«Andrea and I met in breaking latest news because we attended the same school, the art school, and slept in the same religious boarding school. He was no more than thirteen and was a terrible plague.’ The memory of Tanino Liberatore goes back to a distant time, when the two drawers were boys whose talent for drawing was already recognizable, as demonstrated by the Divine Comedy then created by Paz on flying sheets «in which Andrea put the priests in the deepest circles of hell and portrayed me and another friend as Dante and Virgil». Fifty years later, the Clap Museum in breaking latest news once again encounters the markers of two masters of Italian comics, with the permanent exhibition of over three hundred drawings and nine paintings by Pazienza and the exhibition “Of bodies and fragments” by Liberatore.
The circumstance that 127 works by Paz have been donated to the museum by Sandro Visca, his most loved and portrayed professor ever, makes the exhibition even more tempting: Visca at the art school was repeatedly targeted with very heavy caricatures by the young prodigy student , who invariably drew him naked in the part of Viscotto the policeman or Don Viscotte. “I realized the guy I was dealing with from the beginning, when he was found in class perched on a kind of perch and when I asked what he was doing he replied: ‘I’m a vulture’,” he said. the former teacher.
Liberatore also experienced the boy’s extreme liveliness: «We both slept at the Jesuit boarding school, I was two years older than him and he was a very smart, very curious, and pain in the ass kid… For a while we put up with it, but he he was too lively, so once we tied him to a bed and ran charcoal over his face. Andrea said okay I’ll stop, but a moment later he would start again. A plague», remembers Liberatore. Then the two separated, the art of Pazienza began to manifest itself and in addition to the comics came the paintings, with a personal exhibition at the Convergenze gallery founded by Giuseppe D’Emilio, one of the living models for his upcoming Zanardi, from whose collection they come the nine works mentioned at the beginning.
But Paz’s genius was not made to fit in the space of a painting: “The language that was most suited to him was comics, the paintings of the breaking latest news period belong to a phase in which he was still very young”, acknowledges Liberatore himself. The two would meet again a few years later, between ’77 and ’78: «I saw one of his stories about Linus, Armi, something beautiful, so I went to see him at his house by the sea on the Gargano, in San Menaio. He told me that he and Tamburini, Scozzari and Mattioli were making a new comic magazine, Cannibale, Pazienza introduced me to the others and our collaboration began ». Memorable stories and characters were born from the meeting, because Tamburini conceived the synthetic forced Ranxerox and his 13-year-old girlfriend Lubna, and Liberatore and Pazienza made the first pencils of the two characters together.
The new Italian author comics came to life in tumultuous years in which Cannibale presented itself as “a newspaper full of gratuitous violence” and Ranxerox, to whom Liberatore consecrated his masterful pen, shocked the public in a futuristic and degraded Rome built on several levels underground, among monuments outraged by advertising slogans and petrol stations in the middle of the Colosseum.
It is also difficult for him to explain what united such different authors who would soon pass through Male and finally Frigidaire: «For me, Tamburini and someone else, the leitmotif was musical tastes, but Andrea listened to completely different things (Paz knew Battisti’s entire repertoire by heart but he didn’t go beyond that, while Tanino and Tamburini were crazy about no and new wave, ndr). Let’s say that what united us was a common gaze towards the outside». The new museum in breaking latest news gives us the opportunity to realize how the seeds of that stylistic ferocity and those contents were already active in the very first Pazienza, while the juxtaposition of his first drawings with the current works of Liberatore – on display there is no shortage of pictorial reworkings by Ranxerox – allows an unprecedented look at the paths of the two artists.