The seduzione del luogo: relazione work spazio esterno interno ed come forma costruita
installation of Nadia Galbiati
a cura di Jacqueline Ceresoli
from 29 November to 14 dicembre 2013
"When I started thinking about the project for the area of City Art I immediately felt the need to interact with the gallery, with the shape of triangular nature of the environment, as a section of the perspective escape. The fragment of a glimpse. A dynamic volume that I was immediately catapulted into space of a road, an avenue, a place in the city.
A gap between built spaces where are articulated absences and presences, full and empty imaginary lines on the run, between architecture and urban places. Empty as a subject matter and built as a form ". With these words Nadia Galbiati said his work, so "we enter" suffered in his eyes, in its propensity to define analytical "built spaces" in connection with the existing architecture.
The sculptress, strictly conceptual, already known for a paradoxical "Aesthetics angle", on the occasion of this exhibition in the gallery City Art, exceeds its structural rigidity of the matrix minimalist, with the site-specific installation emblematic title "Space Built", thought of expanding the exhibition space, not starting from a volume-structure imagined, but analysis, by synthesis and decomposition and recomposition of geometric solutions found in situ, in which the voids and not the full play a decisive role.
Its design develops articulating metal crates in a orthogonal composition with the addition of plates, transformed into support for engraved signs, resting on the ground on the axis inclined with three support points, teetering on the flat surface. Its orthogonal cages completely whitewashed, which are the result of the processing of a form found in the legacy space, would have liked to Sol LeWitt, American artist known for minimalist sculptures that integrate visually with the walls, where the simple serial repetition of geometric forms, by itself always identical, depending on how and where they are assembled assume different connotations. The difference is that for Nadia Galbiati, is not only the integration with the space the starting point of the work, but the development of forms that characterize, in which the same force of gravity and the apparent instability of the structure functions as a cohesive.
These cages orthogonal, primary structures modular embedded, closed and at the same time dynamics, repeated for spatial extension, are thought of as ideal "brick" of a space under construction, designed in 3D: living, more than to tell, because radically change the perception of the Milanese gallery with a window that overlooks the street and frames horizons of new spatiality.
His method is based on the essential patterns in formal, but it is conceptually complex in the executive process and construction work in situ, because nothing is as it seems and every single part of the structure corresponds to mathematical calculations of individual parts in relation to all, articulated by internal relations between the work, the exhibition space and its going to show different proportions, "Caging" the void.
Iron plates on which the sculptress track marks, vertical and horizontal lines give the structure compact and unified greater "lightness", not that I know of lightness, playing on subtle tensions and centrifugal and centripetal forces that drive the sculpture seemingly static. The natural and artificial light takes on a leading role to highlight forms built between projections of lines, rectangles, materializing attitudes voids framed within the space.
Galbiati photographing the architecture of the 30s and 50s of the twentieth century of European cities and international, every city reveals constructed forms and fact, observing its good to see the cages, Data as hypotheses constructive, you notice that vocations or architectural attitudes are reduced to emptying of solid volumes, in which the solid structures seem suspended in space, reduced to primary forms- euclidee, playing on unpublished trajectories impact highly scenic.
Monumentalism, rationalism, cuts, lines, dynamic joints and surfaces become construction tools, bulky modules molded into space as a metaphor of urban settlements.
His utopian conception that wants the city as a manufacturer of space, is another possible interpretation of this majestic sculpture, shifting our interest from the relationship between the work and the exhibition space, between sculpture and outside city, space inhabited and built.
Space is not a thing, but a vocation construction or empty, depending on how you imagine, designs or is experienced. This figure carved in space, formed by different modules orthogonal receives the footprint of the light, assurgendo at full volume, albeit consists votes structuring.
Martin Heiddegger (1889-1976) writes in '' Art and Space ": << The game of relationships with art and space should be designed from the experience of a place and the district. Art as sculpture: not already taken possession of the space. The sculpture is not at all a comparison with the space. The sculpture would be the body of places that, opening a district and to care, held that gathered around him a free granting a dwelling in all things and men have to live in the midst of things >>.
Starting from this premise, if things are in these terms to the German philosopher, Galbiati deliberately incorporates, postulates in the empty box with an absolute space that becomes built only if observed and lived, if you turn around all the parts that border the gallery, where the sculpture from the body to new visions of possible abstractions, tensions meta-space in which by extension is reflected in the form of some kind of town, still being explored.