EKATERINA PANIKANOVA
Crepuscoli
December 13 > February 7, 2015
La sera fumosa d'estate
Dall'alta invetriata mesce chiarori nell'ombra
E mi lascia nel cuore un suggello ardente.
Ma chi ha (sul terrazzo sul fiume si accende una lampada) chi ha
A la Madonnina del Ponte chi è chi è che ha acceso la lampada? C'è
Nella stanza un odor di putredine: c'è
Nella stanza una piaga rossa languente.
Le stelle sono bottoni di madreperla e la sera si veste di velluto:
E tremola la sera fatua: è fatua la sera e tremola ma c'è,
Nel cuore della sera c'è,
Sempre una piaga rossa languente. (Da L’invetriata Dino Campana)
Ekaterina Panikanova’s exhibition is a proposal of a journey into the domestic space, into the identity and into the body of the potential viewer.
As in Dino Campana’s poem Invetriata, the artist communicates the existence of an interior reality which manifests itself in everyday signs that represent disturbing elements.
The house, the tenants represent at the same time the interior and exterior territory of our relationships, wishes, conflicts and intimate tensions, underlining the dramatic dichotomy between the “social mask” and the authenticity of being: elements that either bring life or harass the human being.
Ekaterina invites her audience to be part of a journey that enters the intimate threshold of the domestic dimension, intended as the unconscious representation of the human body and the personalities that inhabit it.
The artist researches the mnemonic and visual dimensions, experimenting new materials that seem destabilizing in their physical perception. Crystals and Prosit’s lead are examples of the dichotomy lightness/heaviness; the artist uses the plumb renouncing its physical characteristics and transforming it into a soft laces. On the other side, the glass becomes a solid architecture of votive candles.
The subverting game between the object’s function and the material’s features - through a perceptive reversion - puts us into a disorientating visual condition.
The project is a unique installation in which the objects, showed as memory’s finds, transform themselves in real cult objects into a complex and apparently fragmentary scenario.
