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Nada Pivetta Attraverso

P1040258

THROUGH

personale di Nothing Pivetta

Within the project MATERPOLIS

Edited by Eleonora Fiorani

From 6 to 24 giugno 2012

ATTRAVERSO di NADA PIVETTA e’ la quarta mostra personale del progetto MATERPOLIS, by Eleonora Fiorani. Looks the same in the belly of the metropolis, on her skin, about his experiences, and 'that's what you want to be MaterPolis, a single project that weaves the threads of the invention of four artists, that with different looks, wonder and work in the territory and refer to the radical change of values, investing the metropolis and the very idea of ​​society 'or culture, and which must be continuously compared to that of the internal sogettivita 'which includes visual perceptions, olfactory, tactile, hearing. And the implementation of knowledge technologies and ways by which the metropolitan territory and 'spoken and acted. And many appearances and meetings and clashes with the otherness' that cross.

Nada Pivetta has "dug" in the field working with the pressure of the hand, "Sottorilievi", creating surfaces that can be arranged on the floor or wall in various places of the metropolis, outdoors as indoors, in places like those of the rest of the transit.

Surfaces interact with: to go, to touch, by stroking, And not only to see them realized in ceramic and cast iron as if they were composed of a montage of different elements to constructivist forms, size and provisions, but fulfilling a mysterious order or code, such as writing or map of forms-paths, motivated and dynamic, that evoke the labyrinth without a center, or revenue, or outputs, as a metaphor of the total space of the metropolis in which our life unfolds.

He chose for his sottorilievi ceramics and cast iron. L'una, ceramics, in his shining light, is ancient art, related to, with fire and with the deepest part of our history and culture. Belongs, such as metals, what more apotropaic in man, in its being "faber". The other evokes, in its severe dryness and opacity, the long history of ferrous materials, the poorest, hard and brittle at the same time, but also a material for metropolitan excellence, what is' upstream of the revolution of the material culture of the twentieth century. So what at first glance appears to be a contrast between the brightness and opacity, exhibition, in white and black in which they were made, its nature of complementarity, because you can not have one without the other, and not associated with only black and white but the full range of colors, Light and dark, because as Heraclitus said God is day and night, estate and winter ...

And the metropolis and 'the womb and the cul de sac in which we live. And the sculptor, your back, dreaming the dream of matter, says Bachelard, reminding us, as in reverie and art, to an imagination of matter as a return to the imaginary primordial

that accompanies man throughout his history. Imagine not only shapes and colors, but the subject in its primary virtue and with it risignifica places of our living, live, go ...

Eleonora Fiorani

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