ 
    Franco Prono, Una testimonianza su Edoardo Sanguineti 
    Lorenzo Resio, Dalla «setta degli Indifferenti» all’«incontenibile» «travoltismo»: tracce di Moravia nella Sanguineti’s Wunderkammer 
    Erminio Risso, Immagini del ritratto: ‘Reisebilder 16’ 
    Elena Rossi, Sanguineti lettore dei media. Una campionatura dalla Wunderkammer 
    Federico Sanguineti, Da Sanguineti minor per il maior 
    Eleonora Sartirana, Spazio alle parole: testimonianze televisive e radiofoniche di Edoardo Sanguineti 
    Giuliano Scabia, Bambini sanguinetiani 
    Valter Scelsi, Sanguineti e architettura 
    Chiara Tavella, Tra «materiali preesistenti» e «relativa libertà» dell’artista: esempi di «riuso dell’uso» nel Sanguineti in musica 
    Federico Tiezzi, L’Inferno simultaneo: sulla drammaturgia di Edoardo Sanguineti 
    Franco Vazzoler, Le parole di Carlo Gozzi (fra schede lessicografiche e travestimenti teatrali) 

  • Click here to read the volume in open access

In 1961, Edoardo Sanguineti published Interpretazione di Malebolge, a monograph hat inaugurated the series Biblioteca di «Lettere italiane». Studi e testi, directed by Giovanni Getto for Olschki. The volume was based on his undergraduate thesis, discussed five years earlier at the Faculty of Arts and Philosophy at the University of Turin. It was only in March 2016 that the thesis typescript, long thought lost, was rediscovered in the University’s Historical Archive. It thus emerged that, in the transition from thesis to book, Sanguineti, while not completely rewriting the text, had subjected it to a careful revision: numerous passages were either removed or reworked, and are published here for the first time in their original form.
Starting from this comparison (and the reflections it invites), the present study expands to examine the role that Dante played for Sanguineti - not only in his extensive critical work on the Vita nuova and the Commedia, but also throughout more than fifty years of artistic activity. 

 

Announcements and Reviews

Chiara Tavella, in «Giornale Storico della Letteratura Italiana», CXXXIX, fasc. 667, 2022, p. 476
Veronica Affinito, in «Rivista di studi danteschi», XXII, 2022

Laborintus, published in 1956, is Sanguineti’s first work and the one that would set the course for all his subsequent production: across 27 sections, it recounts the traversal of a lunar landscape - an image of a post-atomic earth - by personae who encounter one another, seek each other out, part ways, attempt to love, and undergo transformations. The poet weaves together disparate and “accursed” materials, employs heterogeneous languages, and addresses themes that remain highly relevant today, ranging from corporeality to globalization. In short, it is an extremely complex and atypical work within the Italian literary panorama, so much so that it demands an exegesis modeled on that of the Commedia. Risso has undertaken such an analysis - the sections, reproduced in full, are introduced, commented on, and annotated - by entering the poet’s workshop, in an effort to reveal the entire structure of the text. He investigates its components to expose and describe Sanguineti’s attitude toward literature and reality, thus shedding light on the writing journey of a historical materialist: his Bildung and his enquête.
This edition, expanded and completed in light of new materials, is enriched by an Introduction by Erminio Risso and an Appendix containing Sanguineti’s writings on his poetics and the genesis of Laborintus, an unsurpassed symbol of radical neo-avant-garde experimentation.

 

Announcements and Reviews

  • Massimo Raffaeli, Sanguineti. Il poeta nel suo Laborintus, in «Il venerdì» («La Repubblica»), 16 ottobre 2020;
  • Gilda Policastro, Negli anni Cinquanta tra Montale e Sanguineti, in «La Repubblica» (Roma), 18 ottobre 2020;
  • Giuliano Galletta, Torna il Laborintus. Viaggio nel mondo di Sanguineti (il genio da giovane), in «Il Secolo XIX», 23 ottobre 2020;
  • Alberto Fraccacreta, Edoardo Sanguineti, "Laborintus", su Poesia.blog.Rainews.it, 8 novembre 2020;
  • Silvano Trevisani, recensione a 'Laborintus' di Edoardo Sanguineti, in «Il sarto di ULM», 1° dicembre 2020.
  • Enzo Mansueto, Manni ripubblica "Laborintus" di Sanguineti, in «Corriere del Mezzogiorno» (Bari), 13 dicembre 2020;
  • Antonio Gurrado, Sanguineti, il veggente, in «Il Foglio», 21 gennaio 2021;
  • Vittorio Curci, Quando Sanguineti era un esordiente, in «La Repubblica» (Bari), 11 febbraio 2021;
  • Chiara Evangelista, 'Laborintus' di Edoardo Sanguineti, in «Treccani Magazine», 10 marzo 2021.

Invited to Turin to speak about montage, Edoardo Sanguineti offers his personal and dizzying world to the students of DAMS, gifting us a long meditation that lends itself, just as naturally, to a reinterpretation of the twentieth century. From early cinema to von Trier, Sanguineti traces an intellectual and artistic journey marked by complex generosity and compelling readability, punctuated by personal memories and forays into literature: Leopardi and Lautréamont, but also Rimbaud and Manzoni. Above all, there dominates the pursuit of «dell’emozione intellettuale come geografia dei possibili modi di fruire dello spettacolo cinematografico» and, naturally, as a possible interpretation of reality.

 

Presentation:

  • November 17, 2017, Turin, Circolo dei Lettori, with Steve Della Casa, Gigi Livio, Ugo Nespolo, and Erminio Risso.

 

Reviews:

In his constant and active engagement with the present, Edoardo Sanguineti is, at the same time elsewhere, capable of a complex and all-encompassing gaze that offers a judgment far from conciliatory and anything but easy to decipher. The lexicographer peeks out from behind the Dramaturg, the cinephile-scholar behind the novelist; the scholar takes possession of disguises and transforms them into essays. At every moment, the reader stands at a crossroads, faced with an alternative, an option, a multiplicity of roles that envelop and overwhelm. Whatever path one chooses, whatever journey one decides to take, one will witness a multiplication of suggestions, within a flow of skills and sensibilities that continuously blur and blend into one another.

 

Presentation:

  • November 17, 2017, Turin, Circolo dei Lettori, with Steve Della Casa, Gigi Livio, Ugo Nespolo, and Erminio Risso.

 

Reviews:

  • Niva Lorenzini, Sanguineti e la funzione verità, in «alfabeta2», 16 settembre 2018;

  • Erminio Risso, Per un libro, in «L’immaginazione», sett.-ott. 2018.

     

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