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FOTO: Andrea Rum, Luca Bazzini,
Simone Lingua
VIDEO & RENDER: Luca Bazzini
ART DIRECTION, TESTI E BIO: Tiziana Tommei
DESCRIZIONE OPERE: Simone Lingua
WEBDESIGN: Enrico Fico

The Bridge

– Contemporary Illusions –

22.10. 2018

bridge: [/ˈbrɪdʒ/] s. n. 1. structure connecting two fixed points of ground separated by a natural or artificial obstacle. The bridge is a very complex metaphor. It is the place of encounter with the Other, a dimension that by its very existence affirms the possibility of dialog and exchange between two distant, different and otherwise irreconcilable entities. It is a weapon against conflict and, at the same time, a test of human creativity that seeks solutions and creates new realities to overcome obstacles and go beyond, beyond real physical boundaries. In light of recent and dramatic events, the artist draws attention to a specific theme: the relationship between humans and nature. It may seem like an obvious approach, but in fact he wants to make us think about an aspect that touches on the idea of a bridge as a means of communication between two opposites. Only when man acts in harmony with nature, respecting its rules, with the awareness of his own finiteness and subordination, only then can a state of balance, communion and life emerge. Simone Lingua focuses on two elements: the architectural structure and water. In the case of the former, he limits his intervention to the vertical supporting structures, the parts touched by the latter. He ideally covers them with a contemporary material: the mirror. The latter is a space of transition: the stone takes on the appearance of water, becoming transparent, reflective, crystalline, light and even dynamic. If the natural element continues its course in this way, its effect is finally amplified and reflected by the mirrored surface. A path that unites man and nature through an artificial product, connecting them and mimicking the effect of water instead of the tangible, heavy, solid and impenetrable consistency of the column structure. At the same time, the generating power of nature is revealed: water as a force that protects, defends, absorbs and envelops what has been created by man. Nature meets artifice and is reflected in it. Thus, water kisses an entity that is more similar to it in form, appearance and effect, while other elements can come together in a dance, especially on the horizontal connecting level: distant, opposite and yet able to interact and thus generate new synergies.
Tiziana Tommei

20. 05. 2019

Contemporary Illusions starts from the desire to propose new ways of perceiving reality: the reference is antiquity, the medium is contemporaneity, and the target is man. The interlocutor is not only the one who knows or loves the art: for such a work, so open, immediate and comprehensive, reaches everyone. It openly places itself in direct communication with a large and diverse audience, far beyond those who know the contemporary art language, and triggers a dialog with the gray area that looks casually or carelessly at today’s art. The ambitious and bold proposal to question the past, through the choice of monuments, but especially symbols of cities such as Pisa, Florence and Rome, finds a response in the desire to elevate what man has built and create timeless works . Covering parts of architectural structures with mirrored surfaces, besides inviting us to look at them with a new gaze and thus discover them anew, is above all a trick to free them from gravity and, ideally, to lift them into the infinite. This triggers cognitive short-circuits that, in addition to adhering to the aforementioned binomials of ancient-contemporary and work-public, also extend to the connection between art and nature. The water echoed by the mirrors and the sky multiplied by them: the illusion is created of a bridge floating above the course of the river, a church raised above the earthly dimension, an obelisk punctuated by an embrace with the sky that envelops and dominates it. These interventions evoke the staging of a middle realm, a kind of limbo that becomes a hinge between two opposing elements: Art and nature thus know a space of total and intimate union. The result of this exchange and fusion between heterogeneous bodies finds form outside of them, in the viewer, ultimately translating the vision into a subliminal and personal message. The active and proactive role of the viewer is an essential variable that finds its power in the universality of language.
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