Don't Trust Me
Variable Intensity Rain Gradient Aloft (Virga)
Newman Popiashvili Gallery
Francesca di Nardo
1. Francesca di Nardo (a cura di), Alberto Tadiello, KLAT magazine, n.1, inverno 2009-2010, p.101-105
2. Germano Celant (a cura di), Gilberto Zorio, Hopefulmonster, Torino 1992, p.32
AF: You said about your work: “There is no possibility of permanence. Everything collapses (…): leans, falls or wears out. I often use these dynamics, (…) I am interested in them”. And again: “I want that it moves by itself, that it deteriorates, (…) or that it continuously changes”1. Gilberto Zorio stated: “I am someone who sets off a mechanism and the image feeds itself”2. Do you feel in a sense part of a specific way of conceiving art? I am thinking of Process Art…
AT: My works are often centred on the possibility of showing a change, a movement. I think there is a sort of bond, a common historical background with artists such as Zorio, Anselmo, Merz… we are maybe united by a view towards landscapes, forces and poetic dimensions that create a geography, a territory, a place that for many aspects has similar and analogous characteristics.
But, I think that there is at the same time a detachment, a break, a distance from these artists, from Arte povera.
AF: You said that you make few works and that you need a lot of time to produce them, because you “let them settle. Ideas must sediment”. Did this residence in London help you to let some ideas “settle” and to make works?
AT: I need to let works and thoughts “settle”. I think it is something very similar to a natural process. There is never a definite project a priori for a new work, but there is always an intense activity, a continuous “honing” of things. But I think that there are occasions and situations that inevitably make everything undergo an acceleration. In this period, for example, I am particularly busy and as a result, the time of settling has necessarily become shorter. The works I presented at Gasworks refer to a background of research started last summer. e13 000625 belongs to an imagery linked to the first prototypes of sound weapons. I found a series of very suggestive images of some real “sound armies” set up by the Japanese army during the Second World War. They were like guns pointing to the sky, conceived for shooting down planes by using particular airwaves. Unlike current acoustic weapons, which are real weapons, those first prototypes have never been activated. Those images fascinated me a lot. This work probably still recalls these suggestions. It is a structure that juts out a lot from the wall, overhanging and conveying a sort of dangerousness. It produces a deep guttural sound and can be “exhibited” in every sense, both from a spatial and a sound viewpoint. It is fixed to and hanging on the wall and sound becomes a physical presence in movement able to sculpt the space.
The drawings I made (Untitled), belong instead to a study I have been conducting for some time. They are elegant presences and look like lumps of dust. They are traces left by the repeated throw of a spinning top on the sheet after having marked its top with a black pastel crayon. They reproduce the many trajectories of the top, the centrifugal and centripetal motions. The final effect seems to be the recording of some molecular and cosmic paths.
AF: Your first personal show opened at the beginning of April in New York: Variable Intensity Rain Gradient Aloft (Virga) at the Newman Popiashvili Gallery. You exhibited drawings and works from the series K. These works also make me think of the machines by Jean Tinguely.
AT: It is not the first time that someone quotes Tinguely with reference to some of my works. I think it is because of their appearance, of a visual closeness. K are like three-dimensional repeating drawings. They flow and insist on themselves. I always conceive them in relationship with the void that surrounds them, with the white wall. K are first of all points. Points because they literally point at something, aim at it, they are able to wedge themselves in the space. They are signs, loads of tension, accumulations of lines. The oscillation of cables and their being held in tension do not allow K to undergo a continuous stress, a persistent working, involving a sort of thrift, of control of movement. The sound element is a concentration of rustles, hums, of sharp and insidious creaking.
1. F. di Nardo (edited by), Alberto Tadiello, KLAT magazine, n.1, Winter 2009-2010, p.101-1052. G. Celant (edited by), Gilberto Zorio, Hopefulmonster, Turin 1992, p.32