On the occasion of the week of art in Bologna, from 12 to 15 May 2022, Vincenzo D’Argenio (Benevento, 1982) presents “RICOGNIZIONE”, an exhibition, with a critical text by Silvia Delevatiborn from the collaboration with The Circle of Libya in via Libia, historical association that operates in the fields of hospitality and culture based in via Libia 72 / b. Using works that emerged from the union between spirituality and science, D’Argenio elaborates a personal conversation with the association’s multipurpose room, a place of daily passage for migrants and volunteers used mainly for recreation and prayer for guests of Islamic faith. Inside the room there will be works already completed, but unpublished, together with others, produced for the occasion. Olfactory stimuli and a sonorisation of Domenico Canino (Cellular).
The press release explains that you were immediately struck by the atmosphere of the association’s multipurpose room. What was the first impression you had when visiting this place? And how did it influence the production of the exhibition?
«“ RICOGNIZIONE ”is a project that I had been planning to carry out for some time. The discovery of The circle it was completely random; after seeing some pictures of its interiors, I had the idea of visiting the space and trying to ask for a collaboration. During the inspection, I perceived a deep sense of spirituality in the multipurpose room, in my opinion the most fascinating environment for the presence of carpets and sofas characteristic of the Arab world. It reminded me of two artists I adore: Rothko (and his namesake Chapel in Houston) and Spalletti (Chapel of Villa Serena in Città Sant’Angelo). Since the project was already highly spiritual and symbolic, I decided to orient myself in this direction.
In space, wall installation # 9CFFCE it is related to the two elements of a diptych. The first, Untitled Awhich I started working on in 2018 with the artist Sara Cancellieri, is made up of eighteen strips of raw earth, one of which is covered in gold leaf, arranged on an iron pedestal. For the exhibition I completed the diptych with a second work, Untitled B, composed of as many levels of framed carbon paper, which generate an indecipherable and dark work, were it not for a layer of gilded paper. During its realization I thought about the Kaʿba and the Black Stone. This work also dialogues with a cross located on the opposite wall produced by a laser level ».
In the exhibition insert two suggestions: the short story by Arthur C. Clarke The nine billion names of god and the # 9CFFCE, the Cosmic Turquoise, the wrong mean color of the universe. These seem to be two clues capable of arousing possible interpretations of the relationship between the two concepts that inspired the works, spirituality and science. How are they linked to your most personal dimension and how do they act as a leitmotif of the works? Why did you choose to enter an error history?
“I grew up with my maternal grandmother, a Friulian who grew up in the south who had a pragmatic faith often linked to customs learned after her arrival in Sannio, like trying to discover with a handful of prayers, a plate of water and a few drops of oil olive who had done the evil eye when I had a headache. Luigia also told me stories of plants and animals, such as the legend of the robin connected to the Crown of Christ. Along with my childhood memories, astronomer Carl Sagan’s reflections on the Pale Blue Dotthe photograph of planet earth taken from a distance beyond the orbit of Neptune, among the most touching I have ever read: when a man of science speaks in those terms he does not seem very far from a priest during the homily.
Anyway, # 9CFFCE it had already been designed for a call in which I wondered what the color of the universe could be. After some quick research I found out it’s called Cosmic Latte, but thinking of immensity as a cup of cappuccino didn’t inspire me much. I then read that the first (wrong) average color of the cosmos had been the magnificent Cosmic Turquoise! What better mistake?
The nine billion names of god it’s a short story that introduced me to it Aldo Brianzione of the components of Ancient Fires who will perform on the occasion of the Art City White Night (May 14) accompanied by the live set of Domenico Canino. The few pages made me think deeply and I decided to add in the room some copies of the story from series of different publishing houses and editions. My work usually has a strong narrative component so, being “RICOGNIZIONE” a more symbolic project, I wanted to insert suggestions that could enrich the exhibition by providing the missing element. Having in a sense erected my temporary church (laughs), I liked that visitors could experience an immersive environment and linger with a reading ».
How do your works hope to relate not only to an already strongly characterized environment but also to the habits of the people who live it every day? And what were and will be the difficulties?
“The difficulties were not few and they will not be even during the opening days since the guests of the The circle. To avoid disturbing, visitors to the exhibition will be asked to wear shoe covers or take them off. For my part, every day I will disassemble and partially reassemble the exhibition so as not to cause discomfort. Whenever I can I try to dialogue with spaces that are not dedicated to art, even if I don’t deny that a white cube always gives a certain security compared to other places where you are a guest ».