They say about him:

Erveda Sansi:

<<I think that scaldalizing is a right, to be scandalized is a pleasure, and who refuses the pleasure

of getting scandalized is a moralist>>, this thought, by Pier Paolo Pasolini, well fits

Vincenzo Jannuzzi's work (in art Janù, or Jan-Jann), whose strident voice, in the italian

cultural industry, addresses his attention not toward themes and motives that encourage

evasion and disingagement, but rather distinguishes itself as an instrument of reflexion

and enquire up on reality.

Almost forgotten in a country that practizes an accurate policy of aimed silences and exclusions,

the author-ballad singer follows, in "Ma l'aria di città" ("But the air of the city"), Ancillotto's adventures,

already appeared in the omonimous cartoon-roman published by Ottaviano Editor in 1978.

The protagonist , modern anti-hero, migrates from a village of the deep south toward Milan, where

his dreams of a more livable future intertwines with those of the subversive generatione of the '70es,

twarting against a reality in witch the individual realization is subjuged to the interests of few.

The sequence of the boards, whose narrating rithm is pressing, doesn't leave space to bore, and shows the paradoxes of everyday life. Under the stylistic profile the sign is masterly; it makes an art

out of the care for details, and gets to combine in happy syntesis the existence rawness,

without embellishments and commonplaces, together with refined humour that doesn't deprive

the reader of his fun. The ironic and auto-ironic cut breaks the veils of self-comgratulation, of mythization, of the adjustments, in order to retrace the contraddictions of personal lived experiences and the reverberations of a narration rich of autobiografy-echoes.

The sign, realized with a simple ball pen, technically refined and complex, not only has the function

of remembering and re-elaborate, but represents the powerful instrument with witch the author fights

against homologation, functional to the power's brutality.