guillermo
anselmo
VEZZOSI
National Call for Argentine Pavilion of the 58th Venice Biennale
When time has stopped
This project was submitted to the National Open Call for the 58° International Exhibition of Art La Biennale di Venezia.
Renders of the project.
When Time Has stopped
In a flowing time, when the present is part of the flow, that before was future and that it immediately will be past (Schopenhauer), rethinking inspires us to put the individual, nature, the social context and the building of possible scenarios into debate, as a product of introspective questioning, always subject to new orders.
Guillermo Anselmo Vezzosi places himself among those artists that question us, asking us to think about those intercultural issues, whose consequences, ecologic among others, warn us. He uses scientific research and wonders about a past when the Earth was covered by water in relation to a future when the Artic Poles will disappear. Thus, within a thousand years, in this catastrophic scenario, Venice will have surrendered to the sea.
At the same time, fifty years from now (1868-2018), the intervention of the artist García Uriburu, in the Venetian Channel intended to change the conceptual view of the Biennial , emphasizing an actual standing dilemma ; not only does Vezzosi state the admiration of such emblematic figure but also the need to construct critical thinking.
Its immersive set up submerges us into a distorted winding vegetation, hugged by green waters, in an evocative way. The integration of the visitor into that reconstructed world (Bitgood-1990) offers the active audience the quality of main character allowing him to interact in the construction of new imagery, creating an illusion of place and time.
Gnocchini, Indiana
October 2018.
Renders of the project.
Detailed description of the proposal
It is an expanded version of the site-specific – mobile – whose “immersive installation” aesthetic includes a component of critical interpellation. It is participatory, functioning on a metaphorical level.
Its conceptual world of reference is a coherent whole with the integration of the visitor, a component “intrinsic to the work” (Hillier and Tzortzi, 2006). The perceptual-sensitive experiences of the spectator – actor allow reappropriation based on their interaction in real time.
Its dominant element is the line, which exceeds the limits of two-dimensionality, embodied in 5mm thick anodized aluminum wire. These lines create malleable meshes with which the volume is enhanced, giving life to the installation as a whole. Assembled on site, however they are made entirely in Argentina, in an artisanal way. The artist has significant experience in handling this material that he incorporated in 2012, a hallmark par excellence.
The installation is made up of 11 trees of variable dimensions from 3.5x3.5x3m at 0.3m from the floor to 6x5x3.8m at 0.4m from the floor, generating hidden rhythms. Distorted, they are invaded by undulating lines, which integrate sinuous patterns into the composition of the water.
The installation will be located suspended in the room, allowing an immersive and interactive sensation with the spectator-actor. The total dimension of the work is 37.5m long, 8.5m wide in the first sector and 4.7m wide in the second sector and 3.8m high.
Color is directly related to time and its symbology. The water in different shades of green evokes the work of García Uriburu, another possible time. The vegetation with tones similar to the cosmos: gold and turquoise, is based on the theories of F. A. Popp who demonstrated that dying cells emit light just like supernovae do.
Lighting plays a significant role in creating surrounding climates, emphasizing shadows and textures of the material, through projection into the context, being versatile to the lighting system present in the pavilion.