Space is tension and possibility.   

 

 

 

Spazio (space), etymology:

From the latin Spacium meaning to extend, to expand.  A tension towards something or somewhere. 

 

 

In order to perceive Space humans need Void. 

One of the major tasks of the human brain is to fill the Void - to give empty Space a shape, a presence and a name. The brain constantly fills the gaps and it forces us to focus on an object rather than its opposite: emptiness. This contributes to the mechanism of life, a flow of impressions we accept and rarely question, ending up as passive results of our own mind. 

 

Historically, Art has presented objects aiming to represent a copy of the world. During the last century the world of Art has changed radically. Artists started to profoundly question the essence of a painting or a sculpture, but rarely gave up on the physical presence of the final product. 

Lucio Fontana was one amongst the pioneers of emptiness in Modern Art. By cutting his canvases Fontana discovered a new dimension in Art: Infinity. 

 

This exhibition lays its foundations on the awareness of the death and the end of Art as tangible and visual representation.

 

Working in a different direction than traditional Art, the artist here deconstructs the objects and deprive them of their characteristics to find the essence of entities. 

 

In his book Le regole dell’infinito, Giacovazzi states: “At the limits of Absence lies the Essence”. The artist draws on this to add Void into physical objects, and so inviting observers to become aware of the object’s existence as much as of their own existence.

 

By realising the Void, humans are invited to control their instincts and conquer their present time - here and now. To be present is a difficult practice these days, especially in a society where our time and attention is constantly filled with distracting impressions. 

 

In the moment a person observes his own self-observing, a higher level of intelligence is activated and the observer comprehends that there is another creative dimension above the thought. Real happiness, love, peace and beauty comes from it. 

It comes from beyond the mind, beyond simple perception. 

 

Interesting enough, our vocabulary defines the opposite of perceiving as ignoring or mistaking. My suggestion is that in opposition to perception should be liberation, meditation and life.

 

This project tries to elevate Art to a medium of self-awareness; something that science and its objectivity is not achieving. In fact, the simplicity of Emptiness includes unsolved, complex issues of human perception, such as the tension between the real and the ideal, and the subject’s impressions with the world’s expressions.

If we pay real attention to Space instead of the objects in it, something wonderful happens; the mind slows down, the body relaxes and emotion expands. We are here and now, we are experiencing the present. 

 

This art operation investigating human perception uses an ideal geometrical form such as the cube as a subject. The choice of such an ideal, some could say metaphysical, form is driven by the need of the artist to maintain the status of the sculpture as something distant from the everyday object - to simplify to the observer the strongly analytical concept driving the work. 

The geometrical form of the cube has worked perfectly for the artist to clearly practice his art, the object made up of twelve symmetrical lines clearly makes the work of subtraction (or addition) evident. Above the pragmatical reasons to employ the the cube as experiment, there is subtle connection to the work of phenomenologist philosopher Husserl E. (1859-1938), who addressed geometry not as transcendental or metaphysical form, but rather as shapes coming from human experience. How far can a cube be deprived of its lines to maintain its essence of cube, and can the cubical form been brought back from its ideal status? 

 

The unfinished sculptures are the results of the manual work by the artist. This manual approach is a conscious decision taken; a decision not to employ machineries which would have been better at rendering the perfection of a cube. 

By shaping the sculptures by hand, with as fragile a material as chalk, the artist is establishing a distance from the mass production way of creating an object. Time becomes an important part of the process. In the same way the observer is drawn to meditate and be present by the sculpture, the artist had to enter an almost meditative process through the making of each work. 

 

A perfect form shaped through human hands, implies a dialectic between the ideal and the real which restores the primary natural connection between mankind and the square. It follows that human work is not to be seen as a nostalgic practice, but more as an exercise on the awareness of the practice of art itself. This ethic underlines a need to process and interiorise the outer world differently, and to accept the fragility and the limitations of human work versus the fast-paced perfection of the machine. Practicing art becomes a conscious decision to open up as a person to life, rather than settle in the constriction of the production chain. 

 

Choice: produce art for a living or living of and for art. 

Gianmarco Donaggio