Artribune - Aporìa (in Italian)


L’atrio e la scala principale dell’Istituto Italiano Di Cultura sono stati il teatro, nei giorni scorsi, di un’opera site specific di legno, ceramica e fili. La scala, il giorno 6 dicembre è stata anche il punto di partenza di Andando Restando una performance di danza e musica. L' Istituto, in collaborazione col Consolato Generale d’Italia di New York, ha presentato l’evento in occasione della XVII Giornata del Contemporaneo, sotto il titolo “Aporia” con la curatela di Valeria Orani

Le suggestioni di Antonio Marras , stilista e artista sardo di fama internazionale di cui abbiamo parlato più volte, sono molte e disparate e lo spettatore si può sentire coinvolto e colpito a vari livelli, a seconda della sua esperienza e dei suoi punti di riferimento. Tutto questo conflagra e armoniosamente converge in un insieme di richiami diversi e contrastanti che per nulla spaventano l’autore Marras che anzi ha fatto proprio del paradosso, l’aporia, l’ossimoro i punti chiave della sua poetica.

Il direttore dell’Istituto Fabio Finotti, che quei gradini li sale ogni giorno, ha sentito percorrendo quel passaggio un suono, e presentando il lavoro ne ha sottolineato la melodia: “C’è una musica nascosta nei tessuti e forse in ogni cosa creata dalla mano umana... Dobbiamo ascoltarle, non solo guardarle. I fili, i colori, i materiali si intrecciano in modo visibile per richiamarci ai movimenti, ai sussulti, alle variazioni, alle improvvise svolte di un discorso sonoro. La performance è dunque insita nell’istallazione, che è in se stessa esecuzione”.

E la musica ha guidato su per i gradini ai primo piano gli spettatori arrivati la sera di lunedì 6 “su per le antiche scale” con il canto vero e proprio dell’attore e cantante contraltista Maurizio Aloisio Rippa. Rippa, sulle note della dolente canzone “Lacrime napulitane” quella sera ogni 30 minuti ha condotto il pubblico e i due danzatori Gabriel Da Costa e Francesco Napoli nella sala principale dell’istituto. La coreografia della performance per due corpi e voce sola Andando Restando è di Marco Angelilli.

Foto e testo di Francesca Magnani

SU PER LE ANTICHE SCALE

6 dicembre 2021 – 31 gennaio 2022

686 Park Ave, New York, NY 10065, Stati Uniti

Tiscali Cultura - La spettacolare performance di Antonio Marras a New York: lo stilista di Alghero conquista gli USA (in Italian)

La spettacolare performance di Antonio Marras a New York: lo stilista di Alghero conquista gli USA

picture by F. Magnani ©

di Francesca Mulas

La speranza di una vita migliore, il desiderio di conoscere e incontrare nuove realtà, l'ambizione; dal lato opposto, l'attaccamento alle radici, l'incertezza, la paura di allontanarsi da quanto già si conosce: si muove sui contrasti l'ultima performance che Antonio Marras, creativo e stilista di Alghero, ha presentato pochi giorni fa all'Istituto italiano di Cultura a New York per la XVII Giornata del Contemporaneo promossa da AMACI (Associazione Musei d'Arte Contemporanea Italiani). 

La performance è andata in scena il 6 dicembre scorso come evento inaugurale dell'installazione "Aporìa" a cura di Valeria Orani, realizzata sulla scalinata dell'Istituto con fili, legni e tessuti che "legano" tra loro gli spazi, e che sarà visitabile ancora nelle prossime settimane da lunedì a venerdì dalle 10 alle 20.

"Aporìa" era per i greci antichi l'impossibilità di dare una risposta precisa a un problema, nell'incapacità di scegliere tra due soluzioni che sembrano valide entrambe. Le due alternative nell'esistenza umana sono restare e andare: scegliere tra una vita sicura e stabile, o provare a muoversi e conoscere altre culture. Il tema del viaggio è particolarmente caro ad Antonio Marras che pur mantenendo le sue radici, la casa e il laboratorio ad Alghero si muove oggi in tutto il mondo alla continua ricerca di ponti e legami creativi. Viaggiatori e viaggiatrici sono gli ispiratori dei suoi abiti, dove forte è la traccia della Sardegna nella scelta di colori e tessuti ma tantissime sono le suggestioni provenenti da paesi e tempi lontani; particolarmente sentito anche il sentimento verso la Sardegna che, come ogni isola, da un lato si mostra accogliente e sicura come un nido, dall'altro può essere anche prigione con sbarre troppo strette che impediscono di guardare oltre. 

Sul viaggio, e in particolare sul nostro passato (e presente) di emigrazione si concentra la performance dal titolo "Andando restando" con cui Marras ha inaugurato l'installazione: lo spettacolo, realizzato con la coreografia di Marco Angelilli, è stato prodotto da 369gradi e accompagnato dalla voce del contralto Maurizio Rippa. In scena, Gabriel Da Costa e Francesco Napoli che hanno interpretato due emigrati, vestiti di pochi stracci e carichi di valigie pesanti, che percorrono la scalinata in preda all'oppressione e all'insicurezza mentre trascinano con sé funi e catene. I due rappresentano il viaggio, ma anche la paura dell'arrivo, le difficoltà incontrate nel paese che li accoglie, il miraggio di una vita che si rivela ben diversa da quella tanto desiderata. 

link articolo originale

Talkcity - “Aporia”, con Valeria Orani e Antonio Marras la cultura italiana a New York (in Italian)

https://talkcity.it/aporia-con-valeria-orani-e-antonio-marras-la-cultura-italiana-a-new-york/

(ph. F. Magnani©)

“APORIA” è stato presentato dall’ Istituto Italiano Di Cultura di New York, in collaborazione col Consolato Generale d’Italia di New York il 6 dicembre 2021. 

L’evento, curato da Valeria Orani, e realizzato dall’artista Antonio Marras, rientra nella XVII Giornata del Contemporaneo promossa da AMACI (Associazione Musei d’Arte Contemporanea Italiani), con il patrocinio del Ministero della Cultura – Direzione Generale Creatività Contemporanea e della collaborazione del MAECI – Direzione Generale per la promozione del sistema Paese.

L’evento ha inaugurato un’installazione site-specific dal titolo “Su per le antiche scale” realizzata da Antonio Marras sulla scalinata dell’Istituto Italiano di Cultura a New York con una performance dal titolo “Andando Restando” coreografia di Marco Angelilli, su disegni dello stesso Marras con Gabriel Da Costa e Francesco Napoli e accompagnamento del contralto Maurizio Rippa  produzione 369gradi – AMINA>ANIMA (Soul) Project – Regione Autonoma Sardegna. 

La performance

La performance ripercorre le tematiche già presenti nell’installazione dando vita al sentimento e alla forza delle azioni. Un percorso che è anche l’impossibilità di dare risposte precise ad un problema che si trova di fronte a due soluzioni, che per quanto opposte sembrano entrambe valide: radici e irrequietezza, attaccamento e necessità di allontanarsi. Sardo, Italiano, Europeo, Africano, Latino, Asiatico e cittadino del Mondo. Luce e ombra. Ordine e disordine. Corpo e spirito.

È “Lacrime napulitane “la prima canzone che accompagna il faticoso viaggio dei due emigranti. Sono coperti da pesanti giacche di pelle che vestono ma non riscaldano, sono carichi di valigie legate con stoffa bianca strappata e annodata ma sono vuote. I legacci sono lenzuola, sono teli da cucina, sono parte del corredo di casa, materiale semplice ma prezioso. Unica dote di povere donne. E vanno gli uomini, attraverso l’Oceano, tra vicissitudine e prove di coraggio e di tenacia.

Trascinano funi ancorate a terra, tentano di strappare quelle radici che tanto male fanno e tanto forti sono. Si attorcigliano, si legano, si intrecciano, si rincorrono, si fanno spazio tra i grovigli della vita, del fato. Ma sono destinati a soffrire, “meschini, costretti a vivere in terre straniere”. 

Si spogliano arrivati a Ellis Island mentre si sente in sottofondo “New York New York” in versione interrotta e frastagliata.  Mettono tutti i loro averi su un pianoforte che continua ad emettere non più musica ma suoni come se sentisse il dolore e lo strazio dei newcomers, straniti e confusi. Si spogliano per rinascere, per diventare altro.

L’ultimo atto è “L’addio”. Addio da dove? Per dove? 

Il sogno di andare restando.

