To close
this brief overview, and to render in a flash the character of the
second
series of «Zodiac»,
perhaps an anecdote would serve: a rapid and sporadic exchange of
pleasantries
with Vittorio Savi who, at the beginning of the Nineties, after the
publishing
of the first issues (perhaps two or three), observed amicably that the
new
editorial undertaking of Canella seemed a little snobbish. He knew
Canella well
and only a few years earlier had curated a highly appreciated
exhibition of
his, with Mario Lupano, at the Palazzina dei Giardini in Modena), the
equally
amicable retort to which was, that one might consider
«Hinterland»
snobbish, but for the new series of «Zodiac» it
would be more appropriate to qualify it as “elite”,
in its greater interest in
and curiosity for diversified researches and poetics.
It would
be fascinating to discuss the relationship between
«Hinterland» and «Zodiac», and
more specifically the character of «Zodiac»
compared to other more or less contemporary architecture magazines, not
only
the bombastic «Domus» and
«Casabella», but
also those more to do with research and, so to speak, with known
consanguinity,
such as «Controspazio» or
«Phalaris», but
perhaps some other time.
[1] G. Canella, Fondazione
e
ripresa di una testata, in “Zodiac”, no.
1, first six months of 1989, pp.
6-10; this and the previous quotes are on p. 10.
[2] Ibid., p. 9.
[3] G. Canella, Su
certe devianze dell’archetipo museale, in
“Zodiac”, no. 6, March-August
1991, p. 10
[4] See Note 1.
[5] G. Canella, see footnote 1, pp. 8-9.
[6] See the Preface to the volume by Guido Canella, Architetti italiani nel Novecento,
Christian Marinotti, Milan 2010, pp. 10-11.