2001 L’ordine dura un istante III

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20
01

L’Ordine Dura
Un Istante III

L’Ordine Dura Un Istante. Perforated paper, detail, 2001 [TR0006]

L’Ordine Dura Un Istante. Perforated paper, 280×140 cm, 2001 [TR0001]

L’Ordine Dura Un Istante. Perforated paper, 280×140 cm, 2001 [TR0019]

L’Ordine Dura Un Istante. Perforated paper, 280×100 cm, 2001 [TR0020]

L’Ordine Dura Un Istante. Perforated paper, 280×100 cm, 2001 [TR0021]

L’Ordine Dura Un Istante. Perforated paper, 280×100 cm, 2001 [TR0022]

2009 respiro

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20
09

Respiro

The sculptures and installations of this period are joined by works on paper, often large in size: while focusing on questions that cross the entire artist’s oeuvre,[read more=”Read More”less=”Read Less”]certain of these works offer us a chance for perhaps a closer approach to his personal sphere, almost to his physical being. We might talk about a proximity that is exposed to the gaze, in a cycle of works on paper under a single title: Respiro (Breath). The large sheets of paper lined up in overlaid rows are crossed by bundles of sinuous lines that flee to the margins. The observer is attracted by their slenderness and, at the same time, their evidence, deceptively like filaments, or hairs embedded in applied onto the paper. The sign is actually obtained with ink, but – as the artist explains – the result is possible only through particular physical and mental preparation: “To obtain this sign, it takes a gesture done with a special brush, with long bristles, dipped in ink. The ink held by the bristles is deposited with a wide, flowing, continuous gesture. Breathing is important: the exhalation accompanies the whole trajectory of the sign on the paper, and the air contained in the lungs is released in synchrony with the release of the ink from the bristles. The lines that cross the sheet have their own shape. Those modulations can be compared to the signs made by a seismograph: the point of the brush records an inner state, just at the tip of the seismograph records telluric movements, or the encephalogram records brain activity.” It is breathing, then, its rhythm, that determines the fluid movement of the lines that cross the paper.[/read]

Respiro. Ink on paper, 6 sheets 66×101 cm each, 2009 [D0391]

Respiro. Ink on paper, 6 sheets 66×101 cm each, 2009 [D0392]

Respiro. Ink on paper, 6 sheets 66×101 cm each, 2009 [D0393]

2007 Omphalos – scultura

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07

Omphalos II

The idea of center as origin, the place from which infinite directions depart, or the infinitely small vanishing point, is found in the iron scultpure Omphalos,[read more=”Read More”less=”Read Less”]a series of ink drawings with the same title, and La freccia che colpisce il bersaglio vola per sempre, a sculpture in white terracotta whose four parts are, in turn, composed of a series of concentric sub-parts sloping towards the inside to form a sort of visual vortex. Omphalos is a word from ancient Greek meaning “navel,” but also umbilical cord, the center of the Earth. The omphalos is the center of the human body, but it is also, significantly, a scar that bears witness to the moment in which we were separated from the maternal body that hosted and generated us; it is the tangible sign of a separation, but also of the conquest of an independent life. The reference to the many meanings of this word emerges in two sculptures, one in iron and one in graphite, and their related drawings. In the sculptures the movement of expansion that starts at the center necessarily encounters a limit at the borders of the object, while in the drawings the lines that spread out from the center suggest a potentially infinite movement. Again in these works, it is not so much the natural, the living that is shown and represented. As the artist remarks in his writing, instead it is a question of “to act as nature would, which is also typical of the alchemical process. The alchemist is he who sets out not to reproduce a natural phenomenon in the laboratory, but to pro-duce processes of transmutation according to the ways of nature, attuning soul and body to its way of proceeding”.[/read]

Onphalos. Iron, 24x60x58 cm, 2007 [S0022]

2006 Omphalos – disegni

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06

Omphalos I

The idea of center as origin, the place from which infinite directions depart, or the infinitely small vanishing point, is found in the iron scultpure Omphalos,[read more=”Read More”less=”Read Less”]a series of ink drawings with the same title, and La freccia che colpisce il bersaglio vola per sempre, a sculpture in white terracotta whose four parts are, in turn, composed of a series of concentric sub-parts sloping towards the inside to form a sort of visual vortex. Omphalos is a word from ancient Greek meaning “navel,” but also umbilical cord, the center of the Earth. The omphalos is the center of the human body, but it is also, significantly, a scar that bears witness to the moment in which we were separated from the maternal body that hosted and generated us; it is the tangible sign of a separation, but also of the conquest of an independent life. The reference to the many meanings of this word emerges in two sculptures, one in iron and one in graphite, and their related drawings. In the sculptures the movement of expansion that starts at the center necessarily encounters a limit at the borders of the object, while in the drawings the lines that spread out from the center suggest a potentially infinite movement. Again in these works, it is not so much the natural, the living that is shown and represented. As the artist remarks in his writing, instead it is a question of “to act as nature would, which is also typical of the alchemical process. The alchemist is he who sets out not to reproduce a natural phenomenon in the laboratory, but to pro-duce processes of transmutation according to the ways of nature, attuning soul and body to its way of proceeding”.[/read]

