MOROSO catalogo 224 pagine 4 VOLTA (2 sedicesimi) USOMANO
DanieleMilvio
Selected by Frutta - Roma
Natonel1988aGenova,viveelavoratraMilanoeAnsedonia(GR)/
Bornin1988inGenoa,livesandworksinMilanandAnsedonia(GR)
Testa di Aquila su testa di Kuros,
2014, guazzo su gesso, 57 x 30 x 18 cm / gouache on gypsum, 22 ½” x 11 ¾” x 7”
Courtesy of the artist. Collezione / Collection: Sciarretta, Roma. Foto / Photo: Roberto Apa
VOLUMETTO 17 marzo corretto.qxp_Layout 1 20/03/15 12:23 Pagina 118
123
Itcontainscodesofinformationaboutour
wastedageandthepricetoavertourcolli-
sioncoursetowardacompromisedfuture.
Thedesignofwatermeltedfromiceontis-
suedrawsthemapofanewterritory.Itflows,
collects,andabandonsitsdepositsinthe
courseandstreamofitsjourney,creating
newgeographiesandunderthemicroscope
formingbodiesandsculptures,andstarting
again.Thereisatransformationfromon
thingtoanother,fromonestatetoanother,
throughgradualreleaseuntilthingsevapo-
rate,dissolve,anddisappear.Intheback-
groundwefindhandsinyellowgloves;the
artistisanewMickeyMouse/WaltDisney
whosaysifyoucandreamityoucandoit,
andsohedoes.Butthehand,asaformof
memory,isneverinnocent,evenwhenwea-
ringgloves,whenittriestotakeprecautions
andhaveafirmgriponthepresentortoiso-
lateitselftoavoidinexorablecontagion.It
isofthepresentandrepresentsanirrepa-
rablegesture.Itsgazecanonlyobservethe
processasajudgeorsinisterscientist(who
servesonlyonehemisphereinviewingthe
world).Thismarksthedifferencebetween
imaginationandmeasurement,asMassimo
Cacciariremarked:“Thoughtisimaginative,
eveninitsmost‘violent’abstractions.The
mindmeasurestheunbridgeabledistance
betweentheimageandthe‘object’ofitsde-
sire,betweenrepresentationandwhatisre-
presented”.
Thehandthatplacestheblockoficeisthe
sameonethatcanopenuptheworld;his
gestureisaturningpoint,thegapinthe
presentthatcannotbevieweddirectlyifyou
wanttomakeanysenseofit.Butitisalways
deferred;itisaquestioninabsentia,asifit
hadtheanswer,butnotquite,notyet.Itis
thedropthatoozesfromthedestroyedsin-
kingship,fromthemeltingiceatthepoles,
whichendswithwhathasbeenplacedon
thetableintheworkofAndreaNacciarriti.
Wedonotknowwheretofindourselvesand
where we have traveled. We don’t know
whichcavesareunderourfeet,andwhere
thestormsoverourheadswilloriginate.We
remainourselves,enervatedinventorsofthe
shipwreck,alwayswithinthevertigooferror,
thevortexthatswallowsusuplikeaportal
totakeussomewhereelseinainstant,with
auniqueforcethatimaginesandmeasures
atthesametime.
ThestrategyofthenaturaldesignofAndrea
Nacciarriticreatesanexpandedfieldthat
requiresmanylanguages??fromcontempo-
rarypracticesincludingsculpture,installa-
tion,photography,movingimages,andmo-
vement itself. The movement is unique,
assertivebutnotdefinitive,andtakesthe
responsibilityofthestoryandexperience
thatisalwayslivelivedandalive.Itiswhat
Ihaveseenintheworkofartists,nowand
always.I’veseenitintheworkthathastou-
chedmealot,alittle,andnotatall,thatso-
metimesremainswhenyouforget,despite
everythingelseitisthereyet.Itisinapile
ofsandmadeofgrainssosmalltheycanbe
transportedanywhereinthewindandwel-
comedinadropofwaterthatIhopewill
notstopdrippingfromthehandsofthose
whocanstilldosomethingbetterthandi-
sperseitinadesert.
Cristina Collu
VOLUMETTO 17 marzo corretto.qxp_Layout 1 20/03/15 12:23 Pagina 123
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
