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Inoltre, a Napoli Rocha Pitta si imbatte per la prima volta in alcune steli funerarie dell’antica Grecia che ritraggono il defunto nell’atto di stringere la mano a una divinità, un gesto che doveva garantire a quella persona che anche dopo la morte avrebbe continuato a godere della protezione divina.
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For his Naples project The Agreement (L’Accordo), Rocha Pitta works with a curious technique of pouring concrete onto findings, a hybrid of cast and collage. It is based on a common, cheap way to cover graves: if you can’t af­ford marble or travertine, you use a concrete slab in­stead. In order to prevent the poured concrete from stick­ing to the wooden casting mold, the latter is laid out with newspaper, which thus inevitably becomes part of the underside of the slab as the paper is fixed in place by the hardening concrete. The dark joke is, of course, that the dead will have something to read. Correspond­ingly, even in the ‘dead’ art object, crucial insights might still be encapsulated, and wait to be unearthed. Incidentally, it was in the Naples region that Pozzolana concrete was already used first by the Greeks and then the Romans; also, Rocha Pitta came across ancient Greek funerary steles depicting the dead person shaking hands with a divinity – as if as a gesture of assurance that the dead will continue to be under the protection of that divinity. Rocha Pitta had to think of contemporary media images of any kind of people shaking hands, embracing, or sometimes kissing – all signaling – performing – some form of agreement. Using these images on the concrete slabs – divided up in a series of diptychs – they will be presented in the basement of the Fondazione Morra Greco: as a kind of crypt for the paradoxical nature of the agreement as an affirmation of change.
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