Particolare – “detail”, “singularity”, or, as an adjective, “specific” – signifies what is individual, separate and exceptional and is used in his contextualising dialogue by Giovanni Anselmo in the early 70s.
The word ‘particolare’ becomes a gesture, a signifier, a pointer – creator of new contexts and the new seeing-understanding.
In In memory I create contexts, which depend on the audience rather than space, despite their taking place in a space. I do not operate with a signifier or a ‘particular’ form, but colour, which essentially does not signify but rather holds a certain primal memory – a catalyst in the creation of our feelings. And as such the projections of colour make us signify – the appearing and disappearing contexts as we move through space. A projection at the wall is not pointing at the wall, but rather at us looking at the wall and thinking-feeling.
At the same time, the title might appear at first deceptive, as the work is more about oblivion than about recollecting or remembering. In memory brings past and present closer to one another, whilst maintaining the dynamic balance between spaces and, most importantly, between the seen and the imagined. The pictures of “fragments of time” (photographs of our environment represented by pure colour) recorded on the slides are not about a mimetic representation, but about re – presentation created by our imagination. Duality becomes unity here.
The practice of the 20th c. avant-garde is the decisive abandonment of the mimetic-representative paradigm, as G. Agamben wrote in his “Image, Dream, Awakening”, for newly-discovered areas of the subconscious, the imaginary, and even the purely random. These areas have, to a large extent, shaped the contemporary artistic practices.