La performance è visibile al link https://www.youtube.com/watch?v=ljbeUXndneY

L’opera installata sarà visibile è visitabile a New York Istituto Italiano di Cultura in New York – 686 Park Avenue, New York, dal lunedì al venerdì ore 10:00 – 16:00

L'Unione Sarda - Silence, Antonio Marras speaks

For "I Dialoghi" of the Archaeological Museum of Cagliari the brilliant stylist was the special guest in the Basilica of San Saturnino

Antonio Marras (arch. Unione Sarda)

From New York, fresh from the global success of Aporia, performance installation organized by the Italian Cultural Institute of the Big Apple with Valeria Orani and dedicated to contemporary art, in Cagliari for the "Dialogues of archeology, architecture, art and landscape" in short take a few days to then touch other destinations near and far. It is the life of Antonio Marras who loves to cultivate fertile realities around the globe by sowing his seeds of creativity and giving life to dreams, images, poetry and a lot of genius.

Last night he was the protagonist of an exciting meeting in the Basilica of San Saturnino, guest of the review organized by the National Archaeological Museum of Cagliari with the patronage of the Municipality of Cagliari.

Link to the original article

La Voce di New York - Antonio Marras con la sua tela all’Istituto Italiano di Cultura di New York (in Italian)

Immaginate un grande stilista che impiega dei giorni per istallare una sua opera d’arte: ma quei fili serviranno per creare tessuto o per intonare delle musiche?

di Michele Valle Perini

(ph. F. Magnani©)

04 Dic 2021

Le dee tessono. Le Parche, per esempio, che filano i destini degli uomini con le loro mani e il loro canto. E le Grazie del Foscolo tessono un tessuto magico, dove i personaggi si muovono addirittura come se fossero vivi.

Anche le regine tessono. Penelope, per dirne una, che domina la sua corte e la sua vita con la tela infinita alla quale si dedica notte e giorno.

Ecco, un miracolo di questo tipo lo sta facendo Antonio Marras a New York. Vi immaginate un grande stilista che perde giorni non per i suoi clienti vip o per incontri business, ma per istallare una sua opera d’arte sui muri dell’Istituto di Cultura? Togliendo fioriere, spostando arredi, bucando i muri senza ritegno, invadendo via via le scale con una enorme e magnifica tela di ragno.

Una tela di ragno? Marras?

Esattamente. L’idea è quella di un grande, infinito telaio, i cui fili si distendono da un muro all’altro, ordinati da pettini e rocche di ceramica, e tessuti da mani bianche e nere che si materializzano da corpi invisibili (le dee e le regine di cui si parlava).

Ma quei fili serviranno per creare tessuto o per intonare delle musiche? Non c’è nulla di più vicino ad un’arpa o alla cassa armonica di un pianoforte di un telaio. E allora ecco la magia. Quelle mani che Marras sta istallando all’Istituto di Cultura di New York non solo tessono i nostri abiti e il nostro fato, ma la musica segreta che ci accompagna e ci ispira in ogni momento della nostra vita.

L’istallazione sarà completata e disvelata il 6 dicembre, quando ospiterà una performance diretta dal coreografo Marco Angelilli, su disegni dello stesso Marras, con Gabriel Da Costa e Francesco Napoli, e la voce del contralto Maurizio Rippa, prodotta da 369gradi all’interno del progetto AMINA>ANIMA (Soul) – a round-trip journey to discover and reveal the universal value of Sardinia through contemporary art and cultural exchange (PO FESR 2014-2020 Regione Autonoma della Sardegna).

Il tutto sarà visibile su youtube lunedì 6 dicembre alle ore 16 (di New York, ovvero le 10 di mattina in Italia) a questo link.

L’evento, curato da Valeria Orani, rientra nella XVII Giornata del Contemporaneo promossa da AMACI (Associazione Musei d’Arte Contemporanea Italiani), con il patrocinio del Ministero della Cultura – Direzione Generale Creatività Contemporanea e della collaborazione del MAECI – Direzione Generale per la promozione del sistema Paese.


Link all’articolo originale


Il Piccolo - Trump’s America as Seen from the Inside According to Will Eno, Today’s Beckett

by Roberto Canziani

(Translation)

From tomorrow until Sunday, at the Sala Bartoli, Francesco Mandelli will interpret the neurosis, the instability and the loneliness of the US.

