ART INSTALLATION "SCULPTURES IN THE OPEN AIR"

05 june – 01 september

Marco Bravura «RotoB». 2008

The intention behind this installation is to focus on the strength and value of re-use and salvaging. It is not only gold smalti scraps and a wheat by-product like straw that can be salvaged, it is much more than that, possibly the entire planet. We must learn the art of recycling-reuse-revaluation and above all reshaping our way of seeing things, so that we don’t let it simply fall back into obvious habits and routines. We need to revise our sight to stimulate our capacity to discover, see and surprise ourselves the way we did at the beginning of our visual voyage.

Questa installazione vuole attirare l’attenzione sulla forza e sul valore dell’azione di recupero. Non solo vetro e paglia da recuperare, ma tanto di più e forse un intero pianeta, apprendendo l’arte del riciclo-riutilizzo-rivalutazione, soprattutto del Recupero del nostro sguardo, così da non farlo cadere banalmente nell’ovvietà della consuetudine, stimolandone invece la capacità di scoprire, vedere e stupirsi che avevamo all’inizio del nostro viaggio visivo. 



Marco Bravura «Syma Recta». 2014

Terminal frame of the Greek temples. It mostly had a concave profile that became convex. A classic shape that I used to experiment with innovative materials in the field of mosaic, such as the Arch-Skin slabs.

Cornice terminale dei templi greci. Aveva per lo più un profilo concavo che diventava convesso. Una forma classica che ho utilizzato per la sperimentazione di materiali innovativi nel campo del mosaico, quali le lastre di Arch-Skin.

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Verdiano Marzi. Myth Of Icarus And Daedalus. 2008

Icarus and Daedalus, what are they? Wings, arrows, leaves in the wind? Or flip out kites, though they remain attached to the land, from which they come from, through a kind of umbilical cord, represented by the twisted rod that supports these mosaics with sculptural vocation.

Icaro e Dedalo, cosa sono? Ali, frecce, foglie al vento? O aquiloni impazziti, sebbene legati alla terra da cui provengono da una sorta di cordone ombelicale, l’asta ritorta che sostiene questi mosaici con vocazione scultorea.


Миф-о-Дедале-и-Икаре-min.jpg

Marco Bravura «Nautilus». 2021

Ammonites spiral shells, first appeared during the Middle Devonian Period, around 400 million years ago. Their size varied from 2 meters down to 2 cm in diameter and derived their name from ancient Egyptian god Ammon. Being considered “divine”, they are famous for conforming to the Fibonacci sequence, also known as the Golden Ratio, Sectio Aurea. This form has traces of geological age, so on one side I have used only different types of marbles and for the other side I have used all sorts of materials: gold, mother of pearls, smalti, glasses, murrine and much more.

Gli ammoniti apparvero per la prima volta durante il periodo del Devoniano medio, circa 400 milioni di anni fa. Le loro dimensioni variavano da 2 metri fino a 2 cm di diametro e derivavano il loro nome dall'antico dio egizio Ammon. Essendo considerati “divini”, sono famosi per essere conformi alla sequenza di Fibonacci, detta anche Sezione Aurea, Sectio Aurea. Questa forma ha tracce di età geologica, quindi da un lato ho utilizzato solo diversi tipi di marmi e per l'altro lato ho utilizzato tutti i tipi di materiali: oro, madreperle, smalti, vetri, murrine e molto altro.

Марко-Бравура-«Nautilus».2021-min.jpg

Marco Bravura «Hidden Enchantment». 2014

My research has focused on the multiple use of a single form of tesserae, to create a mosaic where the idea of movement prevails, ever faster, stacking the tiles on top of each other. Many of my works derive from my admiration and observation of Nature: Inner Enchantment sculpture proposes the internal section of the Cerithium, a small marine shell in the shape of a slender tower very common in our coasts. In its spirals, admirably carved and created by the movement of the water inside, this tiny sea snail unexpectedly contains all the beauty and harmony that nature can express, following the code of golden proportions.

La mia ricerca si è focalizzata sull’uso molteplice di una singola forma di tessera, a creare un mosaico dove prevale l’idea di movimento, sempre più veloce, affastellando le tessere le une sulle altre. Molti dei miei lavori derivano dalla mia ammirazione e osservazione della Natura: la scultura Inner Enchantment propone la sezione interna del Cerithium, conchiglia marina di piccole dimensioni, a forma di torre slanciata molto comune nei nostri litorali. Nelle sue spirali, mirabilmente scavate e create dal movimento dell’acqua nel suo interno, questa minuscola lumachina di mare racchiude insospettabilmente tutta la bellezza ed armonia che la natura sa esprimere, seguendo il codice delle proporzioni auree.

Марко-Бравура-«Hidden-Enchantment».2014-min.jpg

Nane Zavagno «Stone Rose-window». 1986

Born in 1932. His activities (painting, sculpting, mosaic art architecture, Op Art, etc.). His works have been exhibited throughout the world. Throughout the second half of the twentieth century, Zavagno operated at the very heart of the artistic avant-garde: from his Informal painting of the 1950s to his use of anodic aluminum in the '60s and its role in the development of optical and kinetic art. In the '70s and early '80s, his modular structures were exhibited in Paris alongside Victor Vasarely, Jesus Rafael Soto and Hugo Demarco. In the '80s and '90s, he turned his attention towards conceptual art. The «Rosettes» were born in 1965. «When I took my students to the banks of the Tagliamento, - remembered Nane Zavagno, to collect stones to use for raw material… On their way back to school, I encouraged them to consider how the pebbles taken from the river could be transformed without necessarily having to be fractured. Thus, was born our problem: how to create work using a primary substance found on the banks of a river that exalted, to some extent, the nature of this stone or its original location. It was necessary not to fall into the trap of portraying an animal, a flower, a tree, a house…It was about finding a significant primary form to correspond to the pebble (the primary material); I took a stone, threw it in the water where the current was calmer and asked the students to observe the concentric ripples that spread, multiplying themselves. Thus, arose the rosettes. But I did not invent either the circle or the stones».

Нане-Заваньо.-STONE-ROSE-WINDOW.-1986-min.jpg