STRUCTURAL SEMIOLOGY IT IS NOT

LIKE TOCQUEVILLE AND BAUDRILLARD BEFORE HIM, CURRADO MALASPINA EMBARKED ON A SEARCH FOR "LA VRAIE AMÉRIQUE." PACKING A LEICA Q8151 DELUXE, A DOZEN UNLINED LEGAL PADS, A MOLESKIN SKETCHBOOK AND A MICROCASSETTE RECORDER, CURRADO COVERED OVER 4500 MILES IN THREE SHORT WEEKS.

from De la Démocratie en Amérique Recouvrer by Currado Malaspina, Editions Aubergine, 2011

 DRAWN EQUALLY TO THE GANGRENOUS, THE EMINENT, THE DEGENERATE AND THE TRANSCENDENT, CURRADO LOITERED, SAUNTERED, IMBIBED, EMBROILED, SEDUCED, INVEIGLED AND RELAXED HIS WAY THROUGH THIRTY-NINE OF THE FIFTY STATES.


THE PRODUCT OF HIS PEREGRINATIONS IS A HEFTY NEW BOOK OF PHOTOGRAPHS, PUBLISHED BY EDITIONS AUBERGINE ENTITLED DEMOCRACY IN AMERICA REDUX. IN IT YOU WILL FIND LUSH, DESCRIPTIVE IMAGES OF A COUNTRY AND A CULTURE AS VARIED AS IT IS VAST. SEEN THROUGH THE EYES OF A DISTINGUISHED FRENCH PAINTER, THE PICTURES IN THIS VOLUME STAND ON THEIR OWN AS INDEPENDENT WORKS OF ART.

MY PARTICULAR FAVORITE, SEEN ABOVE, IS FROM LOS LUNAS NEW MEXICO. CAPTURED BEHIND THEIR DILAPIDATED "CASA MEXICANA" TWO SHIRTLESS RAGAMUFFINS IDLY WADE WITHIN A SAD SUMMER CONTRAPTION MADE FROM AN OLD RED TARP AND A GREEN GARDEN HOSE. UNDER THE CLEAR, ARID DESERT SUN,THESE ADORABLE YET IMPOVERISHED CHILDREN INNOCENTLY MISTAKE THE SPRINKLER FOR THE SEA. 


MY FAVORITE PART OF THE PHOTOGRAPH, AND THIS IS THE MALASPINA GENIUS, IS THE QUIET DIGNITY IN WHICH THE BRIGHTLY COLORED PLASTIC SANDALS LINE THE EDGE OF THE PARCHED YARD. "THIS IS THE MAJESTY OF THE AMERICAN PEOPLE," THE PICTURE SEEMS TO ANNOUNCE. WHILE THE GROSS DISPARITY BETWEEN THE AMERICAN CLASSES REMAINS UNPARALLELED IN THE DEVELOPED WORLD, THESE TWO DISINHERITED CHILDREN STUBBORNLY MAINTAIN THE QUIXOTIC HOPE IN AN UNCERTAIN FUTURE.


BRAVO, CURRADO!!

Ἀπελλῆς

 BOOK STALLS FROM ATHENS TO THESSALONIKI ARE DOING A BRISK TRADE IN AN UNLIKELY BOOK. DASHED OFF ON A NAPKIN IN THE SUMMER OF 2000, CURRADO MALASPINA'S POLEMICAL CONFESSION CUM HISTORICAL MANIFESTO - OSTENSIBLY PREMISED ON PLINY THE ELDERS' RENDERING OF APELLES - HAS TEMPORARILY DIVERTED THE GREEKS FROM THEIR ECONOMIC WOES.

IT'S MORE OF A PAMPHLET OR A CHAPBOOK THAN A FULL THROATED DISSERTATION. IT'S A BROCHURE, A BOOKLET, MAYBE EVEN A LEAFLET BUT CERTAINLY NOT A TOME OR A SERIOUS SCHOLARLY EXERTION. SO WHY ARE GREEKS SO TAKEN BY IT?


FOR ONE, IT'S FULLY ILLUSTRATED WITH  CURRADO'S SCABROUS SCRIBBLES THAT EUROPEANS ARE SO TAKEN WITH. ANOTHER REASON MAY BE THAT THEY SEE IT AS A VEILED CRITIQUE OF  MIRIAM ALEXANDRATOU, THE CONTROVERSIAL LARISSIAN PAINTER WHOSE STIFF RENDERINGS OF NESTING ROCK PIGEONS ARE THIS YEAR'S RAGE AT THE VENICE BIENNALE.


