Luces – Light Art from Italy
Curator: Gisella Gellini
Frankfurt, 9th – 16th April 2010
|PERCORSI – Marinellia Pirelli|
|ECLISSE – Nino Alfieri||LIGHT SYMPATHY – Marco Brianza||ANULUS – Paolo Calafiore|
|ROMÆ – Livia Cannella||LIGHT PULSE – Nicola Evangelisti||BWINDI LIGHT MASKS – Richi Ferrero|
|ARPA DI LUCE – Gianpietro Grossi, Francesco Murano, Pietro Pirelli||TIMES GOES BY – Johannes Pfeiffer||INTIMA – Donatella Schilirò|
NINO ALFIERI – Eclisse, 2010
Aluminum parabole unit, 200 cm diameter, photosensitive paints, dynamic device with UV and incandescent lights.
Technical sponsor: Pollice Illuminazione.
“Eclisse” (eclipse) is a parabole as wide as a viewer’s open arms, a reference to Renaissance concepts, when man was considered the unit of measure. The aluminium parabola is painted with specific light sensitive colours and an electronic gear creating the light effects is shielded behind the central disc. The pigments react to UV and incandescent light revealing shapes that cyclically come and go from the surface. The slow light variations remind the daytime cycle, as a relation between light and time.
The installation suggests a link between the latest lighting technologies, to be shown alongside at “Light+Building” fair and the ones used at the dawn of artificial light. By means of an ancient Roman oil lamp – that burns olive oil – from the museum’s exhibits, the work captures the flickering of the flame through a sensor and reproduces it in real-time, amplified, through the Gothic windows of the historical building, creating a link of “syn-patheia” between past and present.
PAOLO CALAFIORE – Anulus, 2010
Light’s ring, 230 cm diameter. White 6000K LEDs, steel and sanded polimetilmetacrilate, power supply unit and controller: dmx – 512
Realization and sponsor: Elinca
Technical sponsor: Stokvis tapes, Traversa.
In the middle of the aisle, where Roman period find are exhibited, a group of columns, plinths and capitals lie on a metal platform. From the wall behind, a great ring of white and silvery dynamic light dominates and scans the columns, revealing their form, the materials, the origin. The ring, since the times in the ancient Rome, is a symbol of eternity.
Intermittences and shines, emanated by Anulus, create a magnetic and catalyst ‘pole of light’, enigmatic and full of mystery, that breaks in the space through a sequence of luminous wakes.
A sophisticated control system manages the variations of direct and indirect light that burst out in the surrounding area, as coming from the depths of space and time.
LIVIA CANNELLA – Romæ, 2010
Photographic projection on the outer surface of the walls of the Museum.
Technical sponsor: Art Sound.
The occasion for creating a visual installation at the Archaeological Museum resulted in the idea of a meeting between the archaeological heritage of Frankfurt and the one of the imperial capital, the motherland of a culture that left many witnesses of its passage also in that German city.
Many famed items from the Rome findings will go to visit the German museum, showing themselves as light’s features. A discrete, magnificent homage the Roman art going beyond the borders, for paing a salute, as a symbolic twinning, the places reached during its millenarian cultural expansion.Ephemeral “gate watchers”, these light’s figures will alternate, one for each evening of the event’s schedule, in the inner garden facing the museum’s foyer, showing the greatness and power of a speechless and motionless presence.
According to medieval metaphysics, the body of the universe is determined because it manifests itself, it ‘appears’, being its primary form, the light-lux, self-manifestative. It is quantified because matter cannot infinitely expand and therefore it stops the drive of the light-lux towards infinite expansion. The regularization that matter causes on the chaotic flow of light and the control that it has on it by framing and blocking its lateral diffusion through the reflecting surfaces of its geometric body, makes it the vector and the propagator of light itself in verticality.
* in collaboration with Mauro Melotti
sound component by Tibe
Forty identical masks, from an area ar the border between Congo and Uganda, as small stones are placed in random order, in the open area of the Archaeological Museum in Frankfurt. Daylight gives the essence of representation, a state of waiting. The ritual will come to life when the artificial light will chang,e in the dark, the colours of the masks, giving life to a dance strongly supported by the bi-vocal sounds of Tuva singers.
Imagine to graze with the fingers a bundle of light’s strings, stretched through a huge architectural space. It comes out the sound of a harp, the architecture turns into a big cord device whose music is the one most liked by the gods, since it expresses the Harmony of the Heaven Spheres (Ovidium, Methamorphosis, book 11). Following this sound, like Pitagora, we turn our gaze upwards thus discovering that our musical action creates also a wonderful series of light’s events.
If tapped by swinging objects, the laser harp is sensitive to the visitor’s movements and to hear and see are carried out by the very same gesture.
The concept of this work is based on the same location where it is to be located: the Archaeological Museum of Frankfurt, which shows many ancient Roman findings. The installation takes a number of archaeological exhibits which are wrapped up with transparent film and then treated with fluorescent colour. The exhibits are illuminated by black light. This creates an atmosphere like an illusion, an estrangement from the original object that, at the same time, is dramatically highlighted, like in a stage setting. The estranged shape reminds the past of which the exhibits are giving evidence.
DONATELLA SCHILIRÒ – Intima, 2010
Bent cast polymetilmetacrylate, digital print and modular neon light multicolor. Dimensions: 75 x 200 x 10 cm.
Technical sponsor: NeonStile.
“Intima” wishes to bring inside the museum the images we own already but are lost in memory. Within the museum, residual memories, visual stratified fragments crept into an interchange of mental values: a visual fusion between inside and outside, resulting from superimpositions of visual memories and true contextual reflections. The shadow of the path on the Earth, like a light’s memory, meets the sky by means of the luminous flare of an airplane, thus traveling together. The track in the sand, walked on and negated in its ephemeral material evanescence, become multicoloured lighted up, in a slow and continuous change of light and colour, until it creates a mysterious intimacy between sky and earth. Light that mutates as time goes by and will never be the same during the days, thus evocating the life’s strength, according to a special technique tested by the artist in her laboratory.
Earth and sky interact as in an intimate conversation and that compenetrating sign creates an imaginary crack on the earth. The material’s transparency reveals through the sing that hides the writing, our true essence, helped by its codex.
“The white light shines through the cube engraved by laser-cut marks and projects a kaleidoscope of multicolored straight lines onto the wall. It’s a work in itself, but also the model for a larger object that I would like to realize for placing it in a semi- darkened setting but the material itself, which consists of 2-cm-thick methacrylate plates, could impose limits. I chose this particular size by chance,but then I discovered that 30 cm is the distance traveled by light in about a billionth of a second.”