In Gilad’s tale there is also a protagonist who introduces the question of the symbol today in a very simple way. Gilad arrives at the cross to make a wooden fruit bowl, without however making it into a symbolic gesture. Gilad arrives at the cross because he thinks he is reaching a “super-icon,” a highly recognizable image that arises from the idea of what a bowl is. On the other hand, this is still a still life, bodies stretched out, bodies suspended, image and body standing, lying down. Those who look at it are inevitably stimulated to make new mental associations that disturb, reassure, call into discussion even the most everyday gestures, like putting fruit on a table. After all, behind all fables there has always been the desire to make some moral truth comprehensible in a simple way. “The fable teaches that…,” Aesop wrote each time. Sooner or later, it would be nice to see the preparatory drawings of these objects, namely all the intermediate phases through which Gilad has reached his final destination. These drawings and sketches, in fact, contain the foundations of the project: they can be described as quasi-scientific investigations in the fields of psychology, social behavior, perception, economics, the systems of circulation of objects. In any case, from this way of proceeding by drawing we can understand the process that has put the cross on our tables.
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