"like a tube after a long period makes the scent of the essence that there was contained a day, so even though some items retained some vague part of the love he had so penetrated and illuminated the fantastic lover." (Gabriele D'Annunzio, The Pleasure)
"(...) was conducted in a small valley between two mountains istretto / gearbox was admirably where / what is lost or our defect, or because of time or luck: / what gets lost here, there is Raguna / The tears and the sighs of lovers / unnecessary time is lost in play, / and the long idleness of men ignorant / rooms designs who have not ever spot, s are so many vain desires, / ingombran that most of that place: / what ever you lost down here in sum, / climbing up there you can find again. Ami gold and silver seen below / in a mass, which were the gifts / that fans with the hope of reward / kings, the greedy princes, and patrons / see hidden laces in garlands, and asks, / and heard that they are all flattery. / The cicadas have erupted image / verses praise of Mr. ch'in is doing. Nodes of gold and gems strains / c'han seen as the bad followed loves. / Eagle's talons were there and that they were, I knew, / authorities will give unto his lords. / I have filled the bellows ch'intorno Greppi / fumes are principles and favors / giving time to his Ganymede, / that it van with prime-age onwards. Of cities and ruins of castles / sozzopra stood there with great treasure. Question, and knows that they are treated, and the plot so badly that it seems that hides himself behind. / He saw snakes with damsel's face, / and coiner of the deed of robbers: / bowling then saw more broken fortunes, / who was the Servant of the poor short. (...) He saw great numbers of snares with viscosity, / who were, or women, your beauty. / Long will be, if at all to weave / things that fur there demonstrating; / after thousands and thousands I did not finish, And we are all to our occurrenze: / G madness there is little or much; / who is down here, or if they never part. (...) It was like a suttile liquor and soft / act to exhale, if not taken properly closed, s could be seen gathered in various vials, / What more, what less capable, capable of that use. / That is most of all, in that the neutral / Anglante was the great lord of wisdom infused, / and was known by the other, when / he had written out: Sense of Orlando (the story of a vial). And like all the others they had written yet / the name of who was the color of wisdom. / Of his most saw the ex-Duke, / but they did much more than the Marvel / drama that many had hoped he miss / do not have one, and there Denno / fair notice that little Lifted, / that much amount had in that place. More in love loses it, in other honors, from others in Search, scroll on Tue, riches / the hopes of others' Lord, others behind the magic nonsense; / others gems, others in deeds of painters, / and others in nothing but more like getting on the other. / Astrologers of sophistication and harvest, And still there were a lot of poets. "
(Ludovico Ariosto, Orlando Furioso rooms, Canto XXXIV.
Stefano Pasquini
The veneratio Ariostea in the moon. Elegia all romantic ' ubiquitous eternally repeated
Edited by Patrick and Francesca Silingardi Pincelli
17 January to 28 February 2009
vernissage Saturday, January 17, 2009 19:00
tells Louis Ariosto reason that the search for the lost dell'Innamorata Orlando (enclosed as distillate in an infamous vial), the knight Astolfo dell'Ippogrifo on horseback, arrived in a phantasmagoric Luna portrayed as a chaotic cesspool Shem where are collected all the things that have been lost on Earth. Sort of grand dump objects close to rejection and oblivion, the moon lends Ariostea homology with the disastrous depths where the postmodern aesthetic Stefano Pasquini is aimed to select the "raw material" that will go to the artifacts . Curious similarity to the tube described by Ariosto meets Duchamp's masterpiece 50 cc Air de Paris (12/27/1919, readymade - glass bulb, the original broken and repaired replication provided by Duchamp, 1949, Philadelphia, Philadelphia Museum of Art, The Louise and Walter Arensberg Collection), emblematic work to the understanding of the section of works which were chosen for this exhibition . The immense artistic production Stefano Pasquini, the ability to contain the uncontainable, the taste for those objects abstruse ambiguous, slightly surreal, in which condenses an excess of meaning and significance, is the excuse to tell his aesthetic temperament and marginal differs from the forward-looking research and post-punk kitsch that characterizes much of his work. In particular it is a series of assemblage catturapolvere and the limit of the sculpture, provocative accumulations of various objects, framing, graphic elements that are assigned the status of a relic, preziosimo and uniqueness. Duchamp permeated by a passion for reticence - not as understood as ambiguous silence but through silence - the selection of the work will be affected by emotional implications which preserve, emotional testimony and affection. Blank declared emblems of generation ("generation of Nothing"), not educated without reference to the avant-garde Dadaist, Surrealist, Situationist, Duchamp, and Warhol, they are objects, relics, which have benefited from time to time, the strategies recycling and use the second alternative aesthetics of refusal, an allure all dandy and proletarian, resigned and sought to proclaim a certain amount of disorder in which everything is placed on an equal footing. In particular, paradoxically nihilistic utopia in place, the noise of secular postmodern residue is sated in apparent silence, in the will and the occasion on which it is possible the implementation of the "religious" veneratio. Finally placed on the "pedestal" of the art, high rank, the objects, first unrecognized demythologizing, subjected to displacement and the distortion function, then appear as silent, no story screamed and picturesque, now prostrate with discretion and kindness to the veneration of the observer. And since they are subjected to the veneration of this statement is passionate and full consent to the fatal contingency of even the most humble subject, the diversity of his work to comply with a romantic elegy of ancient memory requested the disclosure of any kind of emotional content always sottogiacente unclean physical presence and immanence of things. At the highest point of his universe is the opposite of beauty and goodness commonly accepted, because the company captures the fascination with horror at the same time and inextricably trivial and serious, admittedly superficial but deep, deceptive and imaginary effective because vacuous, because indeterminate powerful, truthful ambiguous because the limits of reason.
Vetustaviacarteria60modena41100
Hours: Friday and Saturday 17:00 to 19:00 and by appointment
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