Laura Vecere
L'arte della scienza ovvero la scienza dell'arte (La Luna)
The Moon

Il volto nascosto del giardino
The hidden face of the garden

Amnon Barzel
La natura vista attraverso la trasparenza dei polimeri
Nature seen through the delicate transparency of the polymers

Giuliano Serafini
Ipotesi spirituale
Intimations of Spirituality

Patrizia Landi
Artisti in Viaggio 1997

Lara Vinca Masini
Artisti in Viaggio 1998

Carlo Sisi
Reliquiari cosmici
Cosmic reliquaries

Lorenzo Bruni
So quello che hai fatto

The Moon

According to Sir George H. Darwin, the Moon was once very close to Earth. Slowly the tides pushed it further away: the tides that the moon creates in terrestrial waters and in which the Earth slowly loses its energy (from Le Cosmicomiche, Italo Calvino). The distance between the Earth and the Moon is the memory of an ancient closeness, which is ever kept alive in the unequivocal influence of the Moon both as a mythical presence and as an object of scientific investigation. The distance was radically shortened in the Seventeenth century through the construction of an instrument that increased the visual powers of man: the telescope. It was with this invention that Galileo began visually exploring the surface of this satellite of the Earth on cold winter’s nights, discovering, for the first time, the existence of a landscape very similar to that of the Earth. In the history of vision, the eye has taken on a role linked to the most cerebral part of man. In terms of perspective, vision is considered as the bundle of rays that from the centre of the eye fall on the observed object (Panofsky). Sensorial and intelligible life correspond. The artistic output and phenomenology of the last century, however, had to reintegrate the transitive side of vision. In other words, Merlau Ponty brought vision back to the depths of corporality and experience, towards that centre in which there is a mystery of passivity (Merlau-Ponty). It is precisely the return of vision to that dark area, seemingly far removed from the centre of intelligence, which makes the transition, that changes seeing into the act of vision, possible. What happens then when one moves from the Galilean observation of the Moon – the contemplation of the object – to the reciprocity of the visual relationship. This is the question addressed by Donatella Mei in Progetto ‘Chiaro di Luna’. The telescope should not merely be considered as an instrument sharpening vision, but also as an organ and sensor of vision, and thus pervaded by what it observes. Distant space then flows back to this side of the telescope, it literally invades the ‘neutral’ and intangible space of the observer, confirming that the observed world is not in front of the spectator, but all around him. It is thus that Donatella Mei’s Moon constructs its circular perimeter from the premise of awareness. The incorporeity of the light of the Moon is hosted in a vicarious body. By following the sidereal messenger in the opposite direction, the light shadow of the Moon reaches the Earth. Once the ancient distance has been rejoined, the light inhabits a material that is transparent as water yet as solid as ice, from which it derives, and like ice, it is shattered into sharp splinters, which together with opaque sheet metal, arranged in a crown shape – half crater, half wreath, makes up the floor.

Laura Vecere, 2002