Boîte-en-valise II, red, 2011.

DOPPIOSENSO - Il senso del Doppio

Marcel Duchamp is the artist who most skillfully played with double meanings, especially in the titles of his Readymades. According to Duchamp, it is not technical skill—a solely manual endeavor—but rather the act of selection, a mental action, a different attitude toward reality, that adds aesthetic value to the work. Fabrizio Ruggiero argues that technical skill can be a highly sophisticated process, a deeply intellectual act, and that the linguistic twist creating a shift in meaning, often humorous, within a language has little to do with the visual arts. Painting is not made of words; it has no sound, and by concentrating awareness on sight alone, it amplifies visual sensitivity. Painting becomes a subject that emanates sensations; it does not expect listening ears but watching eyes. Painting thus channels its resonance into line and color, which express the ineffable. Painting alludes to that which cannot be articulated, