Il rinoceronte Clara: riflessioni transculturali, identità e migrazioni nell’arte degli ultimi decenni

Abstract

This paper explores transcultural, identity and migration dynamics through the story of the rhinoceros Clara and its declination in contemporary art. Clara, born in India around 1738 and brought to Europe in 1741, became an icon of the 18th century, symbolizing the exploratory fervor and global exchanges that characterized the era. Her numerous artistic and literary representations made her a cultural phenomenon, stimulating profound reflection on cultural and biological diversity. In recent years, the figure of Clara has been revisited in the context of decolonial historical readings and animal studies, re-emerging as a symbol to interrogate contemporary migration trajectories and identity construction mechanisms. Three recent case studies illustrate this renewed attention: the artwork Untitled 2020 (We are not your pet) by Rirkit Tiravanija (2023), the exhibitions “Clara and Other Specimens” by Rossella Biscotti (2019) and “Velme” by Marzia Migliora (2017). Biscotti, in her work Clara (2016), uses reddish bricks printed with the silhouette of a rhinoceros, calibrated to the weight of the adult animal, recalling the materials used by the fleets of the East India Company. This work not only makes Clara's presence tangible, but also reflects on cross-cultural connections and the perception of the other. Migliora and Tiravanija, on the other hand, draws inspiration from Pietro Longhi's painting The Rhinoceros (1751), critiquing the spectacularization and modern poaching. These contemporary works put Clara's story back into play to explore themes related to migration, colonization, and identity, demonstrating how the parable of the rhinoceros continues to influence the construction of cross-cultural identity in Europe. My aim is to explore these connections, showing how contemporary art can offer new perspectives on inter-human and inter-species conflicts, mobility, and diasporas.