Too many people, no time: it becomes even more imperative to visit the Expo with a clear and straight right. We went on the field. And we identified the countries that have been able to better interpret the theme “Feeding the Planet”. Here pavilions, experiences and thoughts not to be missed
Six months after his inauguration, it is evidence: the 2015 Expo is sold out, elicits applause and criticism, emotions but also disappointments, enthusiasm and bewilderment. However intriguing experience, to live without prejudices, but even lightly, because if that Milan is doomed to be a great fair global supply and a huge funfair’s cooking show, is also an excellent opportunity to put into Thread a planet inhabited by half by overweight people and the other half by those who lack the essentials.
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The welcome is symbolic and comes with the hyperbole of the Pavilion Zero: Twelve rooms transformed into a visual story on the millennial relationship between man and food, a huge library which is a repository of memories and a trunk that breaks through the ceiling, go outdoors and call the transcendence. Nothing to say: wow! But it is only a first impression: be verified. Because it is true that the intelligence, as the originality, infects everyone, it is noted, raises questions, demands answers. But it is also true that the filter becomes to find spaces and pavilions that more than others honor the great slogan Feeding the planet. He explains our journey in Expo open eyes.
The game of the bank at the beginning of the Decumanus gives amazing results: the best of Expo in a few meters. Even in the small space of Caritas, a cube broken inside shows off one of the iconic images of the Universal: the work desire for peace artist Wolf Vostell, a Cadillac old and rusty, besieged by a wall of baguette, a remember the contrast between the mindless consumption and the instrument – the bread – to restore balance. The excitement is renewed in the near Village Save The Childen, the international organization committed to the protection of children in the world. Visitors are asked to leave behind their identity, to take child who lives in a poor country and follow an interactive path to help him survive. Strong and tough, even if presented in a polite. The same feeling you try to Cascina Triulza, authentic rural construction, the only existing building among many pavilions set up for the exhibition. The atmosphere is that of farms with a widespread sense of hospitality: space for children and for mothers, workshops, stands, initiatives promoted by the Foundation of the same name that aggregates eighty NGOs (nongovernmental organizations), society bodies groups and the third sector, where every day you propose meetings, discussions and activities to promote more sustainable patterns of life, the fight against waste and coworking. They taste good things, with a moral implied: we are what we eat and the food is certainly dear to the stomach. But you have to have eyes to admire, to talk about the mind, the heart to appreciate it.
The white outline of the Pavilion of the Republic of Korea in the Universal bursts like a walk introspective between tradition and innovation. At the entrance, the phrase “What food do you prefer?” Investigates the habits of visitors, before turning the spotlight on the eating habits of modern man and the global crisis of food. The shapeless mass of inflated balloons on which are projected silhouettes of men with the theme of excessive consumption of food, the mountain of boxes abandoned refer to the worrying increase in pre-packaged food. The solution is lapidary: relying all’Hansik, Korean food based on balance, fermentation, storage. And the final bow of the owners is a must: in Asia the shape has a soul. Which is also true for the space of the United Kingdom, allusive, allegorical, beautiful, especially after dark, when thousands of tiny lights illuminate the great golden ball of steel, a beehive, which towers over the Pavilion, with sound effects reproducing the hum of bees and the organization of the cells, alerting on the latent drama of a world that is likely to lose these extraordinary insects and the proverbial industrious community organization.
For the central dogma Expo is he, the Tree of Life, like a cosmic lighthouse and photogenic, especially at dusk, when the play of light make it a sort of big totem protective for the entire World Exposition. The symbolic meaning is clear. But it is a giant who does not speak, amazing attraction that is hard to launch a strong message and maybe he should and could do. So be it. It marks the beginning and the end of the Cardo that overlooks the Italian Pavilion, urban forest that looks like an open square where you can find the solid roots, pride, wisdom, know-how of the beautiful country, although the impression once again, is that of a lack of incisiveness themes more global, universal and ethical. A few steps away, the compensation does not lack. Partly in the Pavilion of Israel, with its vertical garden that saves land and water and the invention of drip irrigation to tame the desert. Even better than in France, which is appreciated for the gardens at the entrance (underlined by the three artichokes, white, red and blue, sculpture by Patrick Laroche), but also for interactive stations invite you to rethink the food chain and to heal the iniquities of the planet. The minimalist near Pavilion of the Holy See makes a prodigy who has nothing miraculous, but it is brave, yes: talk about food without ever showing them and instead evoke them because around the food you consume great tragedies of humanity. Hard impact, even without dwelling on the pain. On the left wall, dozens of photographs tell of conflicts, imbalances, errors that feed the gap between those who have much and those who have not even the slightest. And on a long table interactive we find yourself animate scenes and stimulate decisive action inspired by the work, to love, to care, to play and to creation. Moving. Exit, realism takes revenge on a certain rhetoric Expo becomes more commercial and moment of awareness: if God is dead, the man is not doing very well.
