Renato Mambor praha 2012

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1 Renato Mambor praha 2012

2 Nei pressi dell origine Renato Mambor Italian Culture Institute in Prague Šporkova Praha 1, Czech Republic 18 th September - 6 th October 2012 Edited by Gianluca Ranzi italian ambassador in czech republic S. E. Pasquale D Avino Critical Texts Paolo Sabbatini Gianluca Ranzi Renato Mambor Organization Italian Culture Institute in Prague Art Time Milano srl Graphics Coordination Marzia Spatafora Graphics Design Lisa Camporesi Critical Texts Translation Natalia Paparelli Štěpánka Relichová Photo Research Bernardo Ricci Quality Control Maria Paola Poponi Heartfelt thanks for granting the works of art MILANO Director of Italian Culture Institute Gr. Uff. Dott. Paolo Sabbatini Event management Xenie Slobodová Secretariat Jana Šimáčková Information and PR Lea Šupová PRESS OFFICE Alessio Di Giulio We would like to thank Patrizia Speciale Elisa Berrettoni Paolo Fenu Giorgio Mauro Silvia Scaringella Blu Mambor Gabriele Boni Matteo Cordini Paolo Carravieri Gabriele Stroppa Antonio Ciccolini Miria Vicini Marisa Morello Claudio Sarno Nei pressi dell origine Renato Mambor Heartfelt thanks for the joint work Fondazione Valerio Riva 2 3

3 Úvod Projekt, který Renato Mambor vytvořil pro významné sídlo Italského kulturního institutu v Praze, je propojením malířství, sochařství a instalace, vymyšlený a vytvořený jako originální a zcela ojedinělý dialog se starou architekturou tohoto paláce, jeho freskami a bohatou dekorací. A je to právě dialog mezi soudobím uměním a vznešenou architekturou italského Rinascimenta, který jsem si zvolil jako náplň mé mise v Praze, hned po mém příjezdu v říjnu Mamborova díla se s úžasnou lehkostí a úctou připojují k této bohaté tradici, právě díky své metafyzické modernosti. Jde o fyzický akt směřující k vrcholu duchovního procesu v němž je ten druhý evangelickým a kantovským způsobem považovaný za partnera a ne za cizince. Díky Mamborovým instalacím nádvoří Institutu ožije přítomností vzdušných děl, nehmotných sugescí, které více než kdy jindy se propojí s místy, kde již po čtyři století stále žije italský duch. V tomto stupňujícím se vývoji není sochařství doplňujícím uměním, ale homogenním celkem. Nejedná se již o průmyslový řez hlavních postav, ale o jejich propojení s malířstvím a architekturou, a pro zvýraznění jejich záměrů. V tomto případě struktury stoupají k nebesům a vyplňují tisíce propastí jejich hlubin sochami, které spoluvytvářejí tělo pomníku; malované sochy- povšimněte sijejíchž čisté a prosté barvy uspořádané ve zvláštní škále harmonicky splývají s okolím a doplňují poetický dojem velkého díla. Kruté a cílevědomé jako příroda, toto různorodé umění je současně nejasné i neuchopitelné, jelikož představuje několik podob najednou. Mambor se nesnaží zvolit jediný pohled na věc: divák kroužící kolem postavy si může vybrat sto odlišných pohledů a často se stává, že odlesk světla, rozsvícená lampa odkryjou nové krásy a ne pouze tu jednu, kterou on zamýšlel. Duchovní ideál u Mambora není cosi vágního, ten nudný a nepostižitelný sen vznášející se v klenbách akademií. Pro Mambora je ideálem jedinec zdokonalený jedincem, stvořený a zachycený štětcem či dlátem v prozářené pravdivosti své přirozené harmonie. PAOLO SABBATINI ředitel Italský kulturní institut v Praze 5

