2012 Memory, contemporary international sculpture, PAN, Naples
2011 Memory, contemporary international sculpture, Rosenfeld Porcini Gallery, London
2011 Arte Fiera, Fiera Internazionale d'Arte Contemporanea, Bologna
2010 Linie, Mario Mazzoli Galerie, Berlin
Installation Paolo Cavinato
Sound Stefano Trevisi
80 boxes in paper, wood, glass, textile fabric, mixed media, many speakers and cd players
each box from 10x15x5 cm to 50x25x20 cm
Dimension variable
The installation is located in a rectangular room, on the two walls in length, creating a complex sound and visual dialogue: on the one hand, a hundred objects-containers of various sizes, made with various materials (paper, earth, wood, prints, powders, crusts and fragments of other things), form a three-dimensional and composite pattern from which particular sound elements derive, extrapolated from a process of fragmentation and multiplication of the materials recorded in Berlin.Each element is an Icon, that is, pure abstraction and plastic sensitivity of things and spaces, as Malevich indicated in his tense search between image and architecture, visual abstraction and urban planning hypothesis.
On the opposite wall, a single element stands out, an isolated sound mirror “painting” where, where the viewer can find and recognize himself:on the mirror surface, a hole leads in turn into an infinite internal corridor which takes up the same room made of boxes, in a game of reflections and repetitions.
The reciprocal sensory relationships established between the two walls and between them and the viewer (who becomes, Cavinato suggests, in turn a container of the highest degree, an ongoing container of the containers potentially exposed), are further multiplied by the complex musical work.
Here, Trevisi transforms some of the boxes dispersed among the hundred others into sound paintings: “inside the walls, I tried to create a ‘frontal spatialization’ singling out four lines that dissect the acoustic space from left to right the center of the installation is left in silence each painting is characterized by an actual value within a gradient of abstraction”. On the opposite wall, Trevisi places two additional mini-speakers which diffuse sound material that is much more recognizable and detailed, perceptible only at a very close proximity – namely, at the moment in which one looks through the hole of the mirror – thus suggesting, at the sonic level, the single/manifold archetype already presented by the installation of Cavinato.
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