Cardboard, tar paper, tape and rope
15.09.10 | 08.11.10
On display from 2008 to 2011
A piece of wood made from interwoven strips like those of a packing case, a rope pulled tight, two pillows: these are the elements that make up Ca’ Pesaro (Venetian) of 1973. The title of the work is a reference to the XVII-century building which houses the Venice International Gallery of Modern Art and conveys, in terms of the objects and the way they are put together, the sense of grandeur and fragility that epitomizes Venice’s noble old buildings. Its square façade, which is softened by columns and leaded windows, is represented as a diaphragm which is permanently, precariously balanced. The same force of suggestion is in San Pantalone (Venetian) or, for example, in the image of white dome recalled by Untitled (Venetian). Although Marcel Duchamp’s influence is obvious, Rauschenberg’s way of putting objects together is different from the French artist’s readymades of 1917, firstly because they immediately announce that they are useless objects, precluding any kind of short circuit or conceptual artifice, and also because they imply a positive aesthetic of transformation and recreation of materials which has nothing to do with the Dadaist rebellion against Bourgeois culture and institutions.
I have deliberately used every opportunity with my work to create a focus on world problems, local atrocities and in some rare instances celebrate men’s ...
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