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 rimandano a simboli 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
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