SPOLETO – it’s called Artificial art technology the project which Carla Fendi Fundsdriven off Maria Teresa Venturini Fendi, gifts from June 24 to July 10 in Piazza Duomo in Spoleto for 65th edition of the Festival dei Due Mondi, of which the Fund is the Main Partner. Once again the dialogue between art and science / technology it represents an ideal combination to read and recreate the complexity of the contemporary.
Main character in Art on the wall‘s this year the artist Daniele Puppi as, on the facade of the seventeenth century Caio Melisso Theater Carla Fendi Spaceproposes a photographic work with great intensity and visual impact, made in 4 copies in 2004 for Lisson Gallery in London and now in Private Collectionswhose relevance is confirmed today both in terms of aesthetics and conceptual implication.
“In intervention by FRAGENTO FATICA N. 26, with a three-dimensional effect by Daniele Puppi, who through the representation of a giant hand of the artist supports the facade of the Caio Melisso Theater – he claims Maria Teresa Venturini Fendi – personally I read a desire to ‘capture’ and preserve the heritage of ancient art, food sources for the future, to want to reiterate that there is no culture without a past“.
But it’s the same Daniele Puppi to talk about the re-actualization of this work. The interview is also an opportunity to understand the artist’s work, which since its debut proposes a personal resemblance and reconfiguration of the space, with the aim of loosening the consolidated idea within the Euclidean coordinates, and thus inviting the viewer / guest into a new multi- sensory dimension.
How the meeting with the Carla Fendi Foundation took place. Why did you decide to re-present a 2004 work, and how does it fit into this specific context?
When Maria Teresa Venturini Fendi asked me to think of a picture for the Caio Melisso Theater, on the occasion of the Festival dei Due Mondi, the idea fascinated me and I gladly accepted the collaboration..
After seeing the facade of the theater, I chose as a picture the fragment of an installation from 2004 with the title Fatica 26, which seemed to me perfect in shape, color and size. Moreover, despite her 18 years, in this context she is surprisingly contemporary to me.
What does Labor really consist of?
Fatiche is sound, rhythm and disproportion.
You create multi-sensory environments where sound plays a relevant role and is also often stressful. I am thinking, for example, of installation Breathe as you presented in 2017 at the Borghese Gallery. What is the message you intend to convey?
The spirit (energy) overcomes matter. The goal is to arrive at the unique, essential gesture that disrupts the habit of seeing, perceiving, feeling.
When it is said that you tend to undermine the idea of space, then is it in this sense?
Exactly. Abolishes the idea of spatial perception as it is normally thought and known. To break the “assimilating gaze of habits.”
What do you mean by “work in regression”?
Remove and remove again, get to the essence. To the extreme synthesis available to all.
Does this also presuppose for you a special visceral, almost “carnal” contact with the space you are in?
I consider space to be “animated” with its own essence that must be perceived with all senses well warned.
Is space, perception, sound the essence of your work?
I would say yes, along with the picture and something else.
What else comes into play?
The uniqueness of the viewer.
What are your sources of inspiration?
My dizzying perception of everything around me.
As a techno artist, you have also made an entry into the world of NFT. Is it an experience that fascinates and involves you?
I’m fascinated by having thousands of images and video clips in the archive. Who knows then …
Do you think the future of art can be in the metaverse?
I do not hope. I like to stick my tongue in my mouth.
Returning to Spoleto’s work and the giant image of the hand that appears to protect the building. Is it important for you to preserve the past in order to build the future?
Past and future, the hand protects both.
What do you think is the purpose of an artist?
Keep searching for an impossible formal synthesis. Maybe.