Alfredo Accatino on the Paralympic Ceremony at Verona Arena: Art, Movement, and Inclusivity

The Paralympic Opening Ceremony, orchestrated by Filmmaster on March 6 at the historic Arena of Verona, placed a strong emphasis on contemporary art, showcasing works by notable artists such as Jago, Emilio Isgrò, and Marina Apollonio.

The musical landscape of the event was equally impressive, featuring Stewart Copeland, the iconic drummer from The Police, whose compositions have inspired generations, alongside Meduza, the acclaimed Italian house music trio known for their global reach and influence.

This ceremony marked a historic milestone, being the first Paralympic event ever held within a UNESCO World Heritage site. Titled Life in Motion, it paid tribute to life's inherent dynamism and transformation, drawing inspiration from art's capacity to interpret our ever-changing contemporary world. This approach sought to introduce a fresh perspective on disability, fostering a novel harmony between individuals and their surroundings. Following the ceremony, we had the opportunity to speak with Alfredo Accatino, one of Italy's most renowned and awarded creative minds, who serves as the artistic director for ceremonies and president of Filmmaster.

Marina Apollonio

"Life in Motion" was the chosen theme for the Opening Ceremony in Verona. How was the concept of "movement" transformed into a narrative that conveys a universal message?

Accatino explained, "Both Beauty in Action, the title for the Olympic Closing Ceremony, and Life in Motion are distinct expressions of a single underlying idea: movement as a form of identity. Every ceremony 'narrates' through a specific journey—a narrative thread that speaks to Italian heritage while also embodying shared values, uniting both ceremonies. It's all about dynamism, motion, and evolution. The concepts developed with creative director Adriano Martella illustrate that, as Italians, our strength lies in our traditions and roots, but also in our capacity for evolution. The Paralympic 'movement' specifically transforms perceptions in every place it touches, leaving a lasting impact."

The ceremony was structured around three pillars: Art, Dance, and Music. How were such diverse artists—from Emilio Isgrò to Marina Apollonio, from Meduza to Stewart Copeland—selected and integrated to construct a cohesive visual and auditory experience?

Accatino detailed their approach: "We deliberately embraced differences. We brought together artists like Jago and Isgrò, despite a nearly fifty-year age gap, or Copeland, the 73-year-old founder of The Police, collaborating with the young world drumming champion Helly Montin. Each artist offered a unique creative vision. I also recall that for the Olympic closing, we involved artists like Quayola and photographer Marco Delogu. I value this kind of artistic cross-pollination. For instance, at the Turin 2006 Olympics, we had Roberto Bolle dance alongside Boccioni's 'Unique Forms of Continuity in Space', effectively 'democratizing' Futurism with electronic music by Richie Hawtin."

Emilio Isgrò, photo by Luisa Porta

The press release for the event stated that sport possesses the power to unlock "unprecedented possibilities." How does one effectively translate athletic performance into a powerful expression of freedom and resilience for a global audience?

Accatino's response was succinct: "I'll tell you just one thing: go and witness a Paralympic competition. You already know that an image speaks louder than a thousand words."

In your books, you often dedicate space to individuals who operate outside conventional frameworks. If you were to select an "outsider" artist from the past to encapsulate the energy of "Life in Motion," who would it be and why?

Accatino chose: "Yamashita, whom I discussed in my book 'Sparks,' often called the 'Van Gogh of Japan.' He was proud of his 68 IQ and always wore a sleeveless shirt, earning him the nickname 'the naked general.' He traveled his entire life, sleeping wherever possible, eating with those who offered hospitality, and drawing everything he saw. Possessing what's known as eidetic memory, he could recreate entire scenes from memory, despite his condition being akin to autism. The Paralympic world exemplifies what true excellence means, transcending conventional norms. My 'Outsiders' series, which I've developed with Giunti for ten years (with a new volume due in May), explores these perfect yet dissonant voices, much like what often happens in sports."

Alfredo Accatino, Outsiders, cover

As a communication expert deeply involved in the visual arts, how do you interpret the absence of Italian artists from the upcoming Art Biennale?

Accatino responded, "I am generally in favor of 'shaking the tree' from time to time—of altering perspectives, especially because the world itself has changed. With my 'Outsiders' project, I've actively sought out art in countries too long overlooked, from Armenia to Ghana, to present an alternative vision of the world. However, if this became a habitual trend, I would be among the first to walk through the Venetian alleys advocating for Italy."