Luigi Viola / Paolo Fassetta

Luigi Viola and Paolo Fassetta - Fragments of Inner Space “Frammenti di uno spazio interiore” (Fragments of Inner Space, 1980) by Luigi Viola and Paolo Fassetta is a good example of a collaboration between two different artists. The video is filled with images stirred up from the interweaving of reality and imagination. Such images, collected in the mental space of the story, change according to the changes of perceptions and moods. The poetics of body expression and the matter, freely floating in the empty space, do come up in a state of harmony with nature. Luigi Viola Born in Feltre (Italy) in 1949, Viola currently works in Venice, he has taught Painting at the Brera Academy in Milan and at the Venice Academy of Fine Arts. His background is in classical studies and a laurea magistralis in Literature and Art from Padua University. He is the co-founder and editor of several art reviews e.g. "Informazione Arti Visive" in Venice, "Creativa" in Genoa, "Artivisive" in Rome, and "Qnst", also in Venice. He was a pioneer of videoart in Italy. In the early 1970s he used the avaliable media that was offered by the conceptual explosion of those years (visual writing, photography, video, live performances) winning wide international acclaim for his personal lyrical narrative interpretation. But by the mid-1970s, he turned his attention back to painting. His paintings, however, are influenced by the artistís previous experiences. (Text from Rewind) -> Homepage of Luigi Viola Pier Paolo Fassetta Pier Paolo Fassetta was born in Venice in 1948. His photography is influenced by Italo Zannier and Luigi Veronesi. In 1969/1970 he participated in two editions of the Young Artists exhibition at the Galleria San Fedele, Milan. He graduated in architecture in 1974. -> Homepage of Paolo Fassetta VISUAL SEQUENCES by Paolo Fassetta "The images invade the spaces of the canvas, fragments of the cadences of a rhythmic system like standard components of a rotating print-out in quadriform. As it develops the sequence measures the time and the space of the event: the picture in itself doesn’t matter, but rather its being a part of a design which reproduces itself incessantly in an unquiet possession of nothing, slowed in its development of foreign fragments of “presence”, part of a remote discourse capable of recalling other dimensions, not homologous with the original characteristics of the product. Almost an index of graphic formulas designed to form a newly organised linguistic system made up of signs and colours which offer composite rhythms, constant in their development, indecipherable in their cold fluidity. The only temporal dimension that they allow is the present, a unique and unrepeatable moment which responds exclusively to a selective programme of images, each similar to a photo of a cinematic film, always similar to itself printed on a completed tape destined to ultimate destruction. The eye observes this group of sequences which depict themselves as rhythmically modulated entities, rules and limits of a system of electric controls indecipherable in their infinite combinations, but potentially approaching a status of a work of art at the moment in which it must reveal a natural universe irredeemably changed by human action, but still charged with emotion and restlessness due to an unrevealed nomadic nature. The observer feels himself to be only a marginal variable of a larger process modelled on a negation of memory, on its inability to reproduce itself, on the generative casualness of its form, on the loss of an adequate communicative syntax, like an inhabitant of a vague metropolitan territory where “presence” defines and indicates a dimension that animate a world without a history." (Artist Statement from

Curators' Special

Part of the curatorial selection of Elisabetta di Sopra