Capitolo primo. L’astratta qualità del ricordo. (Chapter one. The abstract quality of remembrance).
- Pier Giorgio De Pinto
- Capitolo primo. L’astratta qualità del ricordo. (Chapter one. The abstract quality of remembrance).
Capitolo primo. L’astratta qualità del ricordo. Chapter one. The abstract quality of remembrance.
Wood, iron, acrylic glass, rubber, paint, marker, drawing, pyrography on wooden chair, solar lamps.
Exhibition In(de)finiti luoghi. Utopie architettoniche e realtà artistiche.
Museo civico Villa dei Cedri, Bellinzona, Ticino, Switzerland. March/August 2017. With Pier Giorgio De Pinto, Guillaume Estoppey, Pascale Favre, Joëlle Flumet, Luca Frei, Sébastien Mettraux, Yves Netzhammer, Tobias Nussbaumer, Camille Scherrer, Jérôme Stettler.
Curators: Carole Haensler Huguet in collaboration with Karine Tissot.
The structure is in a very precise place of remembrance, some private and simple glimpses of domestic life, of which it becomes an impressive presence but, at the same time, a precious one.
This open chamber, which is accessed along a gentle flight of steps, invites to the difficult passage between meditation and contemplation; a path that leads us to rediscover and to live our intimate simplicity.
Despite living in a world of fullness we are always hungry. Hunger that we can only fill if we empty it; essential oxymoron to enjoy the intimate joy of taking time.
Only there we will find that “condition of complete simplicity” as well as reminds T.S. Eliot, in his Four Quartets (Little Gidding V).
It is the poetry of the slow walk, the one that induces to the entrance, to bring some rest to us, for a moment, letting, initially, carried us by vivid memories and immediately after that dwelling in an interior simplicity.
Necessary exercise to be able to get out from that chamber for contemplation, with a renewed sense of life; to, again, enjoy a conscious here and now.
Pier Giorgio De Pinto on the occasion of the opening of In(de)finiti luoghi at Villa dei Cedri Museum, Bellinzona, Switzerland, 2017
“What might have been is an abstraction
Remaining a perpetual possibility
Only in a world of speculation.
What might have been and what has been
Point to one end, which is always present.
Footfalls echo in the memory
Down the passage which we did not take
Towards the door we never opened
Into the rose-garden. “
Thomas S. Eliot, The Four Quartets, Burnt Norton I.