CamerAptica [1]

2009   Concours Internationaux de Bourges, Bourges, FR
2008   Simmetria Personale, Fabbrica Borroni, Bollate, Milan
2008   Spazio Visivo, Palazzo Libera, Villa Lagarina, Trento, IT
2007   Festival della Creatività, Fortezza da Basso, Florence
2006   Camerae Pictae, V Biennale Postumia Giovani 2006, MAM, Gazoldo degli Ippoliti, Mantua


Installation         Paolo Cavinato
Suond                 Stefano Trevisi
Writing                Anna Strada
Voice                  Giulia Mirandola

metal structure, object of paper, nylon

audio 5.1 stereo
300 x 700 x 270h cm


Within a frail structure several geometric solids are suspended and distributed in the space apparently without any logical order. If seen from a single view-point and following the idea of a subtle alchemy of the eye, these objects form a furnished room.
The basic idea is that every object has some openings, that is to say, evocative possibilities, possibilities to go beyond itself.
Inside the structure the objects are suspended as particles of imagination that gradually develop into a real representation (the room), in which the point of view is established: it is the order of things, beyond which the viewer only perceives a chaotic crushing.
At the beginning I started from the idea of relating the vision of man with the vision of the “Everything”. God (as a Universal entity) is the Everything and his eye embraces everything because, in everything, everything is possible; every angle may open up different worlds. The human eye is confined in that small constructed hole. What you can read inside is a room that is completely precarious, fragile, weak, light, eternally transitory.
The word originates in form of syllables, derives from the creation of a blend of sounds and noises… it is the language spoken by man that then defines and conceptualises the things and the objects created by man; the name conveys a spirit and a sense to the object. The object starts its own life and its own sense of existence and the objects of everyday life acquire a halo of mystery. The objects seem to reveal an intrinsic “power” and the representation becomes an “Event”. This is the creation of an Aptic space that dissolves the three-dimensional space of figuration and the logic temporal sequence of narration.
It goes beyond perspective, which means Perspectiva, i.e. seeing clearly, operating a process of rationalisation of vision. The viewer now is not only involved as a point of view, but also immersed in a total, palpable space, where the sight completes the other senses. Beyond the view-point, beyond that small window, everything appears multifaceted and crushed, but other visions emerge with the sound, a universe consisting of Words and Names.
This sound installation intends to recreate a stratified structure, in which the acoustic materials are treated according to different degrees of processing and consequently of intelligibility. The basic material is a text (perceivable from an only “listening point”), which, on one side, is recited so as to create different degrees of distortion of the phonetic material and, on the other side, is fragmented creating different degrees of “detachment” from the original material. The acoustic material undergoing an extreme level of processing acquires an abstract character, de-contextualised from the original meaning, and is spread outside the structure; the intermediate levels showing recognisable traces of the starting material are placed in borderline points of the structure, thus creating a gradual intelligibility path that progressively increases as you approach the “Listening point”. The questions founding the “place” emerge and open up a path that is not situated in time and space, extensive, but intensive.


[1] Deleuze describes a tactility that affects all the senses and suggests that the eye itself can have this function that is not simply optical.With the notion of the artistic experiencehaptic space is no longer subject to theobjective temporality of the narrative, but thetemporality of becoming, of physical and psychological processes of perception. So the spectator's activity is that of reception, but theperception, which plunges him into a haptic space.




1 - CamerAptica (drawing), 2006 2 - CamerAptica (drawing), 2006 3 - CamerAptica (drawing), 2006 4 - CamerAptica (drawing), 2006 5 - CamerAptica (drawing), 2006
6 - CamerAptica - Fabbrica Borroni, Bollate (Milan), 2008 7 - CamerAptica - Fabbrica Borroni, Bollate (Milan), 2008 8 - CamerAptica - Fabbrica Borroni, Bollate (Milan), 2008 9 - CamerAptica - Fabbrica Borroni, Bollate (Milan), 2008 10 - CamerAptica - Fabbrica Borroni, Bollate (Milan), 2008
11 - CamerAptica - Fabbrica Borroni, Bollate (Milan), 2008 12 - CamerAptica - Fabbrica Borroni, Bollate (Milan), 2008 13 - CamerAptica - Fabbrica Borroni, Bollate (Milan), 2008 14 - CamerAptica - Fabbrica Borroni, Bollate (Milan), 2008 15 - CamerAptica - Festival della Creatività, Florence, 2007
16 - CamerAptica - Festival della Creatività, Florence, 2007