Artistic Gymnastics, Breath (Self-design),
When time ceases to be “a company asset” (Don De Lillo), we can “waste time” and find in lost time all the infinitely small things to which we normally do not pay attention, but thanks to those we are, like breathing, for example. The breath to appear to us requires the renunciation of “deceiving time” because, vice versa, it lies in the truth of time. In order to touch it, it is necessary to dispose oneself to the monotony, or rather to follow the difference in the repetition of the same, because the breath, in its cyclicality, is the place of a different repetition.
This work is thus born from letting oneself be dragged into a useless, suspended and dilated time like that of today, through a repetitive action such as tracing: always the same and yet always different.
As an exercise of inexperience, tracing deprives itself of any aesthetic dimension and opens itself to the non-performing nature of its making: you don’t have to be good at tracing.-In the case of an application that is slowed down because it is inoperable – what would be defined as a “cure”- tracing marks an interest fuelled by the marginality of the gesture and its results.
John Cage said that “if you want to get an idea, you have to do something boring.”
1) Choose a window (Figure 1)
2) Print and tape on the window pane the matrix (attached) containing the text breathe in – breathe out corresponding to the two opposing phases of breathing (Figure 2).
3) Overlay, holding it with one hand, a white sheet or a sheet of paper of your choice
4) Using the other hand, trace the writing with a pencil, a pen, a marker or with the tracer that is more congenial, taking care to start from the beginning of the text to the end so to trace the continuity and the repetition of the movements of inhaling and exhaling (Figure 4).
5) At the end, move the sheet slightly and start over again obtaining a second track, and then others, and many others for a duration x, all similar but never coincident. In fact, each breath never overlaps with what came before and what will come after. (Figure 5)
6) One should not worry about uncertainties, interruptions, smudges, because the sign, like the breath, finds its humanity in its panting, in its coughing, in its stumbling. With its irregularities the sign will resemble you. (Figure 6)
7) The outcome will probably see the starting writing disappear or perhaps it will keep a faint trace depending on the insistence and repetition of the tracing, but the form, perhaps even and precisely in spite of its semantic recognizability, will contain the breath of your time and therefore its truth.
The topics of the negotiation and the laziness are the main focus of his work. Hi is co-ideator of the research projects: Roaming; L’ospite e l’intruso; riss(e –R + S / AK; Dialogos; Prière de Toucher;, Abitare un ritardo; Camminare l’orizzonte; Doppio Stallo; Walktable and Walkabout; Strabismi. The main exhibitions are: Assab One, Milan; Cabaret Voltaire, Zürich; Musée Cantonal Des Beaux-Arts, Lausanne; Current Space, Milan; Doubleroom, Trieste; Dust Space, Milan; Ex Szeemann-Archive, Maggia; Forum Stadpark, Graz; Fondazione Fabbrica del Cioccolato, Blenio; MACT/CACT, Bellinzona; Mestna Galerija, Nova Gorica; MNAC Annexe, Bucharest; Musée Saint Denis, Paris; Museo Riso, Palermo; Nowhere Gallery, Milan; PrimoPiano Gallery, Naples; Spazio 425, Genova; Vitrina Deniska e Galerie Caesar, Olomouc; Triennale di Milano; 91 mq, Berlin; LATO, Prato; Kunsthalle-West, Lana, Bozen