{"id":2000,"date":"2016-09-10T11:02:11","date_gmt":"2016-09-10T11:02:11","guid":{"rendered":"https:\/\/projectmarta.com\/opere\/waiting-for-the-last_bus\/"},"modified":"2016-09-10T11:02:11","modified_gmt":"2016-09-10T11:02:11","slug":"waiting-for-the-last_bus","status":"publish","type":"opera","link":"https:\/\/projectmarta.com\/en\/opere\/waiting-for-the-last_bus\/","title":{"rendered":"WAITING FOR THE LAST BUS"},"content":{"rendered":"

Waiting for the last bus<\/i>\u00a0is a installation art project exhibited during\u00a0Summer 2016 at the Arte alle Corti\u00a0II edition Turin.<\/span><\/p>\n

It is an art installation that interprets the relationship between the exhibition space \u2013 central courtyard of Palazzo Carignano \u2013 and the urban context that surrounds it \u2013 an anonymous suburb, seen as an alternative territory and for reflection. The impression that emerges is that the center of the city welcome and almost protect these areas usually less considered, in a symbolic gesture of awareness of two very different worlds. <\/span><\/p>\n

The bus stop sign bring to mind the idea of suspended time, the same time that you can feel inside of Palazzo Carignano\u2019s courtyard, two different waiting placed in dialogue.<\/span><\/p>\n

The artwork is made by photographic images printed on PVC, on coils which measure 500 cm to infinity, applied on iron and wood structure for the walls, while the floor is made of plastic.<\/span><\/p>\n

\n

Excerpts from the technical interview to Botto and Bruno:<\/p>\n

\u201cThere are artworks <\/i>focused<\/i> on specific areas, <\/i>usually <\/i>they are suggestions of years of work. In this case the idea <\/i>comes <\/i>from the architecture of <\/i><\/span>the<\/i><\/span> Palazzo Carignano, its courtly bricks, so <\/i>the connection<\/i> with industrial brick <\/i>came immediately to our mind<\/i>. <\/i>For many<\/i> years <\/i>we took pictures of<\/i> abandoned factories \u2013 in Turin and <\/i>Europe<\/i> in general \u2013 so we imagined to bring this work from the <\/i>abandoned<\/i> <\/i>suburb<\/i> to\u00a0the <\/i>centre<\/i>, in a hushed place, wrapped in an atmosphere of other times, <\/i>extinct<\/i> <\/i>as well <\/i>as the golden years of industry\u201d.<\/i><\/span><\/p>\n

\u201cWe studied the organic evolution of <\/i><\/span>the<\/i><\/span> Palazzo Carignano, <\/i>in order to make the <\/i>structure <\/i>follow<\/i> its movement <\/i>and <\/i>the <\/i>floor<\/i> <\/i>details<\/i>, in particular the two circles <\/i><\/span>drawn<\/i><\/span> which <\/i>works as perimeter<\/i> to our structure. <\/i>To keep<\/i> the possibility of crossing the courtyard was very important for us, so people could\u00a0watch and cross the installation, passing by the yard in a suburban landscape, and then again in the city <\/i>centre<\/i>. It\u2019s another level of dialogue between the artwork and the context in which it <\/i>has been<\/i> set, emphasizing the <\/i>centre<\/i>–<\/i>suburb<\/i> relationship. \u201c<\/i><\/span><\/p>\n

\u201c<\/i>Each<\/i> artwork is linked to the previous one, we bring forward an idea that <\/i>change with the <\/i>time but <\/i>that<\/i> encloses our poetic. We never realized projects <\/i>far away<\/i> from the starting <\/i>point<\/i> <\/i>and<\/i> from the attention to the outlying places, there <\/i>rather<\/i> have been developments using different techniques and materials. For example, there were musical experiments <\/i>and<\/i> we are inspired by cinema and <\/i>theatre<\/i>, we <\/i>took ideas from<\/i> childhood and adolescence world\u2026 it is a binary that we <\/i>keep following<\/i>, which makes us not <\/i>derail<\/i>.\u201d<\/i><\/span><\/p>\n

