MOROSO catalogo 224 pagine 2 BIANCA (2 sedicesimi) USOMANO
37
L’urgenzadiAlis/Fillioldiprocessarelatra-
dizionedellatecnicascultoreainnescaperò
nonsoloun’originalereinvenzioneditecniche,
maancheunachiamataallospettatoreapo-
stureinusuali,spostamentidibaricentro:
nuovepostureincuièevidentechel’opera
tradisceeforzalospazio,imponendovaluta-
zioniinstabilidellerelazionipeso/leggerezza,
pieno/vuoto, equilibrio/disequilibrio, gra-
vità/suaassenza,for-ma/nonforma.
Testotrattoda/Texttakenfrom
Terrazza. Artisti storie luoghi in Italia negli anni zero,
di/by LauraBarreca,AndreaLissoni,
LucaLoPinto,CostanzaPaissan,
MarsilioEditori,Venezia2014
TheresearchofAlis/Filliolfocuses
onsculptureinitsdeepestsense,byaddres-
singitinacomprehensive,problematic,and
experimentalwayineveryaspectincluding
thetechnicalprocesses,thebehaviorofthe
materials,andthedynamicsofperceptionin
space.Theycreatesculpturesandinstalla-
tionsusingformswithunusualshapesthat
aregenerallyorganicandmonochromatic.
Fusione e neve persaisaseriesofsculptures,
createdsince2008inwaxandpigments,in
whichtheinventionofanuneditedtechnique
isanessentialpoint.Thetechnique—pouring
liquidwaxintoasolidbodymadeofsnow
andcrossingitwithasharpobjecttogenerate
voids—isalsoexemplaryofaworkingme-
thodologythatnecessarilyinvolvescollabo-
ration(orconflict),beingformedbytheco-
ordinatedactoftwopeople.But,ofcourse,
thereistheinexorablepotentialerror(and
thusthefailureoftheworkinprogress),a
conditionalmostnecessaryintheworkof
Alis/Filliol.Infact,sincethetechniqueofthe
‘lost’meltingsnowisconfiguredasaprocess
forfour‘blind’hands,likeaduet,thefinal
result—theshapeandspatialdynamicsof
thework—isentirelyuncontrolledandunex-
pected.Ritratto di fantasma III (2011),made
frompolyurethane,wood,andiron,isnotonly
anexperimentinwhichtraditionaltechnical
procedures(suchascarving,molding,mo-
deling)areemployedonunusualmaterials,
butalsotheinventionofaforminwhichthe
unknownandtheunstablearegivens,and
chanceisthenorm.Fragileandsolid,ethe-
realandmaterial,changinganddefined,li-
quidandgaseous,intrusiveandextruded—
theseopposingpairsformthedialogueof
Ritratto di fantasma III,whosebisectedand
dialecticnaturereflectstheconflictandcon-
frontationbetweenthetwobodiesofthear-
tiststhathavegiventheworkform.Mofo-
cracy (2012)seemstoincorporatetwosouls,
inwhichthetechniquesmixandcometoge-
therintheuniformityofthegraymetaltone
ofthesculpture.Dependingonyourpointof
view, emerging modeled and cast areas
(echoingthe‘expansion’ofCésar,essentially
castinpolyurethane)defineanimagein
whichanimal,man,andlivingorganicmatter
seemtostruggleintorsioninordertoevade
extrusion,ortopreventasensualcentripetal
intrusiveforce.Inanidealgenealogy,there-
searchofAlis/Filliolseemstoemergefrom
thelegacyofnegativesculptureofthetwen-
tiethcentury(sculpturethatdidnothavea
location,orthattookplaceinamuchearlier
ordefinitivelyregressive,almostdecayed,
stageofthework),andforgepathstakenby
Italianartistsofapreviousgenerationsuch
asSimoneBerti,GiuseppeGabellone,Diego
Perrone, or Roberto Cuoghi. The urge of
Alis/Fillioltoreprocessthetraditionofscul-
pturaltechniquebeginshowevernotonlyin
thereinventionofmethodology,butalsoisa
calltothespectatortoobserveunusualforms,
displacementsofthecenterofgravity,and
newposturesinwhichitisclearthatthe
workbetraysandforcesspacebyimposing
unstableassessmentsoftherelationshipsbet-
weenheavy/light,full/empty,equilibrium/im-
balance, gravity/weightlessness, and sha-
pe/formlessness.
Andrea Lissoni
VOLUMETTO 17 marzo corretto.qxp_Layout 1 20/03/15 12:21 Pagina 37
FrancescoBarocco
Selected by Tucci Russo - Torre Pellice (TO)
Natonel1972aSusa(TO).ViveelavoraaTorino/Bornin1972inSusa(TO),livesandworksinTurin
Senza Titolo,
2014, terracotta, grafite, legno, oggetti dipinti, h. 39 x 35 x 50 cm /
clay, graphite, wood, painted objects, 15 ½” x 13 ¾” x 19 ¾”
Courtesy of the artist e / and Norma Mangione, Torino
44
VOLUMETTO 17 marzo corretto.qxp_Layout 1 20/03/15 12:21 Pagina 44
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