The Lac o Le Mon Foundation, a center for artistic research and experimentation, once again opens its doors this year to welcome sharing of knowledge and experiences: times and desires, foods and practices, thoughts and places. The series of meetings entitled Aesthetics of the Imperceptible is curated by Emilio Fantin, who after the 2017 experiences on the relationship between reason and intuition and 2018 on the theme of listening, continues the investigation of aesthetic forms of the third millennium.
From August 19-21, 2019, I will also be invited to tell about my journey of studying and experimenting withobjective art (for more info you can visit the Wikipedia page dedicated to it, in addition to that of Georges Ivanovič Gurdjieff) and in these meetings I will realize the performance Persistent inFormation determines form | Experiment on the aesthetics of the imperceptible.
Below is the introductory text for my public talk:
Here with you today I would like to do an experiment investigating the possibility of glimpsing the archetype or energy matrix that sustains and vivifies form.
It all stems from an intuition, namely, that persistent in-Formation determines form, however much the human being is not accustomed to com-prehend or carry with him, in addition to the outer constitution the immaterial counterpart or said in other terms, the aesthetics of the imperceptible.
Jacob Böhme-German Lutheran philosopher, theologian, mystic and alchemist-wrote:
"There is in nature no object, created or generated, that does not also manifest its inner form through its outer image, since the inner always tends to manifest itself; thus power and form enable us to see how the eternal being, giving body to its desire, is
manifested in an image, and how it appears to us under all the different forms that we can seeand recognize: stars and elements, creatures, trees and plants. That is why the sign (the form) contains the most perfect reason."
© Lac o Le Mon Foundation, detail of the Casa Cafauscia headquarters.
Lac o Le Mon Foundation
The Foundation's headquarters, the Casa Cafausica where activities will take place, is a striking large early 20th-century farmhouse of the highest quality of construction, which has remained largely intact since its construction. The House is surrounded by a large park of about two hectares with tall trees, olive and fruit trees, and is flanked by a hortus conclusus with citrus grove. The house and park provide an ideal site for the creation of "temporary communities" that can offer cognitive practices and share artistic projects, and at the same time experiment with forms of life that respond neither to the logic of productivity nor to the logic of vacation, neither to efficiencyism nor to inertia, but instead are based on the circulation of knowledge, resources, attitudes, and skills.
The characteristics of the place are such that the period of residence will be characterized by forms of attention and care towards the house and the park: indeed, we are convinced of the importance of operating an attempt at integration between knowledge and practices that are being exchanged and places that are being inhabited together. The Cafausica House is an almost entirely energy self-sustainable building: this represents, for the Lac o Le Mon Foundation, a fundamental point, of great importance also formative, and therefore a commitment that we ask all guests to share with us, particularly regarding the use of water and electricity.
Emilio Fantin is an Italian artist, born in Bassano del Grappa on May 22, 1954. He lives and works in Bologna.
The creation and observation of interpersonal relationships in their most intimate, silent and mysterious aspect are the basis of Emilio's artistic practice, which is revealed especially in the nocturnal dimension free from the conditioning of pre-constituted images and sounds. He creates spaces and situations in which he invites people to share the non-geographical area of sleep and dreams, an area in which intense dynamics of relationship and exchange are generated. Her works connect people, facts and situations.
Between 1988 and 1990 he made the series Strappi parts of different surfaces removed from foreign walls or interiors of buildings and houses, from Italian and European locations, these works derived from conceptual reflections and studies of logic.
In 1992 with Trekking he organized a project, a mountain hike for one hundred people, including artists and critics, with the intent ci to change communicative relationships in art and the role of the public. The initiative was financed through the sale of backpacks containing five works by the participating artists. Of the same year is Arrivederci Roma, decontextualizing the gallery space by asking a hostess to present three types of travel: one by plane to New York, one by train to a European city, and one at night by cab.
At the 1993 Venice Biennale he participated with Pass, intended for art insiders.
In 1994 he installed and designed Atto di Assenza for the Basel fair, it was a chaise-longue protected by a screen provided with a mask and glasses, offered to anyone who wanted to take a break from visiting the fair. Other works, refer to pause, rest and state of mind, such as: A Pause of 1990, in which he writes the word on a wall and its reading is in itself explanatory; The Way and Thinking, Wanting, Feeling of 1996, works composed of twelve and three deck chairs, respectively.
In 1995 he made Ponte, an installation in which only the access stairs appear without the central body of the bridge; the latter loses its function and the stairs frame an absence.
Dedicated to communication and time are the works Sogno of 1996, single stories of dreams that Fantin commissions from some people transmitted in an exhibition, and Privato of 1997, two voices talking on the phone, the caller is the artist as he makes the phone ring during a group exhibition. Self-Portrait of 1999, a photograph taken in front of a mirror, is an intimate introspection between self and self.
In the early 2000s Fantin creates spaces and situations in which he invites people to share the non-geographical area of sleep and dreams in the work "Astral," an area in which intense dynamics of encounter and exchange are generated, ignored or neglected by typically diurnal science and knowledge.
Later, the artist organized workshops dedicated to the relationship between art and nature, designing paths and creating works useful for the revalorization of green areas, to reaffirm the link between man and natural places. An example of this are the collective works and projects carried out as part of "Percorsi Arte e Natura": in 2010 he designed the Smeraldi Chicken Coop in the park of Villa Smeraldi in Bologna, and in 2011, also in the same park, the artist directed the creation of a series of activities aimed at the fabrication of works of aesthetic value and services, handcrafted, to improve the park, especially the area reserved for the youngest children.
Lac o Le Mon Foundation
Summer / Summer 2019
Via Cavallino 19,
San Cesario di Lecce 73016, Italy