THE SPRING OF ARCHITECTURE
Meetings, exhibitions, events
ORDER OF ARCHITECTS IN THE PROVINCE OF DUBROVNIK
Third appointment
THE DRAFT RESTORATION AND REUSE OF MONUMENTS
May 22, 2010
VITTORIA (RG)
EVENTS Sebastian
Mortellaro / apple Salem / Aldo Taranto / Stefania Zocco
COLLATERAL PLACEMENT
civil protection cooperation
When the invitation was addressed to our participation as artists to your third date - “Progetti di restauro e riuso dei monumenti” – ci siamo concentrati soprattutto sul sottotitolo della manifestazione – la gente incontra l’architettura, l’architettura incontra la gente – partendo dal concetto di Centro storico come spazio ereditato su cui l’architettura è chiamata a misurarsi con prudenti progetti di restauro di monumenti in funzione di un loro riuso. Dunque lo spazio ereditato come spazio delle relazioni umane e il riuso di alcuni elementi presenti in esso in funzione dei mutamenti: di qui Collateral placement, costruito come sequenza percettiva il cui primo atto è il posizionamento nel centro storico di tende ministeriali della protezione civile per le emergenze, posizionamento nevralgico di un flusso di relazioni deviate su una direttrice forzata da un’ipotetica necessità, che si conclude con l’atto, primario per la sopravvivenza, del mangiare che si svolge nel campo della protezione civile e a cui sono stati chiamati gli architetti partecipanti al convegno e la gente del luogo. In secondo luogo, il progetto di riuso dei monumenti: la nozione di riuso non è affatto neutra. Serve a tal proposito citare “Primo intervento”, un lavoro su Montevergini, museo d’arte contemporanea di Siracusa condotto da Sebastiano Mortellaro e Stefania Zocco, a cura di Francesco Lucifora e Aldo Taranto
Il commento
Collateral placement merita un commento. Posizionamento collaterale a due ordini di realtà: what is lost and anticipation that awaits us. The very idea of \u200b\u200bmodernity is that of a continuous dimension in which past and future coexist intercepting them. This is the side that in some mysterious way is at the root of things we look at the reality and we're already in another reality. You can never say "this is behind us, no longer belongs to us", or "this is before us, is not real." We are always in these two orders of reality: what is past and anticipation of the future. This also applies to the living, that is for the building, which are fundamental modes of existence man.
space relations
The horizon of theoretical and practical art of this decade is based largely on the sphere of interpersonal relationships. As artists we were interested to test their own reporting mechanisms within a community, particularly in relation to space inherited. No coincidence that we wrote in the introductory text that resists what is imprinted in the historical centers relational. Constructed a sequence of perception it has functioned as both a production machine of meanings. One question facing the artists, but not only artists, is how can I live in reality? How to position myself in front of the lost object, the past, and at the same time to face the future, anticipating it? It 'clear that the reflective structure must be set to change, on the changing perceptions.
on changing city
There must be a difference between things that are changing and becoming. Becoming is not the same thing as bringing change, not impose it on people and leave them no way to escape. Cities change quickly in confusion and there is an erosion of their characteristics. Work on the future of a city it means to have acute awareness of his identity, identity on which to orient the changes. Becoming decide than the one before giving way to an architecture drawn from a preliminary thought, from the concept.
Collateral Re-use of monuments placement chooses the concept that arises in relation to the context in and conflicting position that is why we can define a non-event as opposed to so-called real events. Along the same line, "First aid" - designed by Sebastiano Mortellaro and Stephen Zocco in April 2010 to Montevergini, Galleria Civica d'Arte Contemporanea - it worked like device put to the test context. The concept of reuse of a monument is not neutral, must show itself. It is not only a change that is required but a mutation: the place is completely different meaning, especially in the case museum of contemporary art. The choice must be considered as a part of the city as a whole urban indoor / outdoor. Thus the two artists in "First aid" carried out with the tools of an institutional space in place of demoted a discussion which compares with reality. Instead of completing their work space, dismantle, rather than interpret the symptoms, a scene of rubble and reconstruct a new prohibitions to be testing more attractive conditions. Going beyond the contentious issue for the state of abandonment, the museum's "First aid" flap, according to its critical attitude to contemporary art, the design of museum as a static site to test the move towards new subjectivities more responsive to current social processes characterized by a gradual breakdown of boundaries in all areas. Free up space, opening up clogged passages and windows closed, returning memory to the museum, new circuits have been emitted energy and new intersubjectivity. Montevergini at that moment becomes a work in progress both material and immaterial, and this proves that better conditions produce appropriate responses and the interpretation of symptoms alone does not produce appropriate adjustments. Too many "stock" and too many "waste" for a museum of contemporary art: how to build the detector in negative effects sometimes produces side art. The two artists with "First aid" are put to the test critically the museum, its identity and its history: in a constant size between retrospective and anticipation at the heart of stature. The real
tells the real
Collateral placement in its materiality was reflected in a field of civil protection facilities, with its men, equipment, instruments: a focal position in the heart of Victoria, a confluence discontinuity in legislation, of being an emergency, a forced necessity. A position facing the existing and anticipates the future: not a metaphor to say something through un’immagine, ma la tautologia del reale che racconta il reale. Lo spostamento, la deviazione riguarda più che altro la percezione di quel che vediamo, ciò a cui assistiamo e partecipiamo, dal sensibile all’immateriale. Come immateriale è lo spazio delle relazioni, il sistema di chiusure e di aperture su cui si modella l’intersoggettività.
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