VIOLA'S INSTALLATIONS

Norwid's room means something different to each of us, but for everyone it represents the great metaphor of the cavity (the sepulchre and the womb) haunted by our ambiguous phantasms.
In the interior darkness they call one another without uttering words, spinning the shining dribble of childhood from the exterior towards the interior.

In the depths which have neither beginning nor end, in the narrow gorge of San Casimire, Norwid the poet conceals himself; he hides in a corner and refuses to leave the darkness.

Maybe he nervously recalls the white passage where he loved the beautiful Maria, where rows of windows opened in a game on the bastions of a small fortress long since abandoned.
Norwid is a disquieting image, a suspension of meaning in the space of the imagination, unquestionably a dream. (L. Viola, 1980)

Norwid's room at the Galleria Comunale d'Arte Moderna, Ancona, 1981

SOME INSTALLATIONS IN THE '70-80

Sentence in the mirror, 1976, mirror and writing on paper,
300 x 50 x 50 cm, Venice

Interphonic diamonologue, 1977, black parallelepiped, monitors, video,
Galleria Comunale d'Arte Moderna, Bologna

Sonorous stairs, 1979, black slate staircase, neon, sonorization (by A. Pizzin),
Galleria Unimedia, Genua

I looked for ... (Alice), 1977, Painted bench, carved brass, photo, video,
Palazzo Reale, Milan

For more information please

Luigi Viola