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One of the paradoxes of the lockdown has been that Florence, a city of interiors, has had to play out some of its secret games in public. UNICEF has traditionally held a grand, exclusive ball. Last July, the ball was in the piazza, a perfectly socially distanced al fresco affair, with white-clothed tables spaciously placed and cordoned off with plush rope, where bodyguards checked names.
As a consequence of this ball, the wolves were kettled. Just a few days earlier, Chinese artist Liu Rouwang’s installation
The Wolves Are Coming, 100 bronze castings of wolves, appeared in Piazza Santissima Annunziata and Piazza Pitti. In various attitudes of rapacious intent, the wolves encircled a statue of a cartoonish hero wielding a paddle-shaped sword, no match for the beasts. Exploding the stereotype of wolves as bad guys in fairy tales, here the hero was a caricature and the wolves looked like natural, powerful, free beings. People interacted with them playfully, sitting on them, posing