NOGRAVITY
in
FONTANA PROJECT

Studio su Lucio Fontana
Opera Grammaticale n°1
(grammatica sulla superficie)
Opera grammaticale n°2
(grammatica sul corpo)

Performers
MARIANA PORCEDDU
EMILIANO PELLISARI
Light & Sound
MARCO VISONE
NOGRAVITY

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La torre di babele e un esempio antichissimo della pretesa dell uomo per il dominio
dello spazio. La vera conquista dello spazio fatto dall uomo e il distacco dalla terra,
dalla linea d orizzonte, che per millenni fu la base della sua estetica e proporzione.
[…]
Il movimento, la proprieta di evoluzione e di sviluppo e la condizione base della
materia; questa esiste ormai in movimento e non in altra forma, il suo sviluppo e
eterno, il colore ed il suono sono i fenomeni attraverso il cui sviluppo simultaneo s
integra la nuova arte
Lucio fontana, manifesto tecnico, 1951

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Unique forms in the continuity of Boccioni's space was the work that has me most upset in my life. I was 19. More than 30 years have passed and still today Space and time are the cornerstones of my artistic work. Obviously the color, light and matter are not details, but they can become so if we focus our eye on the infinitesimal space of a pinhead. At that point the essence of spatial research is hidden: we must love abstract perfection of an algebraic equation to enjoy infinitesimal operations. Fontana has understood that only on the border could one find the gaze towards the whole, to know the whole panorama of artistic action out of the historical context: as pure action grammatical, pure synchronicity. Fontana's holes are the minimum elements infinitesimal of art, the syntagms of the pictorial-sculptural language and the non-cuts they are operations at the limit of lines that stand out in geometric space analytical. What is missing is time. The line is a concluded transaction and as such finished, crystallized over time. My job is to reopen the cut, restart the things and see how the surgery ends. And if things have a time and run their time following a time, then just listen to the rhythm of life to understand that the art of space moves marked by music. Whatever sound it is, the human ear will perceive it as something magic and therefore and music, or that sound rhythm that has always enchanted us. The movement and a set of lines, of forces that is of vectors. The direction in which the things and controlled by beauty, that is, the harmony of movement. The construction of space produces aesthetically interesting but immobile scenes. The movement to perceive the sense of time. Space and time at the same instant I am a pinhead that moves in space and that, in his multiplication and division produces lines that envelop the performative scene. L emotion of a space in motion offers those moods we call art-in-time, or the new art of Fontana. Emiliano Pellisari