Omphalos. Ink on paper, 2 sheets 66×102 cm each, 2006/2007 [D0042]

Omphalos. Ink on paper, 2 sheets 66×102 cm each, 2006/2007 [D0047]

Omphalos. Ink on braille paper, 51×34 cm, 2006/2007 [D0122]

Omphalos. Ink on braille paper, 51×34 cm, 2006/2007 [D0123]

Omphalos. Ink on paper, 3 sheets 66×102 cm each, 2006/2007 [D0039]

Omphalos. Ink on paper, 2 sheets 66×102 cm each, 2006/2007 [D0040]

2003 Corpi Celesti I

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03

Corpi
Celesti I

It is interesting to observe how certain questions addressed by Ascari’s work resurface, perhaps after many years, almost to resume a discussion[read more=”Read More”less=”Read Less”]that has not been interrupted but has simply flowed underground, then returning and taking on new forms. This is what happens, for example, in the cycle of works under the title Corpi celesti (Heavenly Bodies), including a series of works on paper from 2006 and an installation in 2012. The same can be said for the reprise of a sound installation from 1978, Vibractions, now shown in a new version that maintains the conceptual approach of the original. The cycle Corpi celesti arises from a question – regarding the force that holds things together or repels them – that is the conceptual nucleus of many other works by the artist. A question that stays open, taking on different configurations each time, reinterpreted through different languages and different materials. In the works on paper in lampblack or curcuma, an invisible centrifugal force subtracts weight from the bodies that wander in the empty space of the sheets. Once again, the void is a latent space rendered “active” by what crosses it, a generative factor on both the temporal and the spatial planes.[/read]

Corpi Celesti. Lampblack on paper, 12 sheets 50×75 cm each, 2003/2012 [D0348]

Corpi Celesti. Lampblack on paper, 6 sheets 70×100 cm each, 2003/2012 [D0054]

Corpi Celesti. Lampblack on paper, 50×70 cm, 2003/2012 [D0349]

Corpi Celesti. Lampblack on paper, 50×75 cm, 2003/2012 [D0350]

Corpi Celesti. Lampblack on paper, 75×100 cm, 2003/2012 [D0085]

Corpi Celesti. Lampblack on paper, 21,5×29 cm, 2003/2012 [D0366]

Corpi Celesti. Lampblack on paper, 21,5×29 cm, 2003/2012 [D0367]

Corpi Celesti. Lampblack on paper, 25,5×34 cm, 2003/2012 [D0077]

Corpi Celesti. Lampblack on paper, 18,5×14 cm, 2003/2012 [D0076]

Corpi Celesti. Lampblack on paper, 75×100 cm, 2003/2012 [D0086]

Corpi Celesti. Lampblack on paper, 75×100 cm, 2003/2012 [D0084]

Corpi Celesti. Lampblack on paper, 75×100 cm, 2003/2012 [D0087]

Corpi Celesti. Lampblack on paper, 75×100 cm, 2003/2012 [D0083]

Corpi Celesti. Lampblack on paper, 75×100 cm, 2003/2012 [D0082]

Corpi Celesti. Lampblack on paper, 6 sheets 75×100 cm each, 2003/2012 [D0053]

Corpi Celesti. Lampblack on paper, 79×107 cm, 2003/2012 [D0113]

Corpi Celesti. Lampblack on paper, 79×107 cm, 2003/2012 [D0111]

Corpi Celesti. Lampblack on paper, 79×107 cm, 2003/2012 [D0115]

Corpi Celesti. Lampblack on paper, 70×100 cm, 2003/2012 [D0117]

Corpi Celesti. Lampblack on paper, 70×100 cm, 2003/2012 [D0118]

Corpi Celesti. Lampblack on paper, 70×100 cm, 2003/2012 [D0088]

Corpi Celesti. Lampblack on paper, 79×107 cm, 2003/2012 [D0114]

Corpi Celesti. Lampblack on paper, 79×107 cm, 2003/2012 [D0112]

Corpi Celesti. Lampblack on paper, 79×107 cm, 2003/2012 [D0116]

Corpi Celesti. Graphite on paper, 35×50 cm, 2003/2012 [D0078]

Corpi Celesti. Graphite on paper, 35×50 cm, 2003/2012 [D0079]

Corpi Celesti. Graphite on paper, 35×50 cm, 2003/2012 [D0080]

Corpi Celesti. Graphite on paper, 35×50 cm, 2003/2012 [D0081]

2001 L’ordine Dura Un Istante II

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01

L’Ordine Dura
Un Istante II

(english version coming soon)