The question stands at the entrance of buildings that vaguely resemble the farm silos: “There’s something for everyone?”. And the mystery is revealed as soon as a young volunteer of the Swiss Pavilion caters to visitors: “Inside you will find four towers, each filled with products which you can use: glasses for fresh water, salt cubes, slices of dried apples and sachets of coffee. But beware, were filled only at the beginning of the Expo and will remain: Remember that after you, will be other guests. ” The tone does not have accents moralistic, but leaves its mark: a As the drawer containers are emptied, the platforms on which they stand are lowered by changing the structure of the pavilion. And the effects of greed quickly become palpable. Some people grabs more packaging because it is all free. Result: in late July have already been emptied two of the four towers, one of the washers of apples and fresh water supplies. The organizers confirmed: “At the rate recorded in the first six weeks, we almost did not have anything for visitors in September and October. We reported and people began to consume more responsibly, without exceeding “. Masterpiece of a pavilion that it features large screens and high technologies, but manages to establish itself as an icon of responsible consumption: the planet’s resources are not infinite, in the real world can heal the breakdown correct inequalities. In the corridor leading to the third tower, a written poses a question that remains dormant and becomes the Expo gift to a nation as wealthy as sustainable: “Are you afraid to run out?”.
The neighboring Austria with its Alpine forest part of the debate of Expo an original concept: without food and without water do not survive, but not live without air. While a step in the white sails, Germany surprising in its ability to present content deep but intuitive for everyone, young and old. Direct slogan: “Be active”, be active in a large container that calls itself “Fields of Ideas” (Fields of ideas) and has the ambition to offer the German answer to the question Feeding the planet. Energy for life. The thesis is rigorous: projects and solutions to solve the problems of the earth exist. In fact, during the visit are offered through the use of a “Seeboard”, cardboard seemingly trivial, approached the various stations, it becomes the screen that intercepts images, videos, news and ethical messages. The finish is a surprise: the German landscape seen from above, through the eyes of two great ape. Suggestive. It is hard to believe that such beauty is set to be dismantled. All expected in early November will disappear altogether. Without melancholy: pure sustainability.
The portion remotest Decuman deserves the respect due. Even though the reality is disconcerting that a space like that of Slow Food finds himself placed in a position so tight angle, it looks too punitive. Among the many pavilions in cinemascope, the low profile size of this building signed by Studio Herzog & De Meuron and inspired by the Lombard farmhouse is a parable secular sobriety, heroic on agriculture, the importance of not wasting food because it is hard to produce it. You access a flat construction and deliberately without vanity that makes up a triangle of modular buildings dominated in the middle by an agro-ecological garden in which materialize a theater, an exhibition on biodiversity, a space for tasting quality. The route is sensory, but also educational: the nose approaches a slot recognize smell the product of the earth, the hand ends in a jar to give a name to the various cereals and the discussion points are pure Slow Food : individual choices reverberate throughout the world. The goal is clear: provoke reflections, questioning little virtuous behavior, asking people not to close their eyes, to have a more conscious. Doubt becomes a value, the antechamber of the change. It is perhaps the very essence of our trip to Expo. View by Slow Food, the long and straight plot of Decumano, that the opposite extreme turns ideally left to rejoin the Pavilion Zero, seems to compose a well-known sign typographical punctuation. It is the great legacy of the Universal: a gigantic and metaphorical “question mark”.