Le isterocomiche avventure di Martino L’Uterino
– Emanuela Biancuzzi, Vittore Baroni, Le Forbici di Manitù
Authors: Emanuela Biancuzzi / Vittore Baroni (Book) + Le Forbici di Manitù (CD)
LE ISTEROCOMICHE AVVENTURE DI MARTINO L’UTERINO :: EMANUELA BIANCUZZI E VITTORE BARONI (AUTORI LIBRO) E LE FORBICI DI MANITU’ (AUTORI CD) :: LIBRO :: RIZOSFERA-NUKFM/WWW EDIZIONI :: CAT. NUKFM023
SEGNALAZIONE GRAPHIC NOVEL DELL’ANNO 2024 (SEZIONE GRAPHIC NOVEL / DIECI I TITOLI INDICATI) :: PLAYLIST 2024 :: RIVISTA BLOW UP (I)
SYNOPSIS
Expelled for misconduct, spared from radioactivity, unwittingly out of place in a world that doesn’t know what to make of his uniqueness, Martino is a naive and irascible uterine, prone to hemorrhagic outbursts, traveling through time and space stumbling upon uncommon stories and bizarre characters, while stubbornly trying to find his way back home.
THE STORY
Can a woman without a uterus still define herself as a woman? And is a uterus without a woman still a uterus? What happens, socially and from a physical-organic point of view, to a woman without a uterus, and what purpose does an out-of-place uterus serve? These and other medical-metaphysical questions seek answers from visual artist Emanuela Biancuzzi and artist, musician, and music critic Vittore Baroni in a volume that decidedly breaks away from traditional illustrated book formats to weave different meta-narrative registers and multiple levels of reading into a dazzling phantasmagoria of eclectic graphic and verbovisual solutions, positioning itself in a no-man’s land between artist’s book and graphic novel.
The non-linear, seemingly schizophrenic journey alternates between pages of grotesque comedy and fragments of visionary introspection, weaving between shards of dystopian science fiction and visceral declarations of animalist resistance. Important medical-existential issues—such as the traumas following cancer surgery and the social pressures on those who cannot or do not want to have children—are addressed using the tools of imagination and irony, bolstered by specific sage advice dispensed by highly qualified experts wisely called upon to present their significant points of view.
In his adventures outside the maternal body, the young uterus Martino, a sort of self-generated Pinocchio from “waste” organic matter, is an unstable and disturbed character, both naive and irate, embarrassed by his uncontrollable emotional hemorrhages, reluctantly involved in banal or paradoxical situations he doesn’t quite know how to handle.
Martino is in search of an identity and a new balance, questioning his own gender and sexual inclinations, feeling terribly inadequate and occasionally sweetly depressed. Subject to sudden mood swings, he becomes upset and rebellious, spills and stains, but always manages, despite everything, to get by.
In adapting to an unfamiliar habitat, the small anti-hero transforms himself into characters from his childhood comics (from Tintin to Mafalda, from Dylan Dog to Marvel/DC superheroes), becomes a trap singer and hardcore punk band vocalist, encounters well-known contemporary artists, clashes with anatomical formations and pathological phenomena, in a surprising journey inside and outside the human body, amid influences and intertextual references from authors such as Mary Shelley, A.O. Spare, Max Ernst, Albert Camus, Gilles Deleuze, William Burroughs / Brion Gysin, Kurt Cobain, Piermario Ciani.
