On the thirtieth anniversary of the death of Antonio Neiwiller (Naples, 9 March 1948 – Rome, 9 November 1993), an opportunity to remember and recount the man and the artist. The neglected traces that have remained, his words and thoughts, fixed and fluid iconography, represent a multifaceted and evolving body of work, evoking the regret for his enormous potential that destiny rendered partially unexpressed.
From early Brecht and Petito, to the profoundly inspirational Tadeus Kantor with The dead class and Hans Magnus Enzensberger with The Sinking of the Titanic; from his adored Klee and Pessoa, evoking rarefied signals and multiple verbal anxieties, the revolutionary self-affirming politics of Joseph Beuys shot with the sound of the free and progressive sax of Steve Lacy, to the interrupted Trilogia della vita inquieta dedicated to Pasolini/Majakovskij/Tarkovskij.
Neiwiller was accompanied by a series of masters, companions and disciples from life and the stage, including Renato Carpentieri, Igina Di Napoli, Cesare Accetta, Tonino Taiuti, as well as Mario Martone with Andrea Renzi and Loredana Putignani, Leo De Berardinis with Toni Servillo, Enzo Moscato.
However, the unrealised image of Antonio Neiwiller as a formidable screen presence, which was limited in the end to the astounding representations by Martone in Morte di un matematico napoletano and by Nanni Moretti in Caro Diario, as well as the fantastical Il monologo de L’altro sguardo; an extreme representation filmed practically on his deathbed by Rossella Ragazzi.