(cose)rose, 2018
Alice Pedroletti, Lucia Veronesi.
(cose)rose, 2018
Installation view for the project SSSSSSS by ATRII in collaboration with Yellow.
https://www.atrii.it/yellow
On the back part of the step, toward the right, I saw a small iridescent sphere of almost unbearable brilliance. At first, I thought it was revolving; then I realized that this movement was an illusion created by the dizzying world it bounded. The Aleph’s diameter was probably little more than an inch, but all space was there, actual and undiminished. Each thing (a mirror’s face, let us say) was infinite things since I distinctly saw it from every angle of the universe.
"When I opened my eyes, I saw the Aleph”
“The Aleph?” I repeated.
“Yes, the only place on earth where all places are seen from every angle, each standing clear, without any confusion or blending". - From El Aleph by Jorge Luis Borges
(cose)rose is a kaleidoscope built with a mirrorball and a projector with eighty slides from an old school archive. Images of statues and classical works both recognizable and familiar, preserve and protect its forms while allowing its reproduction and enjoyment. The support on which they are imprinted has instead taken on, over time, a unique magenta color. We are used to thinking of an archive like something firm and constant to take refuge in or to refer to, but in fact, we discover that it is a living place subjected to continuous changes.
The images reflected by the mirrors of the sphere, surreal and in motion, recreate an evocative atmosphere of universal and fascinating beauty.
It represents the archive of a knowledge that belongs to all times and disorients us by turning the courtyard in Via San Pedrino into another world, made up of multiple visions, fragments of stories and tales.
A time capsule, a kaleidoscope of possibilities and narrations. One has the illusion of being in an ever-changing place, in the Aleph by Jorge Luis Borges, where the traces of stories, written on the walls and ceilings of the covered car park, overlap: they twist with those handed down from the archive, from the artworks.
The result is a modern trompe l'oeil between the analogical and digital era which evokes a past time while ironically putting forward a new, absolutely ephemeral, aesthetic code. Only the sound of the projector, slide after slide, owns a sound contact with reality: like a clock that marks an indefinite time of a place that is everywhere, right now.