Madre - Re_PUBBLICA MADRE exhibition by Vettor Pisani

Saturday, March 8th, 2014 6:00 p.m. - 7:00 p.m.

Re-performance Androgynous (human flesh and gold), 1973-2014
Reconstruction of the original performance by Vettor Pisani:
Androgynous human flesh and gold, 1973
presented on the occasion of "Contemporanea"
garage of Villa Borghese, Rome
Interpreter at MOTHER Emilio Vacca
Courtesy Mimma Pisani, Rome

In 1970 Vettor Pisani moved to Rome, where he held his first exhibition titled "Male, female and androgynous" at La Salita. Incest and cannibalism in Marcel Duchamp, a title that is already a poster of poetry, a method of reflection and examination on art as a genealogy of the creative process based on the synthesis and syncretism intellectual, to the same virtuality of the artist as a repository of multiple codes and references. The performance Androgynous (human flesh and gold), originally held in 1973 on the occasion of the exhibition "Contemporarnea" at the garage of the Villa Borghese in Rome (original interpreter actor Gianni Macchia), shares the same principles. Pisani adds a gold cast of a female chest on the chest of a naked man. On the back of the man there is a knife that will be used by the man to cut the mythical androgynous nature, resulting in the loss of the pre-historic statute, when sexes were not separated, but joined together.
The myth of the Androgyne passes through different traditions, the Greek philosophy that embraces the Gnostic and Christian eschatology and the Scriptures themselves, symbolizing the insistence towards achieving a harmonious relationship between opposing principles, whose separate existence will be experienced both in a positive way (Jewish tradition) and a punitive way (Greek tradition).
The title of Pisani's performance express the essence of the myth as a symbol of reunion of the masculine-feminine elements, charging itself with alchemical meanings that investigate the primary materials of art: human flesh and gold, suggesting an initiatory journey, an alchemic "ritual of passage" (the use of symbolic color of gold), from imperfection to perfection, from man to divine, from mortality to the immortality.
The performance will be presents in its new version at the MADRE Museum by the actor Emilio Vacca.

March, 9th.24th. The work Androgynous - human flesh and gold, 1973, will be held on the third floor of the museum, in a room dedicated to the theme of Eros

VETTOR PISANI

Italian sculptor born in Bari in 1938. Performance designer and conceptual artist. He abandoned architectural studies in Naples in the late 1950s to immerse himself in Rosicrucianism. In Rome, Pisani undertook conceptual analyses of the work of Robert Motherwell and of Marcel Duchamp. The results were first seen in 1970 inthe show Maschile, femminile e androgino:Incesto e cannibalismo in Marcel Duchamp, in which he presented such psychoanalytically informed objects as Chocolate Cast of Suzanne Duchamp. Pisani won the Premio Pino Pascali in 1970 and began to participate in ARTE POVERA and to collaborate with Michelangelo Pistoletto. He drew parallels between artistic and alchemical activity, placing himself alongside Duchamp, Yves Klein andJoseph Beuys; the latter was the subject of the repetitive performance piece The Rabbit Does Not Like Joseph Beuys. The symbolic cruciform structure of the performance R. C. Theatrum, whose performers included a rabbit and a stripper, reflected his notion of an 'Oedipal' (natural)/'anti-Oedipal' (autonomous) artistic polarity, in which he favoured the latter. The androgyny was suggestive of harmony, most notably in the photomontage Oedipus and the Sphinxafter Fernand Knopff ; this set the characters from Knopff's work in the Protestant cemetery in Rome, where, with typical drama and paradox, Pisani declared he wished to be buried under the inscription: 'Here Lies an Immortal'.

Español

Madre - Re_PUBLICA MADRE exposición de Vettor Pisani

Sábado, 8 de Marzo 2014 18:00-19:00

En 1970 Pisani trasladó a Roma, donde realizó su primera exposición individual en la Galleria La Salita, titulada Hombre, mujer y andrógino. Incesto y canibalismo en Marcel Duchamp, un título que ya es un cartel de la poesía, de un método de reflexión y de verificación sobre el arte como una genealogía del proceso creativo basado en la síntesis y el sincretismo intelectual, en la misma virtualidad del artista como depositariaode múltiples códigos y referencias. Andrógino (carne humana y oro), que fue construido en 1973 para la exposición "Contemporánea", en el garaje de Villa Borghese en Roma (actor intérprete original de Gianni Macchia), que comparte los mismos principios. Pisani añade el calco de un pecho femenino en oro al pecho de un hombre desnudo. En la espalda del hombre esconde un cuchillo que le servirá para el corte simbólico de esta naturaleza mítica andrógina, lo que resulta en la pérdida de un estatuto prehistórico, cuando los sexos no estaban separados, sino unidos entre sí.
El mito del Andrógino cruza diferentes tradiciones, desde la filosofía griega abarca el gnóstico y la escatología cristiana y los Evangelios mismos, simbolizando la insistencia en la consecución de una relación armoniosa entre principios opuestos, cuya existencia separada será experimentada tanto en forma positiva (la tradición judía) como punitiva (tradición griega).
El título de la exposición de Pisani expresa la esencia del mito como símbolo de la reunificación de los elementos masculino-femenino, recibe significados alquímicos a través de la la carne humana y del oro, lo que sugiere un viaje iniciático, un "ritual de paso" alquímico (véanse el uso del color simbólico del oro), de la imperfección a la perfección, desde el hombre a lo divino, de lo mortal a lo inmortal.

A partir del 9 de marzo y hasta el 24 de marzo la exposición Pisani se presentará en la tercera planta del museo Madre, en la sala dedicada al tema de Eros