MOROSO catalogo 224 pagine 6 VOLTA (1 sedicesimo + 1 quartino e ottavo accavallato) USOMANO
181
miniscentofSzeemann’scelebrationofthe
creationofacomplete,ideallyself-sufficient
universeofreferenceandsignificationin
whichtoreadthework.
Drivenbycomplex,self-sustainingsystems
ofthoughtandapredominantlyclassical
frameofreference,projectsaremethodically
elaborated(anddocumented)throughper-
formance,photography,sculpture,drawing
andfilmoverextendedperiodsoftime,such
ashisperformativeinstallation,Ancora agi-
tazioni nel sepolcro del Narcigno (2007)or
hisReperti per il Prossimo Milione di Anni
(2007–9/2012).Anexhaustiveandforlornat-
tempttocreateacontemporarymythology,
thislatterexhibition,whichtookplaceatFe-
dericaSchiavoGalleryinRomein2012,esta-
blishedtheuncompromisingmodeofhishy-
per-intensiveworkingmethod.Thebyproduct
ofasustainedeffort,eachworkentailsari-
gorousanduniqueprocessofresearch,which
isuniquebyvirtueofthefactthatitisfirmly
rootedinmaterialityandlivedexperience.
Forinstance,whenworkingon Ancora agi-
tazioni nel sepolcro del Narcigno,Tribbioli
collectedasmanydifferentformsofleadas
hecouldfindintheItaliancapital,inorder
tocreatethecostumecomponentthatac-
companiedthisperformance.Meanwhile Re-
perti per il Prossimo Milione di Anni took
placeinasimilarlysystematicmode.
Initiallyinterestedinquestionsoftimeand
itsso-calledirreversibility,thepossibilityof
dupingarcheologistsofthefuture,andthe
classicalnotionofaneternalpresent,Trib-
biolipursuedtheseideasashesawthempar-
tiallyembodiedinLakeAverno,northofNa-
ples.Oncethesiteofthedivinatorycultof
theSibilla(thecolonyofCumawasfounded
in740bc),whoconceivedthebodyofwater
anditssurroundingsasanentrancetothe
netherworld,thenowvirtuallyanonymous
lakecanbuttestifytoitsownlacksacred-
ness,asaplaceofsecularprofanity.Fasci-
natedbytheprogressionfromthesacredto
theprofaneandthelackthisentails,Tribbioli
soughttotransformitintothesiteofanew
mystery,whoseevocationmightsimilarly
summonupthepossibleexistenceofaner-
stwhilecultforarcheologistsathousandye-
arsfromnow.
AkintothemajorityofTribbioli’spractice,
thefollowingprocessandriteassumedab-
surdlyepicproportions,includingeverything
fromaperformanceinwhichtheartistlay
onatablewithoutmovingfortwentyfour
hourstothesystematicgatheringofobjects
anddetrituswhilecircumnavigatingthepe-
rimeterofthelacustrinebody.Thethreeye-
arsofresearchandreflectionthatwentinto
thisprojectwereultimatelydistilledinto
whattheartistcallsIlGrandeCorpoSolido
(anelaboratetime-capsuleencasingvarious
samplesandfragmentsofhisprocesscastin
resin),whichheceremoniouslydepositedin
thecenterofthelake.Parallelingthepresent
dayabsenceoftheancientcult,Il Grande
Corpo Solido,andtheobliviontowhichit
wasdeliverediscrucialtoTribbioli’sentire
operationbyvirtuenotonlyofitselisionof
the‘contemporary’butmoreimportantly,of
itsfuturedestinyasamystery.
Tribbioli’slatestwork,thefilm Fragment 53,
LiberianNotes(2014)continueshispreoc-
cupationwithclassicalthemes,butsetina
contemporarycontext.Exploringtheextent
towhichwarisintegraltothecomposition
ofsocietyandhumankind,thisprovocative
workconsistsoffootagetakeninLiberiaand
graphicinterviewswithformersoldiers.Any-
thingbutpoliticallycorrect,thischallenging
filmdemonstratesTribbioli’spersonalcom-
mitmenttohisownindividualenterprise.
Thereisnothingtrendyaboutwhathedoes.
Ifanything,itistotallyagainstthegrain.And
thisisjustoneofthemanydistinctqualities
thatmakehispracticeunlikeanythingelse
happeningincontemporaryarttoday.
Chris Sharp
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