It is commonly believe that a mirror doesn’t have memory. However, when Michelangelo Pistoletto (Biella-1933), one of the most outstanding living artists in Italy states – “In the mirror, humanity looks at itself with the perspective of a rear-view mirror, as if it were examining everything that has made over time and history. ” One deduces that what we do is filed in that existential kaleidoscope, and although mute remains in a state of latency, from one moment to another hatch scattering an infinity of crystals, as did this Povera art icon at the opening of Each point is the center of the universe, each person is the center of society, exhibition curated by the Brazilian Marcello Dantas who arrives for the first time to Chile, gathering in the Museum of Contemporary Art (MAC), sculptures and installations of large format, with which The artist also starts a series of performances and art actions framed in this exceptional show.
Further amplifying the avatar of actions associated with a postulate that proposes to act creatively in the regeneration of society
As a prelude it is appropriate to clarify that above the natural stupor there are certain keys that make up his work, such as the perishable, the materiality and fragility of the object, understanding that nothing is immutable, which added to the performative action and its resounding effect, meet the function of reinforcing the idea of unrepeatability of the moment. In a free, random and unpredictable act that combines, in addition to the temporal perspective, the urgent possibility of changing the perception of the work, summoning the senses as emotional actors of compositional work. What could be summarized in an action elaborated by virtue of a collective intervention, which abruptly destabilizes -the solipsism of the artist- rethinking that univocal vision of art and further amplifying the avatar of actions associated with a postulate that proposes to act creatively in the regeneration of the society. Responsibility assumed by the artist, and that immediately refers us to a quote by Germano Celant – “The risk is the return to order”.
The phenomenological time theory extended by an artist that wanders inside the mirror as he moves inside society
Strictly speaking, what makes the fact that Pistoletto can be explained, demonstrates a deep conviction to prevent passivity from taking the stage, making the break a fundamental pillar from where he reinvents his own codices, as part of a slogan raised by more than 60 years, with which he challenges that omnipotent symmetry in favor of an unforeseen aesthetic, which is expressed in each performance where the unconcealed astonishment seizes the environment, evidencing that spontaneous desire to break drastically with the established, as in Twenty Six Less One, where the artist surpasses the margins of the real and fiddles with the multidimensionality of time through a metaphysical intervention that alters shapes and reflections in 25 mirror frames (except one always safe), that treasure under the glass significant messages of integration and brotherhood written in different languages and in the main native languages of Latin America, that with their dialogue Unity endorses a “Pan-American art” project, which fosters a change as radical as this mobile sensation that reaffirms the phenomenological theory of time displayed by an artist who wanders in the mirror as society moves within, and his actions and words They reveal – “Time moves and passes, and the mirror represents this continuous change of the present while the fixed image represents the past. At the same time there is also the future that is the memory of the past in the present. ”
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As we see inciting the pubic to get involved, it is a premise that also defines the staging of Pistoletto, through his famous Walking Sculture, which will roll, like a “snowball”, made with sheets of newspaper, increasing its size when passing people make it grow in a section that goes from the Plaza de la Ciudadanía to the MAC, in an ambulatory experiential cartography, which questions from the urban landscape the social and political hierarchy as well as the artistic practice more attached to the conventional. In that same tone stands out the presence of Love difference, with a large mirror table forming the map of Latin America surrounded by 33 chairs where different characters discuss the problems of this society prey to a policy that imposes – differences of love – against different ethnic groups , political and religious violated in their culture by the supremacy of those who cause uniformity and difference as two sides of a devalued currency … absurd confrontation in which Pistoletto, opens a debate that seeks to congenitalize the universality of art with the idea of political transnationality, propitiating a Demo-practical system more related to social responsibility.
At the end, we must ask ourselves then what is beyond the analog relationship that represents an object and its subsequent performance, as a double implication that Pistoletto does not just shake us in our comfort zone, with this The Third Paradise, in which synthesizes the course of humanity from a state of natural earthly paradise to an artificial one, characterized by a technological conquest that brings along with evolution, an involution where it is perfectly legitimate to propose that at its center a new circle emerge where art is a Third Paradise mobilizer of energy with which reach that new balance capable of transforming our lives, making it clear that this shows as well as being a celebration to the senses, is a hopeful reflection that challenges the whole society, but cemented from the most absolute consequence – “My work is not the expression of myself, it is not a self-portrait of an artist, a self-portrait of the world “.