Download Catalogue - Paola Anziché

of work are marked simultaneously, in the hundred
drawings that reproduce pairs of old worker’s
gloves on the pages of the Houston Chronicle.
Alone or paired off, all of them different in
their residual, gestural quality, those gloves are
casts, in a twofold sense: a cast of the hands they
used to contain, and to which they adapted, and a
cast of the matter and objects they have grabbed
and manipulated. Tracing casts: a method that, at
the dawn of modernity, “… tends to become – as
stated by Georges Didi-Huberman – an æsthetic
paradigm, the thought of the sculptural process,
a procedure for incessant form generation and
plastic transformation”. 6
A pair of hands can be seen in more than one
work by Piscitelli; it functions as an exploration of
matter (the clay that gets manipulated in the video
Seize the Moment II), or an invention of possible
forms (like Lygia Clark did with her Bichos), 7 or
it creates lines that in turn spawn words or images
(as in the large sheets prepared by Alighiero
Boetti for his sign / drawing interventions). This
also happens in Unpacking, a series of videos
projected onto a wall made of boxes inside the
Singuhr-hœrgalerie in Berlin in 2009. Shadows
of hands, of the artist, and of people close to him,
write an elusive list of books – read, loved, lost,
forgotten – on transparent screens. The kaleidoscopic
architectures of memory take shape on
the screen. Once again after the Conceptual season,
through several generational passages, the
fleeting, unstable emotion of visualized thought
processes can be experienced anew.
The special projects
for Greater Torino
Giorgina Bertolino
Greater is an excellent word to introduce the
special projects that accompany the exhibition, integrating
and expanding its meanings and effects
beyond the exhibiting context. Greater is a large,
spacious place. This is the image we wanted to
suggest, and wish to associate with a city, Torino,
and its artists. At the same time, it can be an idea
and a key to interpret a research line peculiar to
the Fondazione Sandretto Re Rebaudengo which,
in its daily relations with the public, is strengthening
its role as a communicator and promoter of
6.
Georges Didi-Huberman, “‘Fissata a
sua insaputa in uno stampo magico…’
Anacronismo del calco, storia della
scultura, archeologia della Modernità”,
Ipso Facto, n. 1, May-August 1998, pp.
4-30
7.
The research of Paola Anziché, which
in Greater Torino interacts with that
of Paolo Piscitelli, has one of its crucial
points precisely in the interpretation
of Lygia Clark’s work
contemporary art, and has come to be the center
of a successful relational, educational, and social
project. Seen from this perspective, Greater
is an intensive place – bigger and, indeed, more
intense. The exhibition, itself the mirror of a geography
of contacts, research themes, and biographies,
expands until it becomes the occasion for a
‘workshop’ of practical activities and reflections,
open to both young people and adults, students,
regular attendees, and visitors. The presence of
the two artists was an opportunity to develop a
program aimed at turning their works, themes
of interest, and research projects into as many
training fields for thoughts and actions.
The project rests on the application, tested
over several years, of cultural art mediation – a
conceptual and ‘methodological’ space where
the Fondazione has welcomed and met the adult,
non-school public ever since the opening of its
Torino seat in 2002. It aims at offering two workshop
spaces to express, elaborate, confront, and
socialize personal perceptions, information and
opinions. In keeping with the theory and practice
of Lifelong Learning, it also aims at eliciting the
visitors’ active participation, putting value on individual
resources and different learning styles,
and offering them to a small, temporary community
as a subject of confrontation.
Trans-formare by Paolo Piscitelli and Ingombri
by Paola Anziché are the workshops organized
for Greater Torino. They will take place during the
exhibition, and are the result of a shared planning
experience that saw the participation of artists
and of the Fondazione’s cultural mediators, plus a
group of students from the Laboratorio Multimediale
“G. Quazza” of the Facoltà di Scienze della
Formazione, of the Accademia Albertina di Belle
Arti, and of some Higher Institutes of Art Education
in Torino. 1
Following the guidelines of cultural mediations
and the philosophy of the Educational Department,
2 the exhibition is presented as a living
space to be inhabited. A place of production and
expression, a place for doing and talking, not just
attending the usual ‘silent’ visits. The 1 : 1 scale
that acts as a background in the relationship
between the mediators and visitors, just like the
size of a student class, or of a small mixed group
including people of different age, origin and disciplinary
fields, are all ways of approaching and
1.
The students from the higher Institutes
are working within the Ars Captiva
project
2.
Although they operate within different
study areas, their mediation activity
and cultural mediation training is
strictly linked to the projects of the
Fondazione’s Educational department.
Aside from the frequent simultaneous
presence of both educators and
mediators in the exhibition spaces
during workshops for school classes,
they indeed have several other
occasions for sharing their work,
in particular in the Restituzioni
(restitutions), i.e. when they inform the
whole Fondazione staff about what
happened at every single exhibition,
analyzing it from the point of view
of the public’s and the students’
feedback. Another occasion for
sharing are the workshops intended
for mixed groups, including both
university students, young artists,
writers, musicians, designers, etc.
like the one held at the Fondazione
Sandretto Re Rebaudengo during
Glenn Brown’s personal exhibition
on September 30th, October 1st and
2nd, 2009
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