given life to youth carried away by revolutionary idealism, it offers a living echo of the image of
the painting, which becomes the ghost of history from which the present story can be reborn.
Thus, Presicce involves the images in a dynamic relationship, and it is in this sense that it reac-
tivates the content and its strength, so that in spite its immobility the composition has nothing
static about it. This is framed by an opening from which Presicce himself waves a white flag over
the group, still in darkness. Starting from the moment the picture is illuminated, the muffled
and rustling sound of the flag’s movement gives way to a Greek Orthodox song that also carries
the living image into a new space and time. Presicce’s performances, based so often on immobility,
are exactly the opposite of a rigid space. The meaning, the stories, the symbols, and the images
are compared, merged, and coexist to be manifest in a unique present, a performance in which
each spectator intimately
assists in carrying a frag-
ment from inside the
work out into life. If there
is a place to put the works
of Presicce, it is in the
space that separates art
from life, reality from dre-
ams, and living things
from pictures.
Carole Halimi
154
La benedizione dei pavoni,
2011
Performance per soli due bambini /
Performance for only two children
Abitazione privata, Porto Cesareo (LE) /
Private home, Porto Cesareo (LE)
Courtesy of the artist
Foto / Photo: Francesco G. Raganato
Fine eroica di un’immagine
del Quattrocento,
2015
Performance per soli due spettatori
in tutto, accompagnati /
Performance for only
two accompanied spectators in all
MAmBO, Bologna
Courtesy of the artist
Foto / Photo: Niccolò Morgan Gandolfi
