SinopsisSimone Origio's research aims to investigate the theme of the relationship, in a historical moment where - due to the... Read More
Origio's research aims to investigate the theme of the relationship, in
a historical moment where - due to the fear produced by the world pandemic - we
are witnessing more and more frequently phenomena of isolation and distrust of
confrontation with an unknown and invisible enemy has strengthened the
experience of separation from what is equally unknown and invisible in us,
which Carl Jung summarized in the concept of Shadow; this should be understood
as the representation of what the individual does not recognize, repress or
reject because it is incompatible with the consciously chosen form of life.
It is not
possible for man to experience it directly, as it presents a character contrary
to the subject to which he belongs: in fact, the encounter with oneself - says
the Swiss psychoanalyst - is "one of the most unpleasant experiences, from
which one escapes by projecting all this which is negative on the world around
question, therefore, is transposed into the relationship: what we internally
guard can be revealed by reflection, as in a mirror, only in the face of the
other (lover, friend, relative), but, as unknown, it appears hostile or
also emerges on a collective level: according to the monster theory of Jeffrey
Cohen (1996), man, in order to provide a body to fears, desires, anxieties and
fantasies and to give them autonomous life, has created monsters. These
creatures, therefore - as the Latin etymology of the term denotes (monstrum,
from the verb monere = to show) - by vocation they have the task of revealing
what is hidden and thus bringing man back to himself: not by chance in myths
and in fairy tales the motif of the hero frequently recurs in comparison with
sense, the relationship should be reread as an initiatory path of renewal, a
loss to find oneself, during which to drop the masks and open up to an
authentic, generative encounter.
suggestions are found in a single symbol: the labyrinth. Kingdom of the
Minotaur in the Greek myth, place of death and rebirth, this structure of
millenary tradition is organized around a center, the intermediate point of a
paradoxical path that obliges us to go back and forth, to unite the outside and
the internal, thus evoking the possible synthesis of opposites.
Kern, curator of the exhibition In Labirinto set up at the Palazzo della
Permanente in Milan, already in 1981 described it as a meeting place:
get lost in the labyrinth, you find yourself in the labyrinth. In the labyrinth
you don't meet the Minotaur, in the labyrinth you meet yourself ".
It is in
effect an archetypal transformative image, which must be recognized "the
ability to reorient the flow of psychic energy and change its specific form of
manifestation". The empty and indefinite space of the center, where
opposites meet, is the place where the new potential is revealed.
Material: drop vase in blown Murano glass with fused glass
stopper and 24 kt gold leaf, Murano glass bead, white aluminum panel.
aims to make the relationship space and its essence visible: the whole, in
compliance with the dialogic criterion that inspires Simone Origio's research,
combines alchemical symbolism and glass art, male and female, ancient and
alchemist Salomon Trismosin - after a study trip to Venice in 1473 - imagined
in his text Splendor solis the creation of the philosopher's stone inside a
glass cruet with a pot-bellied body: this is the inspiration for the glass
sculpture, a reworking modern fiola (blown bottle with a rounded belly
and an elongated neck typical of traditional Murano production).
artifact, composed of two elements, shows the meeting of opposites through a
sexual metaphor: the fiola, with its round and enclosed shape, recalls
the feminine, the unconscious and the uterus; the cap, which penetrates the fiola,
recalls the masculine, the conscience and the phallus.
materially represents the experience of the labyrinth, a place of relationship
and regeneration, which is placed in the background in the installation.
masculine penetrates the feminine, so the conscious gaze fecundates the
unconscious and brings it to light: looking within is a generative act.
Just as an
embryo is generated from the embrace between a man and a woman, so a pearl that
floats in the center is produced from the waters of the unconscious.
element of the work - which Renata Ferrari created by interpreting the idea of Simone Origio - is Aurora,
the rising of a new day in the sky, the symbolic representation of the increase
in consciousness, the integration of new resources: from the depths of the dark
night you can perceive the arrival of the sunlight, which still does not shine
but pervades the space and passes through the clouds with delicate shades of
pink, indigo and wisteria.
transparency of the glass allows you to perceive the intimate, what happens in
the dark, involving the viewer in the symbolic act, in a sort of participation
mystique. In this way the experience is renewed and made alive, reconnecting
the individual to the continuous creative process that is life.
crossroads of traditions and peoples, theater of encounter between East and
West, once again becomes the cradle of relationship and innovation.