ABSTRACT
Rather than threatening the village's complex and paradoxical life, Invisible Cities seems to magnify its paradoxes even as it apparently obscures or transforms city architecture through projections, lights, and cloths stretched over churches or through mysterious pathways. Rather than packaging daily practices as postcard visions, Teatro Potlach places these practices in foreign contexts that make them unfamiliar. Under the direction of co-founder Pino Di Buduo, the theatre company had staged dozens more Invisible Cities projects since the first one in 1992 all over the Europe and the Americas, as well as a few in Asia and the Middle East. Projections play a particularly potent role in Teatro Potlach’s recent work, under the careful and relentless design of Vincenzo Sansone. In the 2016 Fara in Sabina Invisible Cities, video projections from multiple projectors stitched together interacted with the stucco buildings that frame a piazza to invoke a tranquil Grecian sea, light blues and white moving along the stone and grout lines.