4 Introduction Introduzione The project Renato Mambor has conceived for the prestigious location of the Italian Cultural Institute of Prague blends painting, sculpture and installations, thought up and set up in order to favour a new and original dialogue with the architecture of the old building, its frescoes and rich decoration. The dialogue between contemporary art and sublime architecture dating back to Italian Renaissance is the epitome of the mission I had envisaged to accomplish in Prague since my latest arrival in October Mambor s works, in their metaphysical modernity, gently and respectfully approach such immense tradition. This physical gesture underlines the acme of a spiritual process, both evangelical and Kant-like, by considering the other as interlocutor and not as a stranger. Thanks to Mambor s installations the cloister of the Italian Cultural Institute comes alive with aerial presences, immaterial suggestions suitable for a place still hosting the memories of four centuries of Italian heritage. After this great development, sculpture is no longer complementary art but homogeneous entity. The artist does not industriously cut portable silhouettes but does associate them to painting and architecture for they may serve their purposes. In this case the structures climb up to the sky and fill up thousands abyssal depths with sculptures forming a unique whole with motion; sculptures painted bear that in mind with sheer and simple colours, yet set up in a particular range, harmonious with the rest, completing the poetical effect of the great opera. Brutal and intentional like nature, this composite art is at the same time vague and elusive since it shows many facets at a time. Mambor does not force himself to a single point of view: the spectator going around the silhouette can choose between hundreds different points of view: it frequently happens that a trick of light or a lamp effect can show a beautiful aspect that the artist had not imagined. In Mambor the spiritual ideal is not a vague feeling, that impalpable and boring dream sailing upon the academy vaults. In Mambor the ideal is the individual made perfect by the individual himself, rebuilt and rendered by the paintbrush or the chisel in the luminous truth of its native harmony. PAOLO SABBATINI Director Italian Cultural Institute of Prague Il progetto messo a punto da Renato Mambor per la prestigiosa sede dell Istituto Italiano di Cultura di Praga fonde insieme pittura, scultura e installazione, pensate e disposte per favorire un dialogo inedito quanto originale con l architettura dell antico palazzo, con gli affreschi e la sua ricca decorazione. Il dialogo tra arte contemporanea e sublimi architetture del Rinascimento italiano è l epitome della missione che mi sono prefisso di compiere a Praga sin dal mio arrivo nell ottobre Le opere di Mambor, per la loro modernità metafisica, si accostano con levità e rispetto a questa immensa tradizione. È un atto fisico che sottintende il culmine di un processo spirituale che considera evangelicamente e kantianamente l altro come interlocutore e non come estraneo. Con le installazioni di Mambor il chiostro dell Istituto di Cultura si anima di presenze aeree, di suggestioni immateriali quantomai appropriate ad un luogo in cui ancora vivono le memorie di quattro secoli di italianità. La scultura in questo maggior sviluppo non è arte complementare, ma insieme omogeneo. Non si tratta più di tagliare industriosamente figure portatili ma di associarle alla pittura e all architettura perché servano alle intenzioni di esse. In questo caso le strutture salgono ai cieli e colmano le mille profondità dei loro abissi con sculture che non formano che un corpo con il monumento; sculture dipinte si noti bene e delle quali i colori puri e semplici, ma disposti in una particolare gamma, si armonizzano con il resto e completano l effetto poetico della grande opera. Brutale e propositiva come la natura, questa arte composita è contemporaneamente vaga e inafferrabile perché mostra molte facce in una volta. Mambor non si forza ad adottare un punto di vista unico: lo spettatore che gira intorno alla figura può scegliere cento punti di vista differenti e avviene spesso che uno scherzo di luce, un effetto di lampada, scoprano una bellezza che non è solo quella alla quale egli aveva pensato. In Mambor l ideale spirituale non è quella cosa vaga, quel sogno noioso e impalpabile che naviga sulle volte delle accademie. In Mambor l ideale è l individuo perfezionato dall individuo, ricostruito e reso dal pennello o dallo scalpello nella luminosa verità della sua nativa armonia. PAOLO SABBATINI Direttore Istituto Italiano di Cultura di Praga 6 7

5 contents 5 Úvod / Introduction / Introduzione Paolo Sabbatini Director Italian Cultural Institute of Prague 11 The Middle Courses of Renato Mambor Gianluca Ranzi 17 inside the church 49 inside the chapter house 58 MUTABLE - IMMUTABLE / MUTABiLE - IMMUTABiLE renato Mambor 67 in the garden 58 rain collectors / raccoglitori di pioggia Renato Mambor 77 Střední cesty Renata Mambora Gianluca Ranzi 83 anthological works 119 Le vie di mezzo di Renato Mambor Gianluca Ranzi 125 private collections 141 historical works 173 biography 179 exhibitions and theatre 8 9

6 The Middle Courses of Renato Mambor Gianluca Ranzi Renato Mambor is one of the most significant voices of the Italian figurative experience and cultural debate of the second half of the XX century; grown up as an artist in Rome in the late Fifties, when for the first time he experiments a new artistic vision by reducing, through bi-dimensional painting and then most recent painted wooden silhouettes, the artwork to a mental principle and he raises the human being and perceptions, linked to the universe as its detection field, renewing Leonardo da Vinci s concept, in whose opinion «painting is the highest mental discourse». The project planned by Renato Mambor for the Italian Cultural Institute of Prague blends painting, sculpture and installation, conceived and set up as to favour open and luminous dialogue with the ancient architecture of the building itself, with its frescoes and decorative sections, by an overall pattern operating upon the architectural volume which lets the eye cast a glance onto the installations and intertwine in new relations. It is springy, ready to take wing, able to pass by the material consistency of the artwork through rose openings in the two new silhouettes of Riguardanti (Glancers-Regarders), which spreads out in space following the eccentric and centrifugal Mandala-lines in the new series of six paintings, crossing and relating to the live and moving visitors eye. Renato Mambor s statement «Know thyself in relation to the multitude surrounding you» perfectly expresses not only the true spirit of this exhibition and its very special location, but also the spirit of his whole work, that has been leading the artist s quest for more than fifty years, tickling such diverse disciplines. The spirit of the Globetrotter, as in the title of some works dating back to the Nineties, relives here in the adventures of the glance set in motion by the mandala-rose windows, which bear the same meaning, although belonging to different human and cultural geography. They represent the escape routes and the trajectories accompanying the glance of the Spectator-Regarder throughout the world, «moving towards the consciousness of a new lay plea». The glance is free at last, no longer imprisoned in the cage of the optic pyramid of proportional system; it is eccentric and coexistent, tending to the origin without heading for a single point, because the origin here is in every point, scattered and multi-present. Mambor s works, as we can appreciate in this last project, have never been a mere synthesis of different languages, but have strived to mirror the totality, difficult and problematic, of language and other-from-language, of construction and the life knitting it. Overcoming the boundaries of architecture by sewing space playing with reference and mirroring upon the complexity of the world, from Glancers-Regarders towards Ombre Immutabili (Immutable Shadows), up to Raccoglitori di Pioggia (Rain Collectors), thus shows the will to reflect over what transgresses logos and over incoming and outgoing experiences, recognizing that sense of sacredness starting over from the peculiar location of the Prague exhibition. The result is once more the working up of a path, a new experience and spiritual adventure connecting faraway worlds, discharging fake certainties, and opening up ways into the apparently smooth and continuous surface of reality. Mambor breaks the frame, he has been doing it for fifty years, a limit which, as Simmel reminds us, separates art from life, guaranteeing abstract and separate integrity of the artwork. In these moments of breaking and illumination suggested by Mambor the sacred takes place, its accent on the coexistence of differences and on cultural interaction, on inevitable «stranger s estrangement» thought up by Derrida. Sacred art, public art, giving this term the amplest meaning, including sharing and participation, following a vision dating back to theatrical experiences of the Trousse group: this means recreating under different aspects that creative laboratory of empathy and hospitality, awakening ethical tension helping us to live life as a form of antagonism against exclusion and separation. Curiously enough, the exhibition path triggers eccentric and multi-directional circularity, by relating works, space and visitors: there sounds once more the dynamics of the Osservatore (Observer), conceived by Mambor from the Nineties on, 10 11

7 focusing on details to feel inside the universe, quenching thoughts to amplify listening of other-from-self, taking us back to the source, to the origin of things. Mambor thus overthrows a fundamental conviction of Western aesthetics, which finds in individual observation skills the possibility to give the artwork a wide range of interpretations. In Mambor s view, the exchange observer-artwork is circular and bidirectional: it is also the artwork that observes the spectator, fostering a new interpretation on him and a subsequent change. Being observed by the art work means for Mambor taking away subjectivity, and whatever hides the connection to the whole, a form of knowledge plunging its roots into a sense of the world; it means trying to teach us the supreme virtue of being in the middle, without the consolations of pride, and beyond the tormented complacency of despair. Mambor was not the first to show us this middle course, a karst river flowing in the long run, throughout epochs, cultures and geography, splendidly expressed in Pascal s Pensées: «Knowledge of God without knowledge of man s wretchedness leads to pride. Knowledge of man s wretchedness without knowledge of God leads to despair. Knowledge of Jesus Christ is the middle course, because by it we discover both God and our wretched state». Isn t it the same middle course we can trace in the sideward glance of Caravaggio s Christ at the Column housed in Rouen, stubbornly staring outside the painting, symbolically breaking its frame, appearing almost indifferent to the action taking place inside it? Just like Mambor s figures are set without facial expressions, even Caravaggio brings Christ back to the origin of facial mimic, from an expressive ground-zero recalling the outboundary glistening amidst sorrows and evil, but from this it slides away. However Mambor as well sets a little demon, picked up from the array of gargoyles at Notre-Dame, to meditate, thinking over the painted background of his six new and beautiful deconstructed Mandala. Mambor and Caravaggio do not look up above, towards that sky which could soothe and redeem the pains of the flesh, do not look downward to triviality if the world, but do look straightbound and as in the title of one of the installations on show Tutti sullo stesso piano (All on the Same Footing), towards a gate into space and time where the world is no longer thrashing and isolation but, as Walt Whitman would appreciate, «pictures of growing spring with the fresh sweet herbage under foot», or as William Blake: «To see a world in a grain of sand/and a heaven in a wild flower/ Hold infinity in the palm of your hand/and eternity in an hour». For this reason rebooting means, in Mambor s view, recovering the ground zero of silence of meditation void as we know about the cycle of Uomini Statistici (Statistic Men) or Ricalchi (Tracings) in the early Sixties which does not mean absence of noise or space, but one listening to another, the world surrounding us, in a specific way working on accurate spatial relation: the spatial zero-point, our gravitation point, that very individual and universal point, at the same time defining an ethical position and, as we began with, does not lead to a single stance but to a multiple choice, the place where every matched couple never misses its opposite. As soon as we acknowledge that place, never fixed but always swinging in becoming, it is possible to better perceive our existence in space increasing it, grabbing and highlighting it, as we know from Evidenziatore (Marker) in Thus, the speech about the origin lets us have a position and get close to the original and ultimate sense of things: therefore sculpting, painting, and acting mean being inside the liberty of a cosmic context, inside the autonomy starting from an absolute space, living telluric forces as supreme energy, the one of inner silence talking to the other. This way Mambor sets free from the tyranny of the self and then from the aesthetic restrictions of the subject, walking on a middle course, jumping over the edges of eternalism and nihilism, learning from the sideward glance of Caravaggio s Christ, who stares out of the frame of the painting. This allows Mambor to think and create free artworks, light as wind blows, becoming events as encounters between art and observer, then assuming an ethical meaning constantly working on new sense openings and opens itself up day by day to point to new directions. Mambor has created a vast repertory of figures all referring to a conceptual universe that does not interpret differences as opposition, domination, and subordination, but locates differences in a horizon implying neither superiority nor inferiority, where you conceive a varied and not-hierarchical universe. Respecting and acknowledging autonomy, difference, equality is necessary for their own evolution: a polarity is transformed and enriched, thanks to connection and communication with the other polarity. This is what goes on in the installation entitled Ombra immutabile (Immutable Shadow) presenting a series of sculpted objects made up of a white silhouette close to a black inclined silhouette, almost representing its shadow, its double, unbearable yet present, suggesting the coexistence of extremes: immutably body and shadow is and are at the same time and in the same place, boundary dividing interior and exterior, dream and reality sewn together. Even here Mambor gets close to the origin, if we accept researches carried out by anthropologists such as Marija Gimbutas, who states that from the Atlantic Ocean to Dnepr River and to Anatolia, and from 7000 to 3500 b.c., Neolithic Europe was inhabited by a great civilization, marked by a homogeneous and compact system of beliefs named world of Mother Goddess or Great Goddess, resting not only upon fullness and plenty, but also expressing the ambivalence of nature, both merciful, fertile, and aggressive, destructive and deathly. At the very dawn of mankind, before the opposition between matriarchal and patriarchal culture theorised by Jacob Bachofen and before the arrival of Indo-European peoples with their hierarchical and androcratic social model, there existed an original worship stating that birth, transformation, dissolution and renewal are woven together in a single and multishaped becoming. This conception has long dwelled in Mambor s work, as witnessed by some photographic series like 1969 L ultima riflessione (The Last Reflection), where the last ray in the shattered mirror is eventually a new one from a series of reflections, as we see in Riflessione portata (Carried Reflection) twenty years later, where the other s reflected thought, once more Derrida s «stranger s estrangement» we have already mentioned, here becomes not only visible and thus thinkable, but also relatable to the world. This is also the source of inspiration for the Rain Collectors, which take part in the show of flowing life and of energy constantly renewing, assuming new shapes from the sky down to the earth. Rumi, the XIII century Sufi mystic, defined the authentic form of human life as a «step without feet», a slow passage from material to spiritual development as piled (carried) knowledge and experience turn into wisdom. According to Rumi, at a certain point the body shell, as if it were a seed watered breaking to bloom, is no longer able to retain its essence in itself, opens up letting the numinous spirit free, and melts with a wider, infinite ocean. In the same way the figure of the Collector, not retaining rain at all, lets it drop onto the soil, opens up making itself vehicle of life energy, connector between heaven and earth, silent witness of the circularity of life cycle, hugging and lifting created matter up. Hamlet says, «There are more things in heaven and earth, Horatio, than are dreamt of in your philosophy!», and the same for Mambor s human being, his Carrier/Collector, with his feet on the ground, longing to the sky, act of love before any other speculative or philosophical interest, ideal symbol of mediation between earthly and celestial, human and divine, accidental and transcendental: the middle course finds in the Rain Collectors a new path. The Collectors remind us, by their action, that we are all sons and products of this energetic circular motion enclosing the planet, that from the sun gets to the earth, but which reflects on a larger scale the pattern of energy permeating the universe and acting on the matter. Even the installation of Rain Collectors develops a reflection on the dynamic interaction between the world and us, fostering a personal attitude to listening and comprehension, in order to overcome severance and separation. From this viewpoint a ceaseless flow connects these last works to what had been previously developed, like 1962 intuition to utilize in painting the silhouette of statistical man or quantitative man, where the artist used a synthetic, objective, bi-dimensional trait, lonely at first, later associated to a few silhouettes, and finally dispersed in multitudes of transferred little men, stamped and once again painted on the canvas, as in the latest series of Philosophical Positions. This way, on the one hand, a greater de-personalization of the artist s self was induced through the 12 13

