PRECARIOUS STRUCTURES – Palinsesti 2009
Photographs, objects and sounds by Alessandro Ruzzier
Fondazione Ado Furlan, Pordenone
curated by Denis Viva and Roberto Del Grande
artistic operation Ruzzier presents in this exhibition breaks away from
consolidated definitions: it documents and simultaneously interprets the works
of other artists; it describes the transformation of the place and narrates his
presence there; it assesses the specificity of an image but it also
contaminates it through sounds.
Besides everything else,
Ruzzier's operation is the occupancy of the space and time in which the author
worked. The exhibition stages therefore a work period
marked by the precariousness of the project terms. Art objects that do
not belong to an apparently historic place, but perceived today as rather instable,
transform its meaning for a limited time. This transformation of the space in time presents an opportunity for Ruzzier to verify
the precariousness of the image, its degree of self-reference, and the degree
of technological memory it conveys. Ruzzier, an eclectic artist, plays with the
program photography gives him, and develops a
meaningful reflection on light, photography's basic component. And light, without which nothing would exist, becomes the
protagonist of his photos.
Natural light, penetrating through the
large windows of the Essiccatoi, creates objects as we see them. Light transforms the original setting in a place of art, it becomes a
photographic work within the boundaries of the program in which the
Yet, at the next stage, the
space of art transforms itself into sound, and then once again into image. The
camera's program is turned around with the use of a
soundtrack which, recorded during the setting up stage at the former Essiccatoi
"Bozzoli", is then transformed into a new image.
The artist records noises in digital format during the production
and setting up of the installations. Then, he elaborates the recorded
sounds dividing the sound spectrum and using low frequencies to generate specific notes which, sent to a waterproof woofer
immersed in water, create an image on the surface corresponding to the
frequency of the sound waves.
The sounds of medium-high frequencies are edited and recomposed as in sheet
music, as components of narrative poetics temporally following
the endless cycle of light. The noises, like the light, are filtered through a
recording instrument; they are extrapolated from the continuum of reality and then returned to us in the exhibition in the form of new
realities. The image is no longer a product of photography, rather of sound. Media are merged and blurred to recreate a space experienced by the photographer, in a given time and
space of the exhibition's project, and expanded in the recreation of the
artistic project in the exhibition hall in Pordenone.
Roberto Del Grande