EDITORIALE / Luciano De Fiore /
Long standing ideas and patterns about Pier Paolo Pasolini’s work and life, once a basis of certainty by their very definition, end up becoming a source of mistake. Perhaps, we can no longer move forward in our interpretation by reasoning backwards. So, I preferred in this article to follow the fading tracks of Pasolini left by some street artists early this year –e.g. the standing poet cradling a dead Pasolini in his arms, portrayed in a life-size piece, wheat-pasted on the walls in Rome and Naples -, and in All the World’s Futures, the Venice Biennale 2015, among the works of William Kentridge, Fabio Mauri, Fabrizio Plessi, and to be drawn by Pasolini’s own voice.