8 stylization of human features, on the other hand, the participation of the observer inside the artwork was enhanced, not by means of representation, i.e. subjective interpretation, but thanks to an objective sign referring to human condition. In those very first attempts was present a creative method pushing to go beyond the character-armour of the individual, be it artist or spectator, to shift attention on a higher level of understanding, which could free the vision from what is superfluous, letting the observer see and consider himself as part of the whole. The Marker, preceded in 1968 by an astonishing and forerunning installation called Fantastic Signs in which the artist marked a dozen entrance doors in Roma street in Genoa, laying against them some brooms, back in poses the issue of dualism of realms, still now forcefully emerging in the Rain Collectors. The Marker underlined that artistic objects ought not to live in a parallel world, detached from reality, but should be inserted in the very heart of life, not as aloft and frozen symbols, but as organic prostheses extending from the human being to his surroundings, testing, embracing, and highlighting them. The experience of Marker should be given credit for emphasizing the idea of boundary, the magical midterritory that Mambor has chosen for his own point of view out on reality. As Mambor always stays in the middle, he sets his own transversal glance on things, transcending individuals to reconnect them to the origin of existence, by occupying that mid-territory dividing yet linking heaven and earth, the threshold between visible and invisible. An active image like the rain, its collecting and transmission, implies resting upon descending, in the connection between high and low renews the awareness of the fusion of everything; energy blasting energy, praxis overthrowing immobility, a song celebrating reality in its every aspect: tiny like a sprouting blade of grass, solemn like the powerful show of the Universe. Renato Mambor and his daughter Blu 14 15

