Qui, del Dicibile
Ariel Soulé and Simon Toparovsky continue their collaborations, now, of several years. with this exhibition– an homage to Napoli. The site for the installation, in the oldest center of the City, was the deconsecrated Gothic Church of Saint Mary the Crowned, excavated in 1870 and recently restored for use as a cultural space.
The work was created with the public patronage and sponsorship of the Minister of Culture of Italy: the Superintendent for Fine Art, Naples; the Consulate of the United States, Naples; the Italian Cultural Institute, Los Angeles.
Chiesa Santa Maria dell’Incoronata, Napoli
Visiting “Qui, del dicibile” (Here, For The Sayable) may yet lead us into what is indeed the unsayable. This intimately dialectic installation affords the time to say what can be said within the curved space of the unsayble. For an artist like Vassily Kandinsky, who tends towards a synaesthesia of colours and sounds, of painting and music, art was to make the invisible visible, and the spectrum of colours audible. In the case of Soulé and Toparovsky’s symbiotic installations – particularly in this encounter with literary plots raised to the level of “category” – art attempts to make the seeable most astutely sayable, filtering what we see through the various ways in which we might narrate it.
The architecture of this installation without walls is as extended as it is suspended. Toparovsky’s sculptural fragments tend to line up in symbiosis with the paintings, almost as though they were pictorial planes themselves, while Soulé’s double canvases stand up on their own in symbiosis with three-dimensionality, as though they were sculptures. The interactions we see forming are those between the sculptures and the monumental sweep of the paintings, starting out with the interaction between convex shapes and concave.
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