In this intervention, the artist inserts into the exhibition space a simple geometric volume made of galvanized sheet metal that stands out vertically in the architectural context: the shape chosen is that of a square-shaped parallelepiped at right angles, 200 cm high and with a square stone of 30 cm at the foot of the volume; interesting is the hollow square slot at the top of one of its four faces, conceived by the artist as “a blind window that, however, visually creates the possibility of contact with the space in front”. It seems to me that the geometric perfection of the parallelepiped identifies the principles of construction and mechanical realization of industrial work, in contrast to the block of stone which acquires its rough shape through natural agents. In this way, the process of creating a work of art can be assimilated to that of an industrial object: by applying mechanical processing techniques, the artist transforms the material into a sculpture, but unlike an industrial product, the work of art is not defined as a mass-produced sculpture.
SCULTURA COME INTERPRETAZIONE DELLO SPAZIO NEGLI ALLESTIMENTI DELLA GALLERIA FUMAGALLI (2002-2012)
Capitolo IV
UMBERTO CAVENAGO
Tesi di Laurea di Michela FOLCINI
UNIVERSITÀ CATTOLICA DEL SACRO CUORE – MILANO
Facoltà di Lettere e Filosofia
Corso di Laurea in Archeologia e Storia dell’arte
Relatore Prof. Francesco TEDESCHI
Correlatore Prof. Kevin MCMANUS
Anno Accademico 2019 / 2020
Installation at "Castello di Rivara", Rivara, TO
In this intervention, the artist inserts into the exhibition space a simple geometric volume made of galvanized sheet metal that stands out vertically in the architectural context: the shape chosen is that of a square-shaped parallelepiped at right angles, 200 cm high and with a square stone of 30 cm at the foot of the volume; interesting is the hollow square slot at the top of one of its four faces, conceived by the artist as “a blind window that, however, visually creates the possibility of contact with the space in front”. It seems to me that the geometric perfection of the parallelepiped identifies the principles of construction and mechanical realization of industrial work, in contrast to the block of stone which acquires its rough shape through natural agents. In this way, the process of creating a work of art can be assimilated to that of an industrial object: by applying mechanical processing techniques, the artist transforms the material into a sculpture, but unlike an industrial product, the work of art is not defined as a mass-produced sculpture.
SCULTURA COME INTERPRETAZIONE DELLO SPAZIO NEGLI ALLESTIMENTI DELLA GALLERIA FUMAGALLI (2002-2012)
Capitolo IV
UMBERTO CAVENAGO
Tesi di Laurea di Michela FOLCINI
UNIVERSITÀ CATTOLICA DEL SACRO CUORE – MILANO
Facoltà di Lettere e Filosofia
Corso di Laurea in Archeologia e Storia dell’arte
Relatore Prof. Francesco TEDESCHI
Correlatore Prof. Kevin MCMANUS
Anno Accademico 2019 / 2020
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