Adrian Tranquilli “Solo Show – Heroes: The Route of Exposure”
Louise Alexander Gallery, Porto Cervo, Italy
29/08/2013 to 30/09/2013
Heroes: The Route of Exposure, sculptor Adrian Tranquilli shows us the rarely seen, vulnerable side of our favourite superheroes. Tranquilli wanted to focus less on the heroes’ superpowers and psychic abilities, and more on their human fragility. As a result, Batman is positioned on his knees looking for answers while Superman is coming out of the wall injured and bloody.
“Siegel and Shuster created Superman back in the early thirties, although the character was first published on 1938. From that period on we have been assisting in the last seventy years to thousands of followers and epigones. However, few of them could mark collective imaginary as their predecessor. One is surely the Batman, created on May, 1939 by Bob Kane. The Batman represents the opposite side of Superman: he does not have any superpowers, not an extraterrestrial, he is an ordinary man, whose main purpose is to bring justice to the ordinary people. But Kane had understood the secret in Superman’s success: his being a hero and a saver behind a secret identity, so that any reader could have identify himself with the hero, as anyone could possibly be behind the mask. This is, maybe the only common point of both heroes.
Superheroes were born in U.S.A., in a period of transition, between the great depression and the beginning of the Second World War. In a period of passage driven by collective and global events, a new attempt to underline the individual’s values occurred. However, only in the sixties and not by chance, a new age for Superheroes, obscured by a long, long time, could see the dawn. In this period they could finally and ineluctably find a stable place in the collective imaginary. What I am interested to in the Superhero is, on one hand, the transposition of an old need of our western culture in relation to the “saver”, the one that saves in the name of the “good and the right”, identified in a physical person and, on the other, the strong mediatic impact and its immediate possibility of recognition. Then, more than understanding what has happened to the heroes, I am more interested in understanding why do we need them so much? Why do we need this transposition?”