In order to underscore the importance of this research while avoiding any possible rhetoric, it is important to try to sever any environmental relationship with the sabotaged space of Muzio’s impluvium, the central hub of the Triennale building.
Not a room, but an abstract and suspended space, capable of accomodating a theory of objects and drawings in a condition of silence and detachment: the desire to reacht to the subborn symmetry that characterises it and the search for an anti-clockwise motion.
Hence the idea of “decalibrating” the entrance to suggest and trigger a movement that was originally absent.
It is a silence of an archaeological nature in which only the single piece can be made eloquent, in part through instances of selective vision offered by two inverted slits that pierce the main one of the three wings.
This archaeological research, almost an extractive action, is deliberately revealed according to a series of open and successive sequences.
The observer’s itinerary is undertaken through a series of fluid yet clearly distinct moments.
The pause from the brightness of the grand staircase before entering a shadowy environment; the possibility of observing a selective frame of the entire exibition; the arrival at the “treasure” immersed in a sort of life-size anatomical-pathological diorama through a rotation in space starting from the diagonal view of the drawings gallery and then, on the way out, further pause: the small but emblematic book by Ermanno Scopinich with the sound installation by Painé Cuadrelli, the site specic installation by Corrado Levi and the return to the contemporary with the Ardea armchair by Zanotta.