I discovered myself grateful to the custodians. To Betty, who discovered to hold her son’s work on clear white partitions solely after she was free to take action. To Arthur, who liked Larry and stored his drawings protected till the world remembered to look once more. To Allen, who made certain Darrel’s images stored pondering. And to Fabio, who refuses to let any of this stay personal grief. He turns it into public care.
When the lights rose, I felt that uncommon sensation that artwork has accomplished what it’s meant to do: make us extra porous, extra attentive, extra human. It reworked remembrance right into a collective act. It requested us not solely to look however to carry what we had seen.
A Visible Diary shouldn’t be nostalgia. Nostalgia needs the previous to remain golden and much away. Fabio invitations it into the current and asks us to take accountability for it. Archives should not objects. They’re relationships. They reside when somebody carries them ahead. Triennale introduced the work within the historic CRT venue, and that setting mattered. It gave house again to tenderness, music, and reminiscence. For a second, the neighborhood that when existed solely in fragments was complete once more.
Leaving the theatre, I believed: maybe that is what artwork is for, to maintain love from dissolving into silence, to maintain reminiscence alive lengthy sufficient to turn out to be our personal.
Credit
A VISUAL DIARY
Subsequent performances:
ERT Bologna, 3–7 December 2025