IT REMAINS A MYSTERY HOW A SHORT, SLIGHT BOOK BY A SHORT, FAT MAN CAN IGNITE A NATION'S COLLECTIVE PASSION WITH SUCH VEHEMENCE. WHEN THE WORK WAS ORIGINALLY PUBLISHED IN FRANCE OVER A DECADE AGO IT BARELY LEFT A  TRACE ON THE GALLIC CULTURAL LANDSCAPE. 

THEN AGAIN - THE HELLENIC FOUNDATION OF CULTURE HAS YET TO HONOR JERRY LEWIS

Anticipates Post While Pre-Dating Neo

FEW PEOPLE REALIZE THAT PRECEDING THE RAGE FOR PICTORAL IMAGERY THAT CHARACTERIZED THE NEW YORK ART SCENE IN THE 1980'S, A SMALL BUT INFLUENTIAL GROUP OF PARISIAN PAINTERS CAPTURED EUROPE'S IMAGINATION WITH THE STIRRING OPULENCE OF THEIR RECIDIVIST WORK.

Questionnez Vos Petites Cuillers, Currado Malaspina, oil on canvas. 1973

SUBJECTED TO THE CRITICAL  RACK AND CURATORIAL THUMBSCREW OF THE REIGNING AMERICAN PATRICIANS OF THE TIME, THIS PICKLED COTERIE OF ARTISTIC ADVENTURERS WERE TACTLESSLY IGNORED EVERYWHERE WEST OF BORDEAUX.

THE YOUNGEST MEMBER AND UNOFFICIAL MASCOT OF WHAT BECAME KNOWN AS L'ÉQUIPE DE RÊVEURS INSOLENT WAS MY GOOD FRIEND, CURRADO MALASPINA. HIS WORK AT THE TIME CLEARLY ANTICIPATES MUCH OF WHAT DOMINATED THE CAVERNOUS SHOWROOMS OF WEST BROADWAY CIRCA 1980 - 1985. THAT HE IS RARELY GIVEN CREDIT FOR HIS BROAD INFLUENCE IS SOMETHING HE ATTRIBUTES TO "LE PROVINCIALISM ET DE L'ARROGANCE" OF THE NEW YORK ARTWORLD OF THAT ERA.

THIS GROSS INJUSTICE IS ABOUT TO CHANGE. IN CONJUNCTION WITH THE ART HISTORIAN VIOLETTA GUISE OF THE ACADEMIE DES ORDURES AND MOSHE NAVARRE, DIRECTOR OF PARIS'  GALERIE FER A CHEVAL, A COMPREHENSIVE EXHIBITION CONNECTING EARLY MALASPINA WITH ITS AMERICAN OFFSPRING  IS ABOUT TO OPEN THIS SUMMER AT THE MUSÉE D'ART MODERNE AUDRUICQ.

THOUGH IT REVEALS CURRADO'S VAPID AND CALLOW JUVENILIA, THE CORRECTIVE IS LONG OVERDUE!

Sortir où que vous soyez

CURRADO MALASPINA HAS DISAPPEARED.

Currado Malaspina, April 4th 2011. The last time Currado has been seen.

I received a call a few nights ago from Bistaque Malaspina, Currado's youngest daughter and his only offspring that is still on speaking terms with the notoriously petulant artist. Sullen and bereft Bisty explained that her father was particularly downcast of late. Disappointed in the tepid critical response he received recently in the United States, Currado became despondent, cynical and uncharacteristically mordant. He was particularly galled by the physical violence his work had to endure in Los Angeles.


"Les Américains sont un peuple grossier," was how he put it to his daughter the last time they spoke.

Nonetheless Bistaque Malaspina remains hopeful.He has done this before. Seventeen years ago after South Korea won the World Cup, Currado was so incensed he moved to Échirolles and worked for six months in a rayon factory. He returned to Paris only after his landlord hired a private detective to retrieve the dilatory rent.

I post this most recent photograph in the hopes that one of my readers can contact us with some useful information.

