MOROSO catalogo 224 pagine 3 BIANCA (2 sedicesimi) USOMANO
provediunabandnapoletana.Ilnegativo
cosìottenuto,ingesso,contienetuttelein-
formazionielamemoriadell’oggettocopiato,
unprocessoditrasmutazioneesaltatodalla
sceltastessadelmaterialeutilizzato:ilgesso,
cheasuavoltapassavelocementedallostato
liquidoaquellosolido,unmaterialeossimo-
rico,lacuiresistenzaèimprescindibiledalla
suaintrinsecavulnerabilità.Delvèassimila
laformadeipannellifonoassorbentiallafac-
ciatainbugnato‘acuspide’delGesùNuovo,
tralechiesebasilicalipiùimportantidiNa-
poli,sullacuifacciatasonostatirecente-
mentescopertiventisimboliinaramaicoin-
cisi, che rimandanoasimboli alchemici,
secondo alcuni un pentagramma a cielo
aperto,unapartituramusicaleribattezzata
daisuoiscopritori,perl’appunto,Enigma:
unconcertobaroccoperstrumentiaplettro.
Questistessisimbolisonorestituitidall’arti-
stainformadineonche‘alchemicamente’
fungonodailluminazionedellasala.Lastra-
tegiaesteticadiDelvèèinclineaprivilegiare
lacomponenteevocativadell’oggetto,imba-
stisceunapartituradisensiproiettivicon-
nessialvissuto,dilatatiinunavisionenon
privadirisonanzeermetiche,incuinonconta
l’esistenzarealedellecosemal’evidenza,il
fenomeno,lamanifestazionedell’essenzadel-
l’oggettoallacoscienzachesicompieinre-
lazioneagliattichecostituisconol’opera.È
questol’atteggiamentoadottatodall’artista
perspingersioltrelasostanzaepidermica
dellecose;unmododiribadirelapropria
poetica,lapropriainconfondibilecifrastili-
stica,insitanellasovversivacapacitàdell’arte
dirivelareepresentarenuovealternative,
nuoveattitudiniemodidipensare.Lasuaè
dunqueun’attitudinemanipolatoria,tesaa
restituirebranidirealtàpreesistentiinnuovi
contesti,piegandoli,insostanza,anuovisi-
gnificati.
The manipulative attitude
of Giulio Delvè
GiulioDelvèmovesnonchalantlyfromscul-
pturetoinstallationandfromphotography
toperformance.Hispersonalmythologyis
rootedineverydayobjectswhosemeaning,
role,andpositionoftengobeyondtheirmere
practicalfunctiontoenteranotherorderof
ideas,seeminglyincongruousbuthighlysym-
bolic,whichcreatenew,possibleassociations.
Muchofhisresearchisfocusedontheidea
Azione meccanica di una roccia effusiva su un solido amorfo,
2012, sanpietrino, vetro temperato, 15 x 15 x 18 cm /
cobblestone, tempered glass pane, 6” x 6” x 7 ¼”
Courtesy of the artist
VOLUMETTO 17 marzo corretto.qxp_Layout 1 20/03/15 12:22 Pagina 88
89
ofabsence,wherethesculptureevokesthe
spaceoccupiedbyobjectswithinagivencon-
textbeforebeingremoved,anditisthevoid
itselfthatindicatesits(past)existenceby
shiftingthespace-timecoordinates.Thisis
thebasisfortheartist’sinterestintheidea
ofthemold,theimpressionofanobject,or
moreexactly,forthespacetheobjectoccu-
piedbeforebeingremoved.Castingisaprac-
ticethatdatesbacktothedawnoffiguration;
perhapsitisthemostancestralmethodto
imparta‘form’whichspeaksofcontactand
loss.Itcallsintoquestiontheessentialcon-
ditionsoflikenessandrepresentation,the
recordofanactanditspresentform.Moreo-
ver,Didi-Hubermanremindsus,“Theimpres-
sionislessthananimage,becauseitisa
fieldofindescribablemarks,andismorethan
animage,becauseitshowssomethingabout
absencethatisasrealaspresence”.Themold
givesandittakes;itactsasaconductor;it
transformsenergyandstatefromoneform
toanother.Black Dog (2011)forexample,is
asculpturethattakestheformofamonolith,
amysteriousstone,oranarchaeologicalfind,
yetitisthesimplecastofaRomancauliflo-
wer,connectedbytheartistthroughtheal-
chemicaltheoriesrelatedtomesmericma-
gnetismandperceptualalteration.Inspiredby
theconceptof‘self-similarity’atthebaseof
the“TheoryofFractals”,theworkrefersto
theiconographyandsymbolismofthepine-
cone,thepinealgland,andthethirdeyethat
perceivesdeeperlevelsofreality.Thesame
expressiveurgencyinformsEnigma (2014),
asite-specificprojectcreatedforthe‘music
room’ofthemuseumMADREinNaples,a
theoryofsculptures/monolithsobtainedfrom
castsofsoundproofingpanelsandusedin
therehearsalroomofaNeapolitanband.