9 16 17 inside the church

10 I riguardanti sculpture object made in enameled wood, h 210 cm 18 19

11 I riguardanti sculpture object made in enameled wood, h 210 cm 20 21

12 GargoyLE e MANDALA , canvas acrylic cm 100x

13 GargoyLE e MANDALA , canvas acrylic cm 100x

14 GargoyLE e MANDALA , canvas acrylic cm 100x

15 GargoyLE e MANDALA , canvas acrylic cm 100x

16 GargoyLE e MANDALA , canvas acrylic cm 100x

17 GargoyLE e MANDALA , canvas acrylic cm 100x

18 IL RIGUARDANTE blu 2012, paper acrylic cm 102x

19 IL RIGUARDANTE viola 2012, paper acrylic cm 102x

20 IL RIGUARDANTE lilla 2012, paper acrylic cm 102x

21 IL RIGUARDANTE verde 2012, paper acrylic cm 102x

22 IL RIGUARDANTE arancio 2012, paper acrylic cm 102x

23 IL RIGUARDANTE verde petrolio 2012, paper acrylic cm 102x

24 tutti sullo stesso PIANO installation, 12 sculpture objects in painted wood, cm 43,5x13x5 exposed in London

25 48 49 inside the chapter house

26 What I am referring TO are Diaries (2007) and Future Diary (2012), which you can find both in the exhibition and the catalogue. Both cycles show sharp references TO older works, namely The Diary of Friends and some other happenings which have tracked Mambor s ARTISTIC pathway. These elements are TRANSLATED and set in new constellations of meanings and reminders leading TO future unwindings. Besides the thoughts about these cycles, I would now like TO highlight the round vision of the time passing, in which the present instant holds the effects of the past and the causes of the future. Gianluca Ranzi Mi riferisco a cicli come il Diario del 2007 e il Diario futuro del 2012, presente in questa mostra e pubblicato su questo catalogo. Entrambi i cicli presentano INFATTI puntuali riferimenti con opere passate, rispettivamente con il Diario degli amici e con alcuni momenti decisivi del percorso ARTISTICO di Mambor. Questi riferimenti vengono però tradotti e risistemati in nuove costellazioni di significati e di rimandi, che aprono su nuove conformazioni e preludono a svolgimenti futuri. Al di là quindi della considerazione di questi cicli per il loro prezioso VALORE antologico RISPETTO all evoluzione interna del lavoro dell artista, in questa sede e a questo punto del discorso mi sembra più significativo SOTTOLINEARNE il senso legato ad una visione circolare del tempo in cui l attimo presente contiene gli effetti del passato e le cause del futuro. Gianluca Ranzi 50 51

27 UOMO TORRE Triptych. Each panel is made of wood and measures cm 180x115 52

28 IMMUTABLE SHADOW OMBRA IMMUTABILE Immutable Shadow is composed by a series of sculptures. A white silhouette is juxtaposed TO an inclined black silhouette, almost constituting its shadow, as TO suggest in a single unit the coexistence of its own extremes: immutably, body and shadow is and are AT the same time and in the same place, boundaries separating interiority and exteriority, dream and reality fused TOgether. Ombra immutabile, composta da una serie di oggetti scultorei in cui una sagoma bianca è ACCOSTATA a una sagoma nera inclinata, quasi a costituirne l ombra, per suggerire in una stessa unità la compresenza dei suoi stessi estremi: IMMUTABILMENTE corpo e ombra è e sono allo stesso momento e nello stesso luogo, confini tra l interno e l esterno, sogno e realtà fusi insieme

29 OMBRA IMMUTABILE 2006, sculpture object made in enameled wood, h 190 cm exposed in Venice Bienal

30 MUTABLE - IMMUTABLE RENATO MAMBOR MUTABILE - IMMUTABILE RENATO MAMBOR ln me, maybe the night. Maybe from my shadow The days are born, fatal and illusory. Borges - A Praise of Shadow È in me forse la fonte. Forse dalla mia ombra Nascono i giorni, fatali e illusori. Borges - Elogio dell ombra White and black, negative and positive, empty and full, light and dark have always the ingredients of painting, and since l invented the silhouette of Statistic Man, they are the modules I adopted in my work. The installation MUTABLE - IMMUTABLE is made up of two correlated works. Their titles help direct sense, they are like a suggestion for the spectator, free from whatever interpretation. In my artmaking, I also propose a discourse on art, on its procedures, to let the eye perceive methods. Nothing is secret, everything must be unveiled. The first work IMMUTABLE SHADOW presents a sequence of sculptures, each of them is constituted by a white silhouette, with a juxtaposed and inclined black silhouette. The work is made up of a series of six-objects pairs: each pair is formed by six white sculptures and six black sculptures, all the same, one close to the other. The white silhouette stands for the negative, the shadow is positive. The other work, MUTABLE KARMA, is formed by six panels that, in pairs, relate to each other. The first pair presents a panel with an image of the emptied silhouette of Statistic Man, and another panel with the full silhouette - the positive of the first image, painted with a spray-enamel. The second pair is made up of a panel with the empty perimeter of a human figure, whereas the other panel displays the positive silhouette of the same figure, spray-painted on a brightly coloured background. The correspondence between positive and negative, between full and empty is made dynamic in the third pair, whose first panel represents the emptied image of a man in motion, and the second panel has the silhouette of a man who walks lightly as if, carrying silence with him, he were leaving the series. In a film photo a negative, developed and printed, will always result in the same positive photo. In order to change the image, you have to change the point of view, and thus realise another negative. The photographic image is the result of a relation between exteriority and the subjective perception of the photographer In addition to that, external reality is indeed influenced by the presence of the observer. We could well say that the relation exists from the origin. In the sculpture IMMUTABLE SHADOW, there is a fixedness, a rigid white silhouette, and subsequently the dark shadowbackground remains the same. A real body, wherever there is light, casts a shadow. If human body is upright, the shadow too is upright, if man bows, the shadow too bows. You cannot change the shadow if human body does not act, if human body does not change. The work formed by couples of panels (MUTABLE KARMA) allows me to present in the same time the negative, and emptiness, close to the positive, to fullness, so that the spectator s glance is aware of the fact that both of them come back to their original matrix condition. In matrix there is the possibility of change. Bianco e nero, negativo e positivo, vuoto e pieno, chiaro e scuro sono da sempre ingredienti della pittura e da quando ho inventato la sagoma dell Uomo Statistico sono moduli che ho impiegato nel mio lavoro. L installazione MUTABlLE - lmmutablle è costituita da due opere in correlazione tra loro. l titoli servono a dirigere il senso, un suggerimento allo spettatore, libero da ogni interpretazione. Nel fare arte propongo anche un discorso sull arte, sui suoi procedimenti, per svelare a occhio la metodologia. Nulla è segreto, tutto è da scoprire. La prima opera OMBRA IMMUTABILE presenta una sequenza di oggetti scultorei, ognuno di essi formato da una sagoma bianca con una sagoma nera accostata e inclinata. L opera è composta da una serie di coppie di sei oggetti scultorie bianchi e sei neri tutti uguali e accostati. La sagoma bianca è il negativo, l ombra il positivo. L altro lavoro KARMA MUTABILE è formato da sei pannelli che a due a due hanno una relazione. La prima coppia presenta un pannello con un immagine della sagoma svuotata dell Uomo Statistico e un secondo pannello con la sagoma piena - positivo della prima, realizzata con una vernice a spruzzo. La seconda coppia è formata da un pannello in cui è ritagliato, vuoto, un perimetro di una figura umana e da l altro pannello con la sagoma positiva della stessa figura stampata a spruzzo su un fondo vivacemente colorato. La corrispondenza tra positivo e negativo, tra vuoto e pieno si dinamicizza nella terza coppia, in cui nel primo pannello l immagine svuotata è di un uomo in movimento e nel secondo pannello in cui si stampa la sagoma di un uomo che cammina leggera, come se, portando con sé il silenzio, uscisse fuori dalla serie. Nella fotografia su pellicola un negativo, sviluppandolo e stampandolo, darà sempre la stessa foto positiva. Per cambiare l immagine, bisogna cambiare punto di vista e realizzare un altro negativo. L immagine fotografica è i risultato di una relazione tra l esterno e la percezione soggettiva del fotografo. Inoltre la realtà esterna è comunque influenzata dalla presenza dell osservatore. Si potrebbe dire che esiste in origine la relazione. Nella scultura OMBRA IMMUTABILE c è una fissità, una rigidità della sagoma bianca e di conseguenza anche l ombra - ambiente scura rimarrà sempre uguale. Un corpo reale dovunque ci sia luce proietta un ombra. Se il corpo dell uomo è diritto anche l ombra è diritta, se l uomo si inchina anche l ombra si inchina. Non si può modificare l ombra se il corpo dell uomo non agisce, non muta. L opera formata da coppie di pannelli KARMA MUTABlLE permette di presentare contemporaneamente il negativo, il vuoto, accanto al positivo, il pieno, cosicché lo sguardo dello spettatore può essere consapevole che ambedue ritornano ad essere matrici. Nella matrice esiste la possibilità del mutamento