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In his project for Careof Giovanni Oberti sums up much of his previous researches, where, with the use of dust, graphite, or other simple devices he narrates the passing of time in relation of things and their connection with the visitor, creating a short circuit between present, past and memory: in Senza titolo (Simultaneità di luoghi di tutti i paesi che sappiamo...) the chandelier found in the first Milanese home of the artist, blemished by the slow stratifying of the dust, seemed to preserve the memory of all the homes in which he moved later; in Senza titolo (forks, dust) (2006-2008) the artist removed the vintage kitchenware from the lavishly laid table in a Baroque room (Palazzo Tozzoni, Imola), creating impressions and fingerprints that transformed absence to presence; in Senza Titolo (Oggetti dipinti) (2009) the artist gave a different surface to an object, an orange molded by time now protected by a graphite film that resembles heavy bronze armor.
If his works till now always added something to the preexisting reality, in this last project Oberti seems to become even more soft-spoken, he seems to be taking a step back and limiting himself to arranging a situation with the goal of providing visibility to a mechanism, unveiling a device and underlining its complexity and beauty, maybe keeping in mind the words of Giuseppe Penone published in his well-known Rovesciare gli occhi. In this work Penone refers to some of the images from his exhibition "Indicazioni per uno spazio" in 1969 and in a note he adds «Preparing an exhibition means: leading the visitors near the ceiling, conveying the windows toward the inner space and bringing the surface away from the walls"1 putting emphasis on the great potential of a sculpture that can be capable of revealing space and reality in a new and different way» .
Milan, September 2010
Traduzione dall’italiano Anna Luisa Vallifuoco
1 You passed through threee small black cars, a Ford Ka, a Renault Twingo and a Fiat Panda, each placed in correspondence of one of the three Careof entrances.
2 Manara Valgimigli points out that «Other is interpreting, othe ris translating: interpreting is analysis, translation is synthesis. The one who interpretes looks at the particular, the one who translates looks at the relations with the remaining [...]. even translating is, like making music or poetry, like painting and sculpting, effort and longing to conquest and possess one's own reality».
- Giuseppe Penone, Rovesciare gli occhi, Einaudi, Turin, 1977