The work of Luca Trevisani (Verona, 1979, he lives in Berlin) is an unfinished project on archeology of the present. His works, however, are not removed by decantation and contemporary waste, or assembly designed to redefine disprove mysticism and ideological constructs of civilization in which things wear out. Heterogeneous aggregates of matter are liberated from the weight of the object that makes a tool, a reservoir of meanings and cultural superstructure, a semiotic corpse kept alive by human functional perspectives. So, if something is found, it is not a result of neglect or exhaustion. Why does not the find itself that uses the artist, but the solid body as seen in its component prelogical, fluid in his identity beyond any estimate Cartesian substance. Implode a category of obsolete. Vanishes in the rhetoric of realism argument. If you can still create an effective image is at the cost of its dis-deontologize. If an object is possible to make sculpture, and shall assume incollocabilità in rational system of language. Florio in the former establishment of Favignana - old disused tuna, now a museum - the time the present tense has the tone of chance: the wreck of an industrial project of the early twentieth century, powerful and ancient, says the atmosphere of contemporary world in which uncertainty over? un'ormai dormant security, based on reason and the pursuit of the objective.
The Foundation Sambuca here marks a new stage in a series of artist residencies, who first saw the star, and then workshop Saccardi involved Trevisani, winner of the Premio Furla (2007) and the Premio New York (2009). Edited by Paul Falcone,> 100 ° C relates to the theme of water and fluidity, in close connection with the genius loci, not only in terms of collecting materials. The title itself refers to the temperature of boiling water, then the beginning of his disappearance. The forms may allude to an anchor, a boomerang, a sail: efficient tools in search of dynamic equilibrium with the wind, waves, sand. Tubular elements uprooted, wood chips, and their abstract shapes drawn in the negative plaster casts of empty ephemeral charged in informing the sand as if they were ancient bronze castings. Helga Marsala writes in the critical text that accompanies the exhibition: "The sculpture, then, as the living body. The way to breathe is his way of stumbling, inevitably, imperfect in its mutability, in its move towards a zero that is to meet information at the temporary, instantaneous. "In this archetype is consumed nullification risen to the oxymoron of an image that depicts the ethical imperative of the statement. It is a story not linear and not progressive, time experience of the disaster, to quote the words of Maurice Blanchot: "Concern for the least, the accidental sovereignty. The negative does not come after the claim (claim denied), but is related to what is the oldest "
In the work of Luca Trevisani you can see the sense of a single, delirious perspective. That's a present without fulfilling as possible.
Fonte: exibart.com
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COMMENT "UP TO 31.X.2010 LUCA TREVISANI FAVIGNANA (TP), EX FLORIO"
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