There was a time when the latest of American theater would immediately reach Italy. Edward Albee, Sam Shepard, or David Mamet would write something, and one would find it a couple of months later in Italy. Now, Italy has become more scared, more cautious, more narrow-minded. More absolutist.

And yet, Will Eno, who won the Pulitzer Prize in 2005, is one of those authors who are worth knowing, because he gives us a sense of what is happening on the other side of the Atlantic, in Trump’s America.

From tomorrow until the 19th (Sunday), at Rossetti’s Sala Bartoli, Proprietà e atto, third and last chapter of an “American” trilogy, will be portrayed. Over the years, actors Elio Germano (Thom Pain, 2011) and Isabella Ragonese (Lady Gray), participated in the trilogy with two memorable monologues shown at Mittelfest. It is up to popular MTV personality Francesco Mandelli (of I soliti idioti and Quelli che il calcio), together with the young and talented director Leonardo Lidi, to add the third piece to this puzzle giving us a picture of America as seen from the inside, with its neurosis and instability. And in some of its loneliness: in fact, Permanent Exile, Monologue for a Slightly Foreign Man is the subtitle of the play.

“Monologue is the form of expression in which I find myself the most. I find it exciting that one single voice is the one directing the entire orchestra of thoughts. This way, writing can be powerful but, at the same time, elegant.” Will Eno said so during a brief stay in Rome, when the determination of two intuitive ladies of Italian theater, Bam Teatro’s Marcella Crivellenti (who produced the three shows) and Valeria Orani (who created the project which is shipping the Italian and American dramaturgies across the Atlantic) made it possible for him to know Italy. And for us to know him.

“I had never thought of these three works as a trilogy – the author explained – but now that I’ve seen them together, played in a different language, I have to say it works. I realize, as I reconsider them together, that I am exactly in the present, and each and every time I feel like something exciting is about to happen.”

Eno’s writing is not mad about psychology like that of his colleagues who only write thinking about Broadway and profit. His characters are never fully defined: in order to complete them, to give them a meaning, one must always use the audience’s collaboration and imagination. That is to say, of different people who see different things, but find in the words they hear a common currency, a shared dream.

“It is precisely because of this that I think the best spot to watch my works is the very last row at the end of the theater – he added. Because from there, one can see the actor on stage, but also the whole audience, and this makes sense. There is much more humanity in the parterre than there is behind the scenes. What keeps fascinating me about theater is its ability to unite people.”

Press has often defined Will Eno as “the Beckett of contemporary theater”, thus evoking the innovation and confusion in the description of the scene introduced by the Irish Nobel Laureate some seventy years ago. And yet, the sense and sentiment enveloping Eno’s works are profoundly American and, to be more precise, from New York.

“If I think about the first thing I’ve ever written – he concludes – well, it is a torn piece of paper, that is the amount of strength I used to press my pencil to get something out of me. Now, at 54, I finally understand how writing works. One must really want to get something out of oneself, but with the pressure one has to keep it inside.” It really sounded like something Beckett would say. An American Beckett, and a contemporary one.

Elle (Italy) - Antonio Marras from fashion to theater because “I always need a story in to be able to create”

by Micaela Roberta Tenace

(Translation )

MY HEART I’M SUFFERING WHAT CAN I DO FOR YOU? IS THE ENIGMATIC TITLE OF THE FIRST THEATER PERFORMANCE BY SARDINA BORN DESIGNER, WRITER, AND DIRECTOR OF THE PIECE, ANTONIO MARRAS CREATES HIS PERSONAL POINT OF CONTACT BETWEEN FASHION AND THEATER: THE STORY IS AN EMOTIONAL PUZZLE OF FEARS AND MEMORIES 

Darkness. The rhythmic beat of a heart, the white and primitive sound we hear in our mother’s womb. A sound “bum bum” that awakens different sensations in whoever is listening to it.
And then a dim light that goes on and off in sync with the ancient beating of a heart.
This is the first scene of My heart I’m suffering what can I do form you?, the first theatrical piece written and directed by designer Antonio Marras and produced by Valeria Orani, artistic director of 369gradi.
The story is paced by a sort of creative ECG in a rhythmic alternation of 14 scenes going from slow to fast, calm to anxiety, bradycardia to tachycardia,. A debut for the creative director, that we met after the premiere at Teatro Massimo in Cagliari, waiting for the dates in Milan, Rome, Bari and probably New York in 2019/2020.

