the inner outside (bivouacs) – friday, july the 18th, cas
artists: Giuseppe Abate, Gabriele Arruzzo, Mattia Bosco, Enej Gala, Gola Hundun, Christian Fogarolli, Andrea Grotto, Filippo Manzini, Tiziano Martini, Cristiano Menchini, Michelangelo Penso, Mario Tomè
On Friday, July the 18th, with the inauguration of the collective exhibit “The inner outside (bivouacs)”, the Nuovo Spazio di Casso definitively reopens to the public. The exhibit sees the participation of 12 different artists, and develops a series of reflections about the relationship between inner and outer space, between natural and artificial environment, between landscape and construction, between models of the research and of the exploration in the high grounds. The theme of the bivouac is faced from various perspectives linked, time by time, to its most pragmatic variations of shelter in the wilderness, and to more abstract meanings of its metaphorical and conceptual value and significance. The exhibit will be viewable until the 31st of August and, during this period of time, it will host some educational groups and workshops.
The bivouac is a small inner space, minimal shell, which is placed outside. A survival cell. Advanced camp, from which the immersion in the outer space is prepared, an ascent. In the shelter-space, placed high up, at full contact with the atmospheric environment, waiting becomes an habit, and action is set up. Spatial, mental, existential frugality: a thinner diaphragm between the fluid outside, often highly aggressive, and the sheltered setting, inside which the gear is surveyed and the attack is planned, isn’t possible. A chamber full of purpose, certainly not a bed. It is from the minimal inner space, subsistence, loading, that the exploration of that vast, unstable, unknown outside, is prepared.
Each of the utilized spaced, rethought by DC, is some sort of camp, post, bivouac. The large spaces (sites, factories, pavilions), are either way minimal settlements, compared to what looms outside, attack settlements, base camps, transitional locations. These are settings that are stolen from the systematic environmental hypertrophia, that is natural, vertical and tends to overpower them.
From inside these built, artificial spaces, what happens outside can be observed, and one can take off to explore it, and to become part of it (the artist doesn’t represent, but interacts with the identities, makes identity), and then transpose it in that inner setting. At the same time, it is impossible to keep it completely outside, this dominant environment, which penetrates through cracks and walls and distils along drips, roofs and glasses, and the winds, static and moving, clash against each other, a sky and a cloak.
The architecture, this, is what one brings along, critical filtering space, deliberate, which establishes, insinuates, and measures relationships, this way re-making the space, which is never autonomous from the gaze, the action, if it wants to be a meaningful space, and acting it is necessary.
The relationship between the inner and the outer continuously carries itself out, in the glance over a thing, conjured and translated, in the action of a thought on the object and the environment, mediated and transcribed, in the research of the alignment, or the overlapping, or the canon, or the waste, or the fracture. And not one of these position is a mimesis, or a description, or a painting. The paintings do not exist, but the action fields do.
Photogallery of the opening
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