\u201c<\/i>Slowness<\/i> is <\/i>really important<\/i> In our work because <\/i>during<\/i> <\/i>the creation <\/i>there is a real process, a change, a <\/i>tiring evolution<\/i>, <\/i>physical as well<\/i> <\/i>due to the attention to details that<\/i> it requires, <\/i>which<\/i> <\/i>affected<\/i> our <\/i>sight too<\/i>. It remind<\/i>s<\/i> me about <\/i>restorer\u2019s job<\/i> \u2013 context <\/i>where<\/i> we come <\/i>from<\/i> \u2013 <\/i>as<\/i> <\/i>there\u2019s a similar<\/i> meticulousness <\/i>needed<\/i>, but for us it is <\/i>crucial<\/i> to create something <\/i>in a specific way<\/i> and respecting the time it <\/i>will take, <\/i>in a world where images are absorbed and digested too quickly.\u201d<\/i><\/span><\/p>\n

\u201cOur <\/i>photographic<\/i> archive \u2013 photos already printed and <\/i>their <\/i>negative \u2013 is organized <\/i>on themes<\/i>, for example there is a section <\/i>for <\/i>skies, <\/i>lands<\/i>, buildings, clouds, <\/i><\/span>figures<\/i><\/span> etc, while there is nothing divided <\/i>by age<\/i>. <\/i>For sure<\/i> our memory plays a key role in this context, but <\/i>usually<\/i> we move to areas. <\/i><\/span><\/p>\n

\u201cTechnology <\/i>that we used to deal with<\/i> <\/i>changed a lot now<\/i>. <\/i>In the past<\/i> the quality of photo paper, ink and printing was higher, <\/i>while<\/i> today we have more freedom in terms of printing at large sizes. <\/i>If<\/i> our old artworks\u00a0<\/i>would need to<\/i> be <\/i>printed again<\/i> today, we should first resume them all, because now they have a much lower definition. <\/i>Analogic<\/i> <\/i>photography<\/i> <\/i>is now <\/i>a rarity in Italy, <\/i><\/span>and<\/i><\/span> it\u2019s difficult to find <\/i>good <\/i>quality materials<\/i> and <\/i>there are\u00a0<\/i>less<\/i> distributors\u00a0because they <\/i>aim<\/i> on the plotter size and ecological products, and <\/i>even if<\/i> it\u2019s true that the definition is higher, but <\/i>then <\/i>the <\/i>colours<\/i> changed and <\/i>they <\/i>all <\/i>look<\/i> <\/i>the same <\/i>. \u201c<\/i><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Waiting for the last bus\u00a0is a installation art project exhibited during\u00a0Summer 2016 at the Arte alle Corti\u00a0II edition Turin. It is an art installation that interprets the relationship between the exhibition space \u2013 central courtyard of Palazzo Carignano \u2013 and the urban context that surrounds it \u2013 an anonymous suburb, seen as an alternative territory […]<\/p>\n","protected":false},"featured_media":1711,"template":"","meta":{"_acf_changed":false,"footnotes":""},"class_list":["post-2000","opera","type-opera","status-publish","has-post-thumbnail","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/projectmarta.com\/en\/wp-json\/wp\/v2\/opera\/2000","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/projectmarta.com\/en\/wp-json\/wp\/v2\/opera"}],"about":[{"href":"https:\/\/projectmarta.com\/en\/wp-json\/wp\/v2\/types\/opera"}],"version-history":[{"count":0,"href":"https:\/\/projectmarta.com\/en\/wp-json\/wp\/v2\/opera\/2000\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/projectmarta.com\/en\/wp-json\/wp\/v2\/media\/1711"}],"wp:attachment":[{"href":"https:\/\/projectmarta.com\/en\/wp-json\/wp\/v2\/media?parent=2000"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}