Yuri Ancarani San Siro

26'

After a period studying at the Accademia di Belle Arti di Brera, Yuri Ancarani graduated under the supervision of Studio Azzurro’s Paolo Rosa and made his debut with La questione romagnola (2002), Lido Adriano (2004) and Fuori Stagione (2005). His works, which straddle the line between art and documentary film, investigate the socio-anthropological and landscape transformations of some of the topoi of our contemporary world. The focus of the film San Siro is soccer, viewed from a fresh angle that puts the spotlight on little-known aspects of the work involved in preparing for a soccer match and the activity of the staff and hidden “stars” of sporting events. Ancarani chose the San Siro Stadium, a symbol of Milan, as a stage where electricians, workmen, police, and stewards in fluorescent shirts become the stand-ins of an incredible show. The whole film is a detailed, realistic depiction of the various tasks that each figure carries out before every game. San Siro ends with the arrival of the Milan soccer team’s bus in the stadium parking lot, where the athletes are filmed filing out of the vehicle, silent and focused as they head to the locker rooms. What emerges from Ancarani’s research on this facet of Italian society, for which soccer has always been a kind of glue, is an ideal dialogue between the heroes and antiheroes of the contemporary world.

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A. Lissoni (ed.), MADE IN ITALY, Yuri Ancarani, exhibition catalogue (Milan, N.O. Gallery), Milan 2010 F. Bonami, E. Mazzonis (eds.), The sea is my land, exhibition catalogue (Milan, La Triennale di Milano), Milan 2013 M. Cattelan, M. Ben Salah, M. Papini (eds.), SHIT AND DIE, exhibition catalogue (Bologna, Artissima), Bologna 2014 H. Marsala, “Yuri Ancarani, luci (spente) a San Siro. Il rito del calcio, fuori dal campo”, Artribune. com, 2014 V. de Bellis (ed.), 2015: tempo presente, modo indefinito, exhibition catalogue (Milan, La Triennale di Milano), Milan 2015

Foto Matteo Monti

Acquisition. Produced by Careof DO CVA and SKY acquired thanks to a contribution from the Amici del MAXXI

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