Alfredo Pirri & Alvin Curran, Passi, 11 settembre 2015, h21.00.
The cycle of works titled Passi [Steps] originates from a work presented in 2003 at the Certosa di Padula, and since then presented in many different venues, always highly significant places from either the historical/artistic or the political viewpoint, or better still, possessing both of these characteristics.
The Museo Novecento in Florence is one of these places, where historical characteristics are combined with specific traits representative of the role that Florence has played and continues to play in the collective imagination of the world. In a certain sense, Florence is the city of all of the 20th centuries that have traversed the history of humanity, even before the advent of this century.
Passi, this time, is set not only in a specific place, but in this magical number forming a syntheses of all of the 20th centuries of the past and those still to come. This time, unlike the others, the mirrors that crack and splinter under the visitor’s feet, generating the sound that the musician and composer Alvin Curran processes, will not occupy all of the space available, but only the “constructed” part, a square divided at the center by a cross, which in turn creates other squares, flower-beds of the same hue of green that will be framed by the compact blue of the sky and by the grey of the stone of which the building facing on the cloister is made. The straight paths will be broken under the weight of the bodies traversing them, reflecting a grieving, shattered image of a place and an epoch that once attempted to fuse logical reasoning with religious and symbolic aspects.
For the first time, thanks to the live contribution of Alvin Curran, the acoustic nature that the work Passi possesses in my imagination will be emphasized. This aspect has always played a vital role, certainly neglected up to now, insofar as considered mainly a comment on the image rather than a factor inherent to the work itself. This time, on the contrary, Passi will be a kind of musical instrument set within an architectural space. An instrument that each individual will be called upon to “play” with his or her presence alone and simply by moving about in this space.
The space of Passi consists of a cross within a square, with a round well marking the point of connection between the two lines/paths, almost like a head that unites the two figures, a crucifix within a square, a perfect synthesis of humanism and faith, a conjunction that this work will render evident only to criticize and disassemble it at the same time. Which is to say: art is not(either yet or still) the mirror of the world, but rather its representation and transformation (acoustic).
Il progetto è cofinanziato dall’Estate Fiorentina.
In collaborazione con