The Poetics of Skēnè – Draft /
This work is measured with iron, more precisely with non-disposed and rusted pipes,
but theses, shiny, vibrant, stacked to structure windmill-like bamboo columns that rigid tools defined for drawing a useful volume.
Building builder slaves will now become protagonists by becoming architecture themselves that is well placed in post-modern and new media.
Placed along a path that recalls the two sides of an imaginary triangle, which seems to culminate in a precise point in space, black metal segments, braided with tilting hooks and fixed and mobile joints, will cross, horizontally and vertically, overlapping, chasing inverse directions, oblique and asymmetric tangents, projections of possible targets, potential destinations, shadow areas or unexpected meeting spaces, sonic vectors of mute dialogue between the viewer [the sender, the receiver], the object in space [physical, aesthetic, metaphorical] and the artist [priest, researcher, medium].
The steel solemn unfolds to form a grid-matrix, a ceremonial ritual altar disposed at the ceremony: a totemic and material object, connector ready to capture and reveal.
Inspired just to the modern geometries of technological society, dense of contrasts, of unbalanced weights, of sudden rips, of tensions and relaxations,
the installation – crossed by harmonic steel wire, like a warp woven from skilled and impressive hands – is a tribute to organic architecture and the conflicting relationship between man and nature.
Nuts and bolts embedded draw near to crosses and gears connected to the apex
and at the foot of the metal sections to assume the semblance of resonant bars or masters of ships of protostorical civilizations. In a silent atmosphere filled with pathos and spirituality.
As an anachronistic image, dystopic and post-apocalyptic that brings us to the age of iron. A metal sculpture, thin, four meters high by five. There are 11 steel axes used to make the installation event within the Conservatory of Music of Benevento which hosted the launch of the project.
For this pièce, steel was not chosen because atypical material, but represents above all a cultural recovery of something superfluous that adds a further meaning to the work: the relationship between man and nature, between waste and reuse, as an underlining, the warning that the rubble of modernity, understood as the ceaseless abandonment of products still useful, but overcome technologically or for market needs, leave traces growing around us; it becomes the task of the artist to collect and recycle her culturally, put them together, expressing ratings which remain.
” To perceive what surrounds us leads us to study and research for which the means of inquiry are constantly evolving. Disjoint the action that expresses the artistic product contributes to exploring those shadow cones that are created through canonical cognitive processes. It’s experimentation what explores the invisible.”
Sound Sculpture /
Performative action will take place within a scene incubated in a space.
The object in the object.
Structural and aesthetic design is a framework, a random, evanescent window, an operational grid-matrix intended as a point of access between the user and the sonic appearance. The object-medium thus becomes a portal, a physical input to a tactile and perceptible sonic universe that is transformed through the free interpretation of the user who rewrites it acoustically and semantically.
The space that hosts the event becomes a crossroads of opportunity and meeting with the possible meanings and potentialities associated with creative production, an agora of reflection on sound and our relationship with it, a dynamic working in progress, enriched by natural sensorial and emotional contribution of the public.
Site Specific /
The setting up of the sculpture will be adjusted and adapted to space, with space.
The structure, made up of 11 steel scaffolding tubes of different heights from 1mt to 4mt, will consist of harmonic steel wire ties and resting on shaped aluminum jumpers, made for the work and tuned, according to a processing of additive / subtractive audio synthesis, via software. The wires will be distributed in different positions depending on the variable thickness of each, from 0.4mm to 2mm, so that it can be solicited / percussed / rubbed at any point of the formed axis. The vibration of each single string will be captured by direct, individual, dynamic microphone; pre-amplified via audio interface 7+1; processed with the use of audio workstation management applications, according to the chosen parameters and addressed to the correct sound representation. The vibrations will be re-designed for listening through an eight-speaker management interface positioned in the representation space according to acousmatic parameters and sound spatialization. The open performative action involves the participation of the audience with the participation of author Maurizio Chiantone, and a butoh dancer.
Diego Watzke | choreographer \ dance director
Giosuè Grassia | composer \ improviser \ coordinator
Gianni Battimiello | painter \ sculptor \ designer
Peppe Buonanno | designer \ help structures \ supporter | Bunker.Art.Division
Enrico Pofi | photographer