Diego Iaia
30.09.2009 – 30.11.2009
Works
Senza titolo, 2009, olio acrilico e resina su tela montata su legno, cm 35 x 45 
scomparsa di Aldo Moro, 2009, polittico, acrilico su carta e carta adesiva, su legno 
Le Brigate Rosse hanno ucciso Alighiero Noschese2, 2009, fotografia intagliata, cm 24,5×20 ognuna 
Senza nome, 2009, collage su tavola, fotocopie di elenchi telefonici, cm 150×150 
La scomparsa di Alighiero Noschese, 2009, matita e tempera su carta, cm 17 x 24 ciascuno 
Stars, Michelangelo Caetani (1804-1882) duca di Sermoneta, principe di Teano e ministro Pontificio (1848-1870), Mario Fani (1845-1869) cofondatore della Societa della Gioventù Cattolica (2009)
The Gallery Apart opens the 2009-2010 season with Diego Iaia’s first solo exhibition. After working for years to produce many series of paintings, the artist’s debut project “The Red Brigades Killed Alighiero Noschese” is the latest and most mature example of his work.
It all begins with the fascination and the irresistible attraction to a figure who, by multiplying himself in innumerable representations of others, manages paradoxically to interpret only one person, an impersonator par excellence, without comparison. Over the dark plots that continue to mark the actor’s tragic end, Iaia overlaps an evocative interpretation that crosses the limits of political fiction.
After four years of unexplainable absence from Italian television, Noschese suddenly reappeared in 1978 as a guest on the show “Ma che sera”, anchored by Raffaella Carrà, which aired during the days of the kidnapping of Aldo Moro. Among the skits prepared by Noschese were impersonations of the missing Christian Democratic statesman, which obviously could not be aired at the time. Noschese’s decline worsened and eventually turned into depression. On December 3, 1979 he committed suicide with a gunshot wound to the head. He was only 47 years old. It happened in Rome in the chapel of Villa Stuart Clinic where he had been hospitalized. It is from here that Iaia’s imaginative interpretation, by virtue of the transitive properties, blames the Red Brigades for the death of Alighiero Noschese. The life of the impersonator Noschese overlaps itself on that of Moro: “The image can no longer imagine the real since it is the real.” (J. Baudrillard, The Perfect Crime).
The project dedicated to Alighiero Noschese takes Diego Iaia’s long artistic research into sublimation, in the end straying towards the impersonation of the impersonator or the portrait of a portrait painter, or even the portrait of a simulacrum, through painting, which in itself is a simulacrum. Iaia attempts to generate a web of history, television and icons, with the assumption that Noschese, a great impersonator, is simultaneously a great portrait painter, therefore perhaps a painter.
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