Manual Un uso qualunque di te (Italian Edition)

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Which type of viewing must we use to relate to mathematics? From which vantage point must we attempt to understand this universal science that dialogues constantly with the arts from the fantasy, irrational, and creative point of view? Mathematics is the vector employed by Monica Mazzone, who perceives Euclidean science as an obsession and attempts to create a world that contains infinity and perfection through logic, a world in which harmony succeeds in being rational and sublime.

Monica Mazzone develops a site-specific orthogonal projection by imagining numerical and mental spaces to be reached through equations she formulates herself, representing space on the basis of its representational possibility, intended as the option of creating a three-dimensional image.

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The result is a flat geometric form, the modular trapezium. The striving for perfection may seem obsolete today, in a complex and entropic era that has buried the great ideologies under the blanket of postmodernism, leaving ample space to subjectivity and narcissism, and an expressiveness that demands a kind of freedom without constraints. Mazzone takes personal issues that affect the ability of individual expression and the relationship between self and world as a point of departure. Nevertheless, she always determines some limits, restrains her radius of action and her tools. It is the choice of a disciplinary and specific commitment, based on the formalization of the process and on a deductive development, on the adoption of mathematical criteria that starting from a given hypothesis come to an unexceptionable conclusion.

It is primarily a use of processes of logical thought towards the plastic of rhythms and relationships.

This sentence by Max Bill perfectly describes the intent of the artist, that is, the will to visually convey the logical relationships that underpin her work. This rationality is reflected in the harmony and balance of the work, the result of an immediately perceptible consistency.

In the use of color—although normally the artist prefers shades of gray which she considers the equivalent in colour to silence—there can be detected a polysemic parenthesis, because the complementary opposition recalls the duality present in the real, and the less frequent use of gold alludes to the pictorial tradition. Starting from IL MINIMO, Mazzone takes a step further and presents a new series of Image-Objects that expresses the consistent evolution, focusing on the progress of a straight line, in its many representative possibilities, virtual or actual.

Explicitly referring to orthogonal or isometric projections, Mazzone creates continuous forms that represent the tipping space and—by matching the two-dimensional projection with three-dimensionality—incorporate in themselves their processing power.

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They are transcriptions of a conceptual process that is made concrete by describing a hypothetical but plausible dimension, mental and real at the same time. Or as in Elenchi, which mirror themselves, one being the negative part of the other; or even Proiezionesemplice2, a diptych that depicts, almost tautologically, the concept that underpins the whole ensemble works.

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Ideally these Image-Objects are part of a movement to approach perfection, they reflect a tension towards the absolute and at the same time a reflection, cool and detached, of their own relationship with the present. For the first time ever, the Merkur Gallery in Istanbul presents a project of an Italian artist with a solo show by Monica Mazzone.

Organized thank to the support of Bayer per la Cultura and Brera Fine Arts Academy, the survey gives a voice to the experiences of young Italian artists, whose ideas sometimes intertwined and overlapped, give back a kaleidoscopic and fascinating vision of the world, complex and never obvious. Our always-more-technological world is truly a negation of Art? This is why in my work, I always start from science. It is not death what the young artist is interested in, but on the contrary, the deepest mechanisms that regulate life, that make it stable, durable, continuous, and may be eternal…. And precisely bubbles are at the center of other two installations.

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A machine to produce soap bubbles based on a chemical component that makes each bubble to live longer. The ephemeral the soap bubble that becomes durable. It is a long a shiver without an end the one that accompanies the viewer, who in the space of the gallery, moves among the visceral works by Monica Mazzone, among her artistic-scientific researches of an impossible stability. Against the always lurking chaos.

The glass is the microcosm, the plants are the macrocosm that found the strength to stabilize in an apparently hostile, inhabitable environment. Because life have to be preserved may be forever. Or almost…. Get started. Try the Kindle edition and experience these great reading features:. No customer reviews. Share your thoughts with other customers. Write a customer review.

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