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Home Artworks Ritorno al mondo reale (Display) n. 3, 6, 4, 10

Ritorno al mondo reale (Display) n. 3, 6, 4, 10 Discover the best available selection of prints by the artist Mauro Panichella. Buy from art galleries around the world with Kooness!
3200 EUR

Ritorno al mondo reale (Display) n. 3, 6, 4, 10


Single piece Signed Dated Titled Framed

From the series Ritorno al mondo reale

3200,00 €


80 x 45 cm
31.50 x 18 in







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Four labda prints on plexiglass mounted on an aluminum frame 22,5x40 cm each

Ritorno al mondo reale…

One wonders where this show begins and ends. Mauro Panichella, after all, has written a text that accompanies it, and he has also put together a video rendering of its installation. Whether or not and to what extent these materials are part of the show, or a part of the works it presents, is open to debate, but surely they are things worth thinking about, even if one doesn’t quite know how. His text, moreover, makes reference both to Marcel Duchamp and John Cage, and thus gives warning of the peregrine places in which he sees his work to be move, or better, perhaps, of the peregrine context in which he sees it be situated. For my own particular purposes, it’s the reference to Duchamp that seems most telling.

The two most salient features of the work of Marcel Duchamp are its dizzying complexity and its absolute privacy, and so much so as to make it seem to offer no space at all to its viewers, if not for the purely physical space that the work and its viewers may simply happen to share. Yet he accepted and defended that state of reciprocal isolation — of the work with respect to the viewer, and of the viewer with respect to the work — with enormous aplomb and generosity, or even in a sense of fellowship: he invented the notion of what he called “The Art Coefficient,” which declares that a thing is a work of art precisely to whatever degree the perceptions of its viewer are at odds with the intention of the person who made it. That’s a corollary to his much more famous edict that the artist makes only half of the work, and that the viewer makes the other half. And it’s even more than a corollary, since it addresses the nature of the relationship between these two halves of the work. The artist is free to do whatever he/she thinks or pleases, and the viewer is free to do likewise.

This is also to say that art is not a “language.” There’s no unambiguous relationship — or ideally unambiguous relationship — between “signifiers” and “signifieds.” Which, more simply, is to say that it’s not much concerned with acts of “communication.” It’s a natural event, like Mauro Panichella’s strokes of lightning. It happens by chance, and more or less instantaneously, like the way the lines took shape in Mauro Panichella’s sheets of broken glass. (My own first reaction — an adolescent reaction, utterly ingenuous — to the lines in the breakage of Duchamp’s Large Glass was to wonder how he had managed to make them in exactly that way, presuming that he had “designed” them. I hadn’t the faintest intuition of the role that chance might play in the workings of a work of art. Ignorance, too, can be a factor in the calculation of the Art Coefficient.)

There’s a thinness too about Mauro Panichella’s works: a thinness that reminds me of another Duchampian notion: his notion of the inframince. The inframince is the world of all the tiny things, of all the minor phenomena, that we can’t imagine to be of any importance to the universe at large: he liked the example of the heat we leave behind on the seat of a chair when we rise to our feet and walk away from it. That’s like the flap of the wing of the butterfly that doesn’t unleash a hurricane on the other side of the globe. But there’s also a question of the scale we’re able to hold in mind for the universe at large. Just how small does “minor” have to be in an universe that’s infinitely large? One might wonder if a filament of fulgorite can be another example of the inframince.

It might also be admitted that this excursion towards a thought on “the universe at large” has been prompted by one of Mauro Panichella’s “lambda” prints: Ritorno al mondo reale (Display)n°5  might be a section of a map of the cosmic background radiation which physicists see at its furthest and most ancient edges.

Henry Martin

Aica di Fiè, November 2017

Mauro Panichella "Ritorno al mondo reale", ed. Gian Marco Casini Gallery, Livorno 2017

1985 Genova, Italy

Mauro Panichella was born in Genova in 1985. He lives and works between Genova and Albissola.

The work of Mauro Panichella is a continuous search for dialogue between the real world and the virtual one and manifests Itself with a strong relationship between nature and technology.
His subjects are animals anatomicals forms, molluscs, crustaceans, insects, bones, fossils, shells that he finds and keeps to implement a process of storage and documentation using a scanner as a camera.
The spirit of this search is a great evolving project, which involves each and every natural situation, as in a stream, which is pushing up on the symbolic interpretation through video-installations, lights and electro-mechanical.


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Livorno, Via Montebello 5

Founded in March 2017 in Via F. Crispi 52 in Livorno, from September 2018 the Gian Marco Casini Gallery moved to the new space in Via Montebello 5. The exhibition program of the gallery focuses on historical artistic movements such as Fluxus, Visual and Concrete Poetry and italian aniconic painting of the ‘70s. In addition to this, the gallery promotes new...

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