«This is the story of a detachment, cutting, amputation. Of pain, separations and of non-return. About the impossibility to communicate with the person who is at your side. My intention was to surface moments that we have decided to hide or somehow to forget. This is what I asked the actors to do after I explained to them the text: I didn’t want them to simply play, I wanted them to find episodes inside of them that could awaken these types of emotions.  Everyone had to become like an archaeologist of their own soul. 

«I’m very attached to these little songs, I remember when I went with my sisters to the musicals. My memory, in general, is not great but I don’t know why I can easily remember song lyrics. There are refrains that get inside my head and don’t go away.  The lyrics of this song, express very profound things: it enquires about the inability to dig inside our heart, to govern it and to point it out towards what we desire. Because our damned heart tends to just do what it wants ».

«I had the need to express something. I have listened, understood, received, remembered things that belonged to me or came to me from other sources. I have processed everything and put them back together to build this work: passages from Italo Calvino and Shakespeare, woven into a loom inspired by Dino Buzzati and divided by season. I was so lucky to meet some of the best actors of contemporary Italian theater: Ferdinando Bruni – founder and director of Teatro Elfo in Milan - Marco Vergani and Federica Fracassi. Simonetta Gianfelici, a beautiful ex-top model who has often worked with Marras at fashion shows is also on stage. I did no task the actors to act like they normally do but to absorb and process everything. In short to tailor-made their own part ».

«Yes, clothes also play a very special role on stage. They are never worn they are just placed on the body, badly fastened with leather straps. On stage, there is no need for costumes. Everybody wears underwear, naked, clothes are out of place. In the final scene where couples of brides and grooms entwine and merge their bodies – girls wear real wedding dresses, purchased at vintage markets. This was my “perversion” with thousands of clothes in my collections I went to look for clothes with a history, which had been worn by real brides and carried heartbreaking emotions with them. »

Your performance looks like a living work of art ...

«Definetly, this work is for others to “wear” in different ways. I have always thought that if this project of mine would have become a traveling show, I would have asked somebody local to be in it. Here in Sardinia, I found Vincezo Puxeddu – a dancer and a therapist who, a year ago, had an accident that caused him the amputation of one leg. I also met Elena Ledda who is wonderful when she goes from the singing of Sardinian lullabies  "Cantu a Dillu" to the rosary recited by hired mourners at deathbeds. In the scene they play together, Vincenzo enters supported by a mamuthone (a mask of the Sardinian Carnival) covered in sheep wool carrying a typical object called "carriga" (a sort of bouquet made of old bells), moving in an intense and desperate kind of two men walk ».

What is the role of Valeria Orani?

«I had never met her in person before, but she always thought we should do something together. So when she was asked to produce this idea of mine, she did not think twice and she embraced it body and soul. ».

Are there analogies between the creation of a fashion collection and of a theater piece?

«When I create I always need a story, a canvas, a tale from where to start. It doesn’t matter if it is a book, a character, a photo: from Gramsci to the Sardinian bandit woman, Paska Devaddis, to the geishas. My wife Patrizia helps me with this, she is very good: her contribution has been important also in this new path. ».

Il Manifesto - Confessions by torn hearts that decide everybody’s destiny

by Gianfranco Capitta

(Translation)

Antonio Marras is a world know fashion designer, considered by many the most refined and intellectual designers in the fashion arena.

Extremely competent and full of imagination, he has now decided to put himself “on the stage”. This is probably how he has conceived his show, produced by Valeria Orani with her company 369 gradi, which has been staged in Cagliari at Teatro Massimo and in Alghero.  

The title of the show “Mio Cuore io sto soffrendo, cosa posso fare per te?” comes from an oldie by Italian singer Rita Pavone (a famous cover of Heart by Timi Yuro).

The performance was written and directed by Marras with the same combination of courage and awareness that gave the clothes he designs and creates international fame.

The courage to show one’s own history, visions, fears, frustrations, mistakes but also hopes, attempts, discoveries, enthusiasm. A sort of analytical confession where each spectator can recognize or remember their own experiences find their own ghosts.

A path that can be upsetting but that can be overcome thanks to its aesthetic and artistic dimension.  

This is what Marras' success shows. A Success marked by many recognitions in the artistic, scientific and professional field. A success he shields from, humbly like in the fifteen scenes that make up his piece.