Thenegativethusobtained,inplaster,con-
tainsalltheinformationandmemoryofthe
copiedobject,aprocessoftransmutationen-
hancedbytheverychoiceofthematerial
used:gypsum,whichinturnquicklypasses
fromtheliquidstatetothesolid,anoxymo-
ronicmaterial,whoseresistanceisinsepa-
rablefromitsintrinsicvulnerability.Delvè
assimilatestheformofthesound-absorbing
panelstotheashlarfacadeinthe‘cusp’of
GesùNuovo,amongthemostimportantba-
silicachurchesofNaples,onthefacadeof
whichtwentysymbolsinscribedinAramaic
wererecentlydiscoveredthatrefertoalche-
micalsymbols,reportedlyincludingapenta-
graminopenview,andamusicalscorere-
namedbyitsdiscoverersEnigma—abaroque
concertoforplectruminstruments.These
samesymbolsareincorporatedbytheartist
intheformofneonthat‘alchemically’serves
astheroomlighting.Delvè’saestheticstra-
tegyispronetoemphasizetheevocativequa-
litiesoftheobject,bysketchingoutascore
ofprojectivewaysconnectedtoexperience,
dilatedinavisionnotwithouthermeticre-
sonance,inwhichtherealexistenceofthings
doesn’tmatterasmuchastheevidence,the
phenomenon,andthemanifestationofthe
essenceoftheobjecttotheconsciousness
thattakesplaceinrelationtotheactions
thatconstitutethework.Thisistheattitude
adoptedbytheartisttogobeyondthesurface
levelofthings;awaytoreiteratehispoetry,
hisunmistakablesignaturestyleinherentin
thesubversivecapacityofarttorevealand
presentnewalternatives,newattitudes,and
newwaysofthinking.Hisisthereforeama-
nipulativeattitude;heaimstointroducepie-
cesofexistingrealityinnewcontexts,ben-
dingtheminessenceintoanewsignificance.
Eugenio Viola
VOLUMETTO 17 marzo corretto.qxp_Layout 1 20/03/15 12:22 Pagina 89
KEY 6
KEY 22
KEY 3
KEY 4
KEY 5
KEY 7
KEY 8
KEY 9
KEY 10
KEY 11
KEY 12
KEY 13
KEY 14
KEY 15
KEY 16
KEY 17
KEY 18
KEY 19
KEY 20
KEY 21
KEY 23
KEY 24
KEY 25
KEY 2
KEY 26
KEY 27
KEY 28
KEY 29
KEY 30
KEY 31
KEY 32
KEY 33
0.5
1
2
3
4
5
0.5
1
2
3
4
5
0.5
1
2
3
4
5
0.5
1
2
3
4
5
KOMORI
Part No.T30LS540
0.5
1
2
3
4
5
KEY 6
KEY 22
KEY 3
KEY 4
KEY 5
KEY 7
KEY 8
KEY 9
KEY 10
KEY 11
KEY 12
KEY 13
KEY 14
KEY 15
KEY 16
KEY 17
KEY 18
KEY 19
KEY 20
KEY 21
KEY 23
KEY 24
KEY 25
KEY 2
KEY 26
KEY 27
KEY 28
KEY 29
KEY 30
KEY 31
KEY 32
KEY 33
0.5
1
2
3
4
5
0.5
1
2
3
4
5
0.5
1
2
3
4
5
0.5
1
2
3
4
5
KOMORI
Part No.T30LS540
0.5
1
2
3
4
5
