Interview Fabrizio Bellomo


I am more interested in the questioning of language, even though I often willingly and consciously use it. It is a contradiction I am aware of, but then, life itself is full of contradictions.

References (art, literature, music, other)

The references are endless and more importantly, they change, they evolve, and they are questioned, although some of them hold out. From Bene to Moretti, to Roberto Baggio, Mike Tyson (who only recently arrived), Franco Vaccari and Ugo La Pietra, then Matteo Garrone, Pietro Marcello in his early films, Corso Salani and Adrian Paci, Francis Alys, Mina, F abrizio de André and Morgan when he sings Sergio Endrigo and Sergio Endrigo himself, Luigi Tenco, the album Anima Latina by Battisti and Mogol, Lucio Dalla whom I discover and rediscover in many roles and perspectives, and Edith Piad, and Chavela Vargas’ song Paloma Negra, and Frida, and Giovanni Lindo Ferretti, whom I do not repudiate in his radically Catholic turn like Claudio Koll – and head coach Carletto Mazzone, when footballer Roberto Baggio scored the 3:3 against Atalanta, who goes to cheer under the rival club’s curved stand of seating, and Antonio Cassano and his goal at Inter, but also Ortega and Giovanni Stroppa, and Salvatores’ first films, Guy de Bord, Truffaut, Fellini’s Roma and The Clowns, Paolo Virzi, Marcelli Mastroianni and even more so Ugo Tognazzi, but also Jerry Calà and Sabrina Ferilli directed by Marco Ferreri in Diary of a Maniac, and Maurizio Costanzo, author of the song Se telefondando… as well as being the co-author of Uno contro tutti with Carmelo Bene, and Descartes, Mario Costa, Lapo Binazzi, Ettore Sottsass, and Rembrandt, Homyatol (yes, the youtuber), and Franco Califfano, Francesco Totti, but Baggio remains Baggio. Then of course Pasolini, Pasolini of What are the clouds?, Pasolini as a columnist for daily newspapers, Pasolini as a poet, Pasolini as a documentary director in Love Meetings. But also, Simone Ciliberti’s sculptures, Gianluca Marinelli and his book Taranto fa l’amore a senso unico, Alessandro Leogrande in his book Uomini e Caporali (Men and Corporals) and in radio programs, Edward Muybrige, Marey and many, many others: all references, stimuli and influences.

Research methodology

I hope some determined and predetermined methodology is part of me. I throw myself in the context and see what comes out of it, I am interested in researching, looking around and getting carried by the stimuli encountered: can this be considered a research methodology?

Artistic crossovers and contaminations

See the answer given to References 🙂