Images that take inspiration from European literature and popular tradition, from Marras’ native Sardinia folklore which he brings out with suggestions embracing cinema, painting, and the influence of artists such Maria Lai, one of Marras' mentors.

In contrast with the richness of his fashion creations the scenes of My Heart are naked and get populated as the show develops only by “living objects”. The costumes are bare, twenty performers (ten men and ten women) wear only underwear.  It's their bodies that tell the story of a collective childhood. Bodies that under Marco Angelilli’s mastery move in a minimal manner filled with significance.

The special presence of Vincenzo Puxeddu creates one of the show’s most dramatic and disturbing moments of the whole vision.

The cast also includes other important actors such as Ferdinando Bruni, Marco Vergani, and Federica Fracassi …

 

Hystrio - Writing theater: art and economy on the two sides of the Atlantic

by Roberto Canziani

Translation

Italian and American Playwrights is the international project created by Valeria Orani which revolves around moving authors between the two countries in order to give support, independence and economic sustainability to the art of the scene. Because beauty does not mean demonizing business.

Two continents. Actually, two different cultural planets where different coordinates apply. To me, America and Europe, but to be more precise, the US and Italy.

Italian and American Playwrights Project is the title of the initiative focusing on contemporary dramaturgy of the two countries while working as a ferry; not with old-fashioned ocean liners or adventurous regatta boats, but with contemporary tools and market analyses.

At the corner of 422E and 82nd, in New York, one can find Umanism NY, a cultural company with an ambition: support art and creativity, and especially Italian art and creativity, launching them into the principles of economic independence and sustainability which define the American cultural market – and every other American market.

At the crossroads between Italian Humanism and the very much Anglo-Saxon idea of humanism, Umanism NY was founded by Valeria Orani, who is originally from Sardinia and a businesswoman with strong experience in theater organization (she is artistic director, in Italy, of 369gradi). She chose to follow in footsteps of all those Italian immigrants who decided to plant new seeds in the world. Orani said it is time to stop whining and complaining about the lack of sensitivity and funds dedicated by the Italian government to her field, and instead to develop a business-like idea of culture. It is, in fact, one of the core components of the historic and geographic DNA of Italy and Italians, but it also needs to stop antagonizing the concept of business. Italian American Playwrights (now at its second edition) is the project which absorbed all her energies in the past few months in order to give stability and solidity to a double platform of dramaturgical visibility. On the one hand, Italian authors who, thanks to Umanism NY’s translations, can see their work brough to the attention of American buyers; on the other, American authors, also enjoying the translation process, who are exposed to the Italian scene, so hard to reach and so full of language barriers.

In a double international game, which came to include the Martin E. Segal Theater Center with its director Frank Hentschker, the Italian Cultural Institute of New York and Rai Radio3 as media partner, the most recent works of Fabrizio Sinisi (La grande passeggiata), Elisa Casseri (L’orizzonte degli eventi), Armando Pirozzi (Un quaderno per l’inverno) and Giuliana Musso (Mio eroe) crossed the Ocean. At the same time, a sample of new American dramaturgy reached Italy: a selection revolving around multiculturalism, intrinsic in American DNA, and all by women authors.

Mariana Carreño King (Miss 744890), Amy Herzog (The Great God Plan) and Cori Thomas (When January Feels Like Summer) were the three American authors who emerged from this new edition, after a series of evaluations of the Italian and American advisory boards weighted their characteristics with methods similar to those used in advanced marketing. Translatability, originality, interculturality, being of interest to the public, potential for production and personal preference are the factors which are considered to select potential candidates.

The three projects were presented in one night at the Teatro Vascello in Rome as scenic readings in Italian and with the participation of the authors and they showed a face of America which is quite different from the one emerging from imported movies and musicals. They presented settings such as prisons, where the troubled main character of Miss 744890 is locked up. They talked about interracial dynamics and global warming, which are also part of the future of Europe, in When January Feels Like Summer. And they offered present reflections on sexual harassment and assault experienced as children in The Great God Plan.

As opposed to many Italian works, American dramaturgy is strongly linked to the process of contemporary and immediate storytelling, which builds plots with a decisively strong hold. These characteristics – says Orani, who followed the Project in every aspect and step – are able to interact with the market without prejudice and, most of all, without waiting around for government funding to give them life.