DE MEESTER VAN BELGIË

IT WAS 35 YEARS AGO THIS MONTH WHEN IN THE SLENDER SPRIG OF MISSPENT YOUTH CURRADO MALASPINA AND I FIRST BECAME ACQUAINTED. AS NEW STUDENTS WE WERE BOTH CONSUMED WITH A GLUT OF EARLY ENTHUSIASM HAVING DISCOVERED  AT THE ECOLE SUPÉRIEURE DE GRAVURE ET GRIFFONNAGE IN BRUSSELS THAT OUR TWINNED DESTINY LAY IN THE ARTS.

THOUGH WE BOTH HAVE RADICALLY DEVIATED FROM THE NORMS OF BOOKISH DOGMATISM AND THE BRAVURA OF METICULOUS ACADEMICISM, OUR  EARLY FORMATION IN CLASSICAL DRAFTSMANSHIP HAS PROVEN TO BE INDISPENSABLE. WE OWE OUR SKILLS AND OUR ETHIC TO THE LEGENDARY LIFE DRAWING INSTRUCTOR, PROFESSEUR REGIS KYOMBE.

Régis Kyombé, 1974 (Bibliothèque VanDido, Ghent)

 

Sadly, Kyombé perished in the 1982 Schaerbeek Gauffre Fabriek fire but his sovereign and vital legacy remains intact. The VanDido Library of Ghent has recently published the catalogue raisonné of Kyombé's classroom demonstration drawings and a traveling exhibition has recently opened in Bruges (followed by stops in Montpellier, Wiesbaden, Newark and San Francisco).

Régis Kyombé, 1974 (Bibliothèque VanDido, Ghent)

Régis Kyombé, 1974 (Private collection)

Régis Kyombé, 1974 (Bibliothèque VanDido, Ghent)

Régis Kyombé, 1974 (Bibliothèque VanDido, Ghent)

Régis Kyombé, 1974 (Private collection)

WHO WAS THAT WOMAN?

THE OPENING OF THE SHOW THE GASP OF LOVE IN TERZA RIMA DID NOT GO AS PLANNED.

The resplendently disturbed young woman who in a frothing paroxysm of irrational indignation tore off the gallery wall one of Currado Malaspina's drawings and ripped it into quarters was identified by several attendees as the French chanteuse Venus Anaïs. 

It has been rumored for quite some time that Malaspina and Anaïs' very secret yet very public romance had decayed into a rancid culvert of iniquitous melodrama. Her startling outburst at the April 2nd opening at ALT/SPACE LA may have offered a means by which we can finally decode some of Currado's ravishingly repulsive iconography.

 Anaïs has always felt that she was swindled into submissiveness, seduced into the role of silent siren and toyed into the task of temporary muse. Her sole job was to enable Malaspina to create an explicit visual diary of his amorous athleticism. It now seems fairly certain that the works exhibited in Los Angeles are graphic depictions of a passion long passed. They render Venus Anaïs as a vessel for an empyrean rapture and the ecstatic consummation of Malaspina's rapacious concupiscence. 

  The coupling has evidently left someone's cup only half full.

THE PAULINE EPISTLES

Currado Malaspina's visual jeremiads are both jarring and hysterically funny. His recent religious awakening has aroused in him a deep fascination with Les Epitres aux Thessaloniciens, specifically those of St. Paul. On a recent visit to his Rue Charles Hermite studio, the walls were ablaze with auspicial Miltonian injunctions and augurial Blakean prophecies, all floridly illuminated with Malaspinian flair.

THE PEREGRINATIONS OF AN INDIFFERENT INTELLECTUAL

Currado Malaspina has a winter residence in  the port city of Oran on the northwestern Mediterranean coast of Algeria. It is there where he does most of his writing and it was there, while working on "The Suspended Globe" that he met the anthropologist Veronique Mouloudia.

Currado Malaspina on Boulevard Djemaa Gazouna, Oran, Algeria, 2011

A post-structuralist by confession though a neo-romantic by inclination, Mouloudia has always been a lighting rod for those who follow the French academy. Her work is dense with sentences like "form follows ideal structures though a dungeon of Hegelian emblems of perceived truths" (Saussure Deciphered, Gallimard 2001) and "the quasi-mystical limits of Giordano Bruno's superstructure of materialism sets in motion codes of behavioral signification without coherence. (The Elided What If, New Press 2006)"

Malaspina nobly pretends to understand but theory is decidedly not his strong suit.

On a recent sojourn to Oran, Currado and Veronique hosted a seminar at the Salah-al Din Sahloon el-Arabia entitled "The Role of 12th Century Illuminated Manuscripts on the Dialectic of Desire." Malaspina was seen on several occasions dosing off while distinguished attendees delivered their papers. By the third day he stopped showing up altogether and spent his days sipping Turkish coffee and taking long walks on Boulevard Djemaa Gazouna.

TERZA TURPITUDE

The threshold for what we in the United States might characterize as "priapic infelicity" enjoys a much wider berth among the French. The public in general is much more at ease with matters pertaining to the appetites.

In a career spanning several tumultuous decades Currado Malaspina, neither in his work nor in his behavior, has ever faced derision on the grounds of impropriety.  Figures such as Choderlos de Laclos, Ernest-Armand Dubarry, Isidore Ducasse and the Marquis de Sade are never looked upon as scurrilous aberrations but rather as part and parcel of the Republic's patrimony. The opprobrious sneers and discourtesies that Malaspina suffered throughout the years were strictly on the grounds of aesthetic indiscretions and intellectual misconduct.


Though it is true that Currado's three wives and multiple mistresses circumnavigated the severe, puritanical geometry of a linear time-line, scandal, in the American sense, was as alien to him as processed cheese. To the French, Currado Malaspina is an artist of the first rank ... period.


That is why we are so astonished to learn that the feminist advocacy organization, Women Are Revered, or WAR, are planning a boycott and a series of demonstrations surrounding the April exhibition at ALT/SPACE LA. There is even talk of a social media campaign dedicated to denying Currado a visa on the grounds of obscenity!


This exercise in political burlesque must be met forcefully and unambiguously by the art community and by all good people who cherish our first amendment rights. Please make your voices heard.

SCANDAL IN SOUTHERN CALIFORNA

The year was 1979. Young, brash Currado Malaspina was the toast of Montparnasse. He lived a life of unremorseful dissipation. His monthly reenactments of the Carnevale di Venezia, staged with the florid flourish of campy faux-baroque pageantry, were attended by a veritable who's who of Parisian high and gutter society alike.

These disparate groups were unanimous in their enthusiasm for Curardo and in their avid, if slightly slanted interest in the miscellany of sexual expression. It was precisely in that period when Currado, due more to his art than to his behavior, became a prominent fixture within the European demimonde.

Les Maquettes du Marquis, a series of tactless works-on-paper, produced as a commission for the lavishly libertine Comptesse de Buford, has recently found its way into the estate of Artur Mont-Or, one of southern California's most predatory art collectors. There are rumors circulating among those who know about such things that these rare works will be exhibited for the first time in an undisclosed Los Angeles gallery. 

It is not quite clear whether the works will be for sale.

José Martí Swivels in his Crypt

Presumably a thaw descends upon the enchanted island of Cuba. The tropical sun is beginning to shed a dim light on an adumbral past. Crimes both great and small committed on behalf  birdbrained ideologies and perpetrated with  bureaucratic efficiency, (albeit with a clave beat) are finally being discussed more or less openly. No crime lures me closer to the lash of vengeance than the murder, (yes, murder) of my dear friend and mentor, Micah Carpentier.

I was honored to have been commissioned by the Micah Carpentier Foundation to direct the short video below:

SPRING PYREXIA

CURRADO MALASPINA IS PREPARING FOR HIS FIRST NORTH AMERICAN EXHIBITION IN OVER TWO YEARS!!  

Both Currado and the fine citizens of Southern California are bracing themselves for this important event.

This coming spring at the campy, curious and intrepidly avant-garde Los Angeles gallery,

ALT/SPACE @ Top Tomato

the deviant but delightful Malaspina will captivate and disturb the solicitous dwellers of America's strangest state with his wonderful antics and artifacts.

Don't miss it!

RETOOLING EPICTETUS

 "MAGNIFICENCE INVOLVES EXPENDITURES WHICH WE CALL HONORABLE"

Currado Malaspina

This Artistotelian formulation finds its way into the daily conversation of my pretentious colleague, Currado Malaspina, at the most absurd and inappropriate times. He carries a worn copy of the Nicomachean Ethics in his coat pocket and quotes from it freely. In the aftermath of a minor traffic accident at the traitorous intersection of Rue Juliette Dodu and Avenue Claude Vellefaux, Currado observed to the irate owner of a newly dented Citroën Saxo that "... the morally weak who lose themselves in impetuous emotion are better than those who have a rational principle but do not abide by it." When his car insurance was subsequently canceled he bemoaned how "small people may have charm ... but not beauty."

Currado embodies Paul Valéry's description of the poetic temperament, "the sensation of being everything and the certitude of being nothing." He is both pompous and pure, deliriously megalomaniacal and comically self-effacing. E. M. Cioran, another Malaspina favorite, suggested that "the company of mortals is, for a lucid man, pure torture," and this explains Currado's lack of close friends.

In a 1997 interview with Haftora Magazine Currado confided to renown clinical psychologist Beto Azzuri that his eminent sense of detachment is a bias as flawed as any other. "I recognize death and exile (la mort et l'exile) as the mitigating arteries of the well-intentioned life (la vie bien intentionnée)," he began promisingly enough, "but covetousness (convoitise) is the human condition and should not be tampered with too dramatically."

AN AWAKENING

Dear friend, I have reread the Gospels in my newfound confinement and the inscrutable conclusions that I have drawn are painfully disquieting ....

So states the bizarre missive that sits on my desk like a naked fuse. From the Boisset  psychiatric hospital where my long suffering friend Currado Malaspina is now taking the cure, lengthy manifestos and rambling disquisitions are springing from his pen with a stridency bordering on the erotic.

He has found religion, though I'm not quite certain toward which deity he directs his faith.

He frequently mentions Saint John Climacus, also known as John the Ladder, who from the Vatos Monastery at the foot of Mount Sinai lived a barren life of pious asceticism. The undeniably beautiful drawing above was sent to me recently, inscribed on the back with one of the 7th century monk's most curious aphorisms:

"He who is inclined to lust is merciful and tender-hearted: those who are inclined to purity are not so."

Currado has taken a physical detour which has unquestionably anchored him in a self-knowledge previously inaccessible.

MADNESS BECOMES CURRADO

BATHED IN ABSINTHIAN WISTFULNESS & MELANCHOLIC NOSTALGIA, CURRADO MALASPINA SITS BY THE WINDOW OF HIS SMALL CELL AND SKETCHES SCENES FROM HIS PAST.

  
Rough, awkward but unmistakably heartfelt,  Currado Malaspina's small new drawings are a sad, strong testament to his decayed vanity. Scrawled with a primitive hand-carved quill, these precious tracings are explicit maps of his wretched, broken mind.


In 1998, as a guest of Charo Valrhona, Cuba's genteel Minister of Arts and Sports, Currado was feted by the island's top luminaries. He played tennis with three time Olympic champion Donatello Borges, sang madrigals with the immortal coloratura Dobry Den Esponoza, discussed Hegel with the controversial cultural critic Djudeo Espanyol and went horseback riding with Fidel's nephew, the great harness racer Ocucaje Castro.


 His very public romance with the very married Romina Magia of the Ballet Nacional de Cuba was the cause of great scandal.  A vigil of international journalists camped in front of the Bosque Hotel in central Havana where he rented a suite of rooms. When Romina's husband Francesco blackened Currado's lower lip under the reproachful gaze of Che Guevara, the hungry shutters clicked in a tap dance of prurient fascination.


The other day, I received in the mail the above drawing. On the back was an inscription which read: "c'était la valeur la douleur."

CURRADO'S DEMONS

I often puzzle over the shrill and petty tone Currado takes when he writes about me and my work.Though I'm not one who is quick to take offense, the cumulative effect of his snide screeds and astringent asides is a weight I must reluctantly bear.

Hospitalier Spécialisé de Boisset, Western wall

Hospitalier Spécialisé de Boisset is a psychiatric care facility near the Dordogne River Valley. Among its illustrious alumni are the writers Shmuel Jacot and Delphine Issey-Ponqet, the painters Koloy and Iguire and the great mid-century songsmith Vuillet de Monchard.

At the time of this writing, residing in said hospital and under the watchful eye of both admirable and dubious clinicians is my poor, dear friend, Currado Malaspina.

It seems he has been diagnosed as paranoiac, His condition is apparently exacerbated by his drug addictions. I'm told he is delusional and unstable. He alternates between states of lyric eloquence and deranged hysteria. He's willfully incontinent. He doesn't eat.

I have chosen to attribute Currado Malaspina's demoniac diatribes to his nascent madness.

He still has his computer so don't expect an abatement of his attacks any time soon.

CURRADO'S CAPACIOUS CURIOSITY

The Mendoza Archive in Metz is a trove of  legal documents, odd dissertations, illuminated manuscripts and scholarly tomes. During a recent trip to nearby Pont-à-Mousson visiting my good friend Currado Malaspina, we stopped by the archive and met with its director, Yves Mendès-Faure.

The Tupfen Sephirot, 17th century

Dr. Mendès-Faure, whose most recent book Thwarted Sensation in Lurianic Ecstatic Literature (Provo Press 2010), is a specialist in Cordoveran Kabbalah. Together with A. Gashmi and Jimmy Ramak, he compiled and edited the complete correspondence of Abu Ahmad Ja'far ibn 'Ubaid and Khitan Liao. As director of the archive he has curated several exhibitions of Judaica including the controversial Sephirot Ensemble which assembled over four-hundred Sephirot images, hand-painted by gentiles.

Currado wanted to see John Donne's famous Tupfen painting but we were told it had been stolen in a daredevil burglary while on exhibit in Rabat. The image above is a reproduction from the Encyclopédie d'Ésotérisme.

עשרת הדיברות

On the wide double-door of his professional Axima frigo, Currado Malaspina has a curious grouping of post-it notes. Not your typical reminders of doctor's appointments or grocery lists but behavioral prompts straight out of one of his favorite books, the Old Testament.

The Decalogue has always been a source of conflict for my agnostic friend. Whereas he has no trouble with "thou shalt not steal," (unless of course it is a matter of someone's ideas), or "thou shalt not commit murder," he's always had a weakness for adultery. And though in keeping with the spirit if not the letter of the 5th commandment, (taking time throughout the years to remember his mother's birthday), he always thought that the 2nd, from the point of view of a practicing artist, was simply bad for business.

So each time he reaches in to grab a new bottle of Blanquette de Limoux he is confronted with a list of the top ten prohibitions of the ancients. It's a sobering salute to the aesthetics of the taboo.

Constraint and obstruction are  not your typical Malaspina tropes and it's hard to say whether these idiosyncratic allusions are meant to be reverential or ironic. A large lithograph depicting commandment no. 4 was recently bought by an anonymous representative of the Viljandene hasidim of Kirias Lilith, New York.  They've always been known to have a greater affinity for the burlesque then their neighbors the Bobover.

   

THE ROSSEBUURT EDITION

The series of twenty-two hand-colored aquatints known to collectors as The Rossebuurt Edition have finally been exhibited in the city of their origin.

Aafje, 1981

Photographers have depicted the courtesans of the Rossebuurt as shop window bibelots and Hollywood has turned them into a metaphor for raunchy cupidity but it was not until Currado Malaspina applied his tender touch has the subject been treated with the refinement and respect it deserves.

Amsterdam's Galerij Coenraad Johannes on Prinsengracht has recently staged a stunning exhibition that included all twenty-two prints plus scores of studies, proofs and related works-on-paper. Inspired by the play La Bulesca and the letters of Veronica Franco these lovely images are touching tributes to a class of women typically maligned by coarse caricature.

Like most mortals, Currado is not exempt from the fineries of cliché. In the course of his extensive research he developed a near fanatical obsession with the storied seductress, Aafje Minahasan. He pleaded with her to leave the dubious comforts of the Doop Horenkast and live with him as man and girlfriend.


She wisely demurred and is currently the aging mistress of a former Minister of Immigration and Asylum.

I LUSSURIOSI

Currado Malaspina has been working on a series of hand-colored monotypes based on Dante's depiction of the second circle of Hell.

SEMIRAMÌS, Malaspina, 2010

Malaspina has always insisted that Dante's condemnation of these carnal malefactors was at best halfhearted. As a lapsed Catholic and a strident opponent of chastity this is hardly surprising.

What seems far more astonishing is that this new completed series will be published in book form by Fedeli Edizioni, the official publishing house of L'Ordine di San Otto.

Michele Scottman, principle editor of Fideli is "thrilled to publish this important artistic document" and sees no conflict with its subject matter or style. Pre-ordered advance copies of the first edition have already sold out and Scottman predicts that I Lussuriosi will out perform Fideli's last major blockbuster,I Modi di Preghiera Estatica in Roma di Secolo Diciassettesima. 

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