Archi di Dama
“Denn wer ist die Schönheit angeschaut mit Augen, ist nichtdem Tod anheimgegeben…….., wohl aber, so er die Schönheit der Natur angeschaut, diese Natur”.
Konrad Lorenz “Er redete mit dem Vieh, den Vögeln und den Fischen”
piper verlag 1988 s.21
Get a glass, better a crystal goblet or one with the stem and smooth surface, not decorated or engraved.
Fill it with one third of tap water.
Rotate it with a twist of the wrist as you would with freshly poured wine.
Place the glass in a clearly visible place, for example on a shelf, a table or a windowsill.
Rotate it every day by shaking the water until it wets the entire inner surface of the glass, then put it back in place and look at it.
When the water level drops due to evaporation, fill it again and start again.
Stop once the entire inner surface of the glass is coated with a thin, homogeneous white patina.
It may take a few months: watching the passage of time allows us to be aware that we have been part of it.
Giovanni Oberti, Bergamo 1982 Lives and works in Milan
He studied at the Carrara Academy of Fine Arts in Bergamo, where he graduated in 2006.
He has held several solo exhibitions in Italy and abroad including: La pelle degli oggetti, Galleria Milano, Milan, 2019; Laghi di aceto, TILE project space, Milan, 2016; Onorarono, Munich Kunstverein, curated by Chris Fitzpatrick, Munich, 2015; I fiori in tasca, Galleria Enrico Fornello, Milan, 2012; 8, with Elio Grazioli, curated by Chiara Agnello, Careof, Milan, 2010; Placentarium, curated by Marinella Paderni, Galleria Placentia Arte, Piacenza, 2009.
Among the group exhibitions we remember: Panorama, Fondazione del Monte, curated by Claudio Musso, Bologna, 2019; Dalla luna ai piedi, with Andrea Zucchini, Current, Milan, 2018; Toute première fois, 22 Visconti, curated by Francesca Napoli and Armelle Leturcq, Paris, 2016; The excluded third, included, curated by Postbrother, Emanuel Layr Gallery, Vienna, 2014; Veerle, curated by Chris Fitzpatrick, Fondazione Sandretto Re Rebaudengo, Turin, 2013; SC13, curated by Chris Fitzpatrick, San Francisco, 2010; Il raccolto d’autunno è stato abbondante, curated by Chiara Agnello and Milovan Farronato, Careof e Viafarini, Milan, 2009. In Giovanni Oberti’s work, time acts by accumulation, by stratification, it is memory, it is sedimentation of affections, it is unveiling. The artist shows this stratification, he makes it work, signify, make it his own, acting in the same way, charging with meaning what, around him, seems to correspond to himself, to his feeling and thinking. After all, he does nothing but collect what he calls to be part of his world and cover it with a veil, sometimes real, sometimes immaterial but equally perceptible. Oberti gives the object a sense of its own, autonomous, which returns changed to the sender, through the eye of the observer. Thus, even the observer, specularly on the other side of the production process, has deposited his dust, his humidity, his veil on the object.