MOROSO catalogo 224 pagine 3 BIANCA (2 sedicesimi) USOMANO
jectsonewouldfindinthesespaces,these
gardensofdelightfulimagesofcommunal
geometry,thatforusItaliansarewherewe
collectthingsthatmightonedaybeuseful,
whereinsummerweinvitefriendsforabar-
becue.Theseplacesseemtobehoveringbet-
weentheEnglishgardenweyearnfor,and
thebackofasmallworkshopwecan’tdowi-
thout.
ButGiuliadoesnotplaywiththisworldly
andpedestrianaspect,bypresentingthe
charminghorrorofthisfolkenergy.Thebuc-
ketweseeistheonethateverybodyalready
knows,almostofthesmallshapeandsize,
buttheartist’sresearchintoitsrootisthe
sourceofitsradicalism.Itisasifitwerepre-
sentedasthepoetryattheheartofallthings,
whichdoesn’tchangewiththepassageof
time.Itisnotthethingsoftodaythatareof
interest,buttheeternalthingsthatcanalso
befoundtoday.Sometitlesmakereferences
toclassicalmyths,oftencombinedwithscul-
pturesthatfeaturethingslikeapipe-stub.It
seemsasiftheyhadbeentherewhilethe
centuriespassedoverthem,orhademerged
inthespringwhentheriverleveldropped.
Thistypeofworkleadsbacktoanideaofart
similartoKlee,likeapathtowardatruth
thatisinvisiblebutalwayspresent.Butthere
isaprofounddifferencewiththisvision,in
whichsomeaspectsofrealityseemtohave
nobilitycomparedtowhatisaroundthem,
andtheartistiscalledupontounveilthem
afterthey’vewaitedpeacefullyfromtimeim-
memorial.Thepoetryorinvisibletruthof
thingsemergesfromGiuliaCenci’sworksaf-
terastruggle;itiswhatsurvivesaftertime
andtheelementshavecleanedawayevery-
thingelse;itisthestrongest,mosttenacious,
andcombativepartofreality.
68
Antonio Grulli
Ritratto basso #3, Ritratto basso #4, Autoritratto basso,
2014, poliestere, polvere di marmo, argilla, dimensioni variabili /
polyester, murble dust, clay, variable dimensions
Courtesy of artist e / and SpazioA, Pistoia
VOLUMETTO 17 marzo corretto.qxp_Layout 1 20/03/15 12:22 Pagina 68
77
thentherewasanechothatspreadoutside
thewallsofthebuildingacrossthecity(ECO,
2012).InsomeofChironi’sworksyouperceive
aveiledfeelingofnostalgia,asiftherewere
alossofsomething.Hereperhapswefindthe
desiretoreinventthefigure,itsroleandmea-
sure,andthefunctionoftheprotagonistin
storiesoldandnewthatoriginateinthecom-
binationbetweenpresence/absencethatis
deartotheartist.Recently,inaperformance
thatcouldbedescribedasacademic,theartist
browsedthroughthepagesofbooks,cutting
outimagesofendangeredspecies,plants,ani-
mals,seabeds,andglaciers,(Cutter,2013)
andputtingasidethefragmentsforcataloging
anidealutopianworldinsidedisplaycases
thatlooklikeherbalandinsectscientificcol-
lections(DATA 2011/12).Theconceptofre-
designforChironiassumes,notonlyinima-
ginary terms, the meaning of rethinking
existentialaspirations,suchasowningaplace
tolive,aconceptthatLeCorbusiercalledthe
‘homeofman’,aplacebuiltaroundthemost
basicneeds.BeginningthisyearChironiwill
beinvolvedinaprojectabout‘habitability’in
someEuropeanhomesdesignedbythegreat
Swissarchitect.My house is a Le Corbusier
willallowtheartisttospendperiodsoftime
inhousesdesignedbyLeCorbusier,starting
withthePavilionEspritNouveauinBologna
andlaterinastudioapartmentintherue
NungesseretColiinParis.Insidethehouses,
andforthedurationoftheproject,Chironi
willofferreflections,ideas,research,andexhi-
bitioneventsopentothepublic,inakindof
programmedperformancebasedonthere-
vealedandsharedexperienceofliving.
Laura Barreca
newcontentandmeaning.Forexamplehe
useschildhoodmemoriesofhisownsocial
life,whetherpositiveorconflicted:dreams,
suggestions, aspirations become cues in
whichthepastandpresentcollideinagame
ofparadoxicalreferences.OftenChironiuses
photographicimagesreworkedthroughthe
languageofperformance,aswhentheartist
‘wore’photographsofhismotherdressedas
abride(Lina,2004)arranginghimselfindo-
mesticposesthatcallintoquestiontheper-
ceptionoffamilymemories.Withthesame
interestindisorientation,intheperformance
Poster (2006),Chironiappropriatesseven
oldphotosfromanalbumofhisfather,an
amateurfootballplayer,andblowsthenup
tolife-size.Thendressedinthejerseyofthe
teamheposesonaplexiglasspedestal,su-
perimposinghisimageonthegroupphotoof
theplayers.Thisrepresentationseemslike
atableau vivant,avisionthatissimultaneous
andsuspendedintime,whererealityandfic-
tioncompeteonthestageoflife.Chironi’s
stagepresenceisalmostneverdisassociated
withhisworkandit’sfunctionality,whether
realorimaginary.Inthesculpture-perfor-
manceRubik (2008)hebuildsoversizedcu-
bestothesurfacesofwhichheappliesphotos
ofnewsstoriesfrommagazinesandnewspa-
pers,includingpicturesofdifferentgeogra-
phicalandpoliticalsituations.Thisobject
rotates,creatinganarchitecturalconstruc-
tionofimages,shortstoriesinwhichTak-
tharova,Kabul,NewYork,Cannes,Tianan-
men,andJakharta,whentheyarecombined,
becomescenariosofpossiblecombinations
betweenapersonalandacollectivevisionof
theworld.Exceedingalllimitshoweverwas
Chironi’sintentinhissolitaryperformance
of2012,seatedontheledgeofthegrandmu-
seumofNaplestheartistemittedascream,
VOLUMETTO 17 marzo corretto.qxp_Layout 1 20/03/15 12:22 Pagina 77
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