Marsèlleria Permanent Exhibition
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In Forma di Autoscopia


luigi presicce
28 october . 25 november 2011


Opening 27 October 2011, H. 07 pm


photogalleryPHOTOGALLERY



Autoscopy is a disorder of the consciousness of our unity, is the vision of our own body image projected on the outside. While experiencing this a person is able to see himself and understand that what he sees is his own self. This disorder leads to a very rare perceptive experience that, besides the sight, can involve all of the other senses too, as for example that of touch. A fundamental feature of autoscopy is the loss of intimacy with oneself; one own self is seen in an objective way.

In 'In forma di autoscopia' show Luigi Presicce(Porto Cesareo,1976) "goes back over" the performative aspect of his latest artistic production, starting from 2007 works to Il Grande Architetto, work made for this show at Marsèlleria Permanent Exhibition.

The Il Grande Architetto is a performance conceived for only two viewers, two children, and is based on the legend of the (symbolic) killing of Hirma Abif, the architect who built the Salomon temple and started the masonry seen as the keeping of the rock cutters' rules of cathedrals' building secret.

The performance involves four paintings, every one dealing with a moment of this allegoric story. On the first one, the Grande Architetto is introduced with a clear reference to the Duce of Italy (referring both to the empire's glory and to its inglorious end) and to George Ivanovich Gurdiieff for what concerns the somatic features of the golden head. The second painting represents the Grande Architetto's killing by three rock cutters (the followers), through the breaking of the golden head with a "squadro". On the third painting the three followers, repentant of what they have done, impose on themselves death penalty: one is lapidated, one crucified, one hung upside down (once more a reference to the Duce). The fourth painting shows the moment of expiation. Oh Petroleum (one of the followers) plays live Don't fade away with Alejandro Jodorowski (or a sosia?) on his side holding a book and a tridimensional model of the construction rule for "going" upwards (the cathedrals/the sacred mountain). The places are symbolic as well: Lu Cafausu in San Cesario Lecce, the bauxite quarry in Otranto, Porta San Giusto (known as Napoli) in Lecce and an old tuff quarry of early '900.

The Il Grande Architetto is presented through four videos projected simultaneously. The only sound track of this tableau vivant is Don't fade away, a Death Can Dance's cover singed and played by Oh Petroleum.

At Marsèlleria is also showcased a selection of videos, photos, instruments and sculptures of other performances ,among which: abstract Allegory of the painter's atelier in hell between the twin tips, conceived for the last edition of Thessaloniki Biennale, La parata dei perdenti, conceived for Solid sweat at Le Dictateur Milan and La benedizione dei pavoni, conceived in Porto Cesareo (work winner of the Talenti emergenti 2011, CCC Strozzina award Florence), Donazione della cappella (private terrace, Milan), Annunciazione di Pitagora agli acusmatici (clay pit, Marti), Jenny Haniver show (Fondazione Buziol, Venice), Visita alla lingua (La Rada, Locarno).

Presicce carries on his research through a self-archeology process, conceiving performances for an audience of only two viewers, performances where a viewer at a time is lead in front of the scene for a very brief and individual fruition, performances where the audience is kept at a distance during the action causing an interruption of the vision itself.

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