Nel ciclo di lavori contrassegnati dal titolo L’Ordine Dura Un Istante, comprendente una serie di grandi carte bianche traforate e di guazzi,[read more=”Read More”less=”Read Less”]l’elemento generativo si intreccia con la ricerca di una forma che lo contenga, dandogli un ordine. Lo strumento usato in questo caso dall’artista è il bisturi: riprendendo un gioco tipico dell’infanzia, egli interviene su grandi fogli piegati a metà, ritagliando nella carta con la precisione che solo la lama affilata garantisce, sequenze figurali che si sviluppano a partire da una “cellula formale iniziale” – come la definisce l’artista – che sembra essere assecondata nella sua volontà di espandersi. L’impressione di specularità che ne deriva è però solo apparente. A uno sguardo più attento si rivela come un sottile inganno: la simmetria delle due parti viene contraddetta da “cellule formali anomale” che rompono l’ordinato dispiegarsi delle sequenze figurali introducendo un elemento di disordine. L’inatteso si insinua nelle trame ordinate della simmetria dando origine ad intrecci complessi e non prevedibili. Il rigore dell’ordine simmetrico, nella sua immutabilità, è superato da una vitalità che esso, letteralmente, non riesce a contenere.[/read]

L’Ordine Dura Un Istante. Perforated paper, 200×140 cm, 2001/2006 [TR0011]

L’Ordine Dura Un Istante. Perforated paper, 140×100 cm, 2001/2006 [TR0016]

L’Ordine Dura Un Istante. Perforated paper, 200×140 cm, 2001/2006 [TR0014]

L’Ordine Dura Un Istante. Perforated paper, 140×100 cm, 2001/2006 [TR0015]

L’Ordine Dura Un Istante. Perforated paper, 140×100 cm, 2001/2006 [TR0017]

L’Ordine Dura Un Istante. Perforated paper, 200×140 cm, 2001/2006 [TR0018]

L’Ordine Dura Un Istante. Perforated paper, 200×140 cm, 2001/2006 [TR0009]

L’Ordine Dura Un Istante. Perforated paper, 200×140 cm, 2001/2006 [TR0010]

L’Ordine Dura Un Istante. Perforated paper, 200×140 cm, 2001/2006 [TR0012]

L’Ordine Dura Un Istante. Perforated paper, 200×140 cm, 2001/2006 [TR0013]

1999 Asana Cenere

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19
99

Asana
Ash

Asana. Ash on paper, 70×100 cm, 1999 [TMC0075]

Asana. Ash on paper, 70×100 cm, 1999 [TMC0076]

Asana. Ash on paper, 70×100 cm, 1999 [TMC0077]

Asana. Ash on paper, 70×100 cm, 1999 [TMC0078]

Asana. Ash on paper, 70×100 cm, 1999 [TMC0079]

1999 Cenere

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19
99

Cenere

Cenere. Ash on paper, 70×100 cm, 1999 [TMC0070]

Cenere. Details, 1999 [TMC0070]

Cenere. Ash on paper, 70×100 cm, 1999 [TMC0069]

Cenere. Ash on paper, 70×100 cm, 1999 [TMC0071]

Cenere. Ash on paper, 70×100 cm, 1999 [TMC0073]

Cenere. Ash on paper, 70×100 cm, 1999 [TMC0072]

Cenere. Ash on paper, 70×100 cm, 1999 [TMC0081]

Cenere. Details, 1999 [TMC0072]

Cenere. Details, 1999 [TMC0071]

1998 qualcosa le manca disegni

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98

Qualcosa
Le Manca
Drawings

Qualcosa Le Manca. Lampblack on paper, 51×71 cm, 1998 [D0096]

Qualcosa Le Manca. Lampblack on paper, 51×71 cm, 1998 [D0092]

Qualcosa Le Manca. Lampblack on paper, 51×71 cm, 1998 [D0094]

Qualcosa Le Manca. Lampblack on paper, 51×71 cm, 1998 [D0097]

Qualcosa Le Manca. Lampblack on paper, 50×65 cm, 1998 [D0101]

Qualcosa Le Manca. Lampblack on paper, 51×71 cm, 1998 [D0100]

Qualcosa Le Manca. Lampblack on paper, 54×78 cm, 1998 [D0018]

Qualcosa Le Manca. Red pigment on paper, 50×71 cm, 1998 [D0356c]

Qualcosa Le Manca. Red pigment on paper, 50×71 cm, 1998 [D0356d]

Qualcosa Le Manca. Red pigment on paper, 50×71 cm, 1998 [D0356b]

Qualcosa Le Manca. Red pigment on paper, 50×71 cm, 1998 [D0356a]

Qualcosa Le Manca. Graphite on paper, 75×100 cm, 1998 [D0090]

1993 Asana Nero Fumo

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93

Asana
Lumpblack

Asana. Lampblack on gray cardboard, 82×91 cm, 1993 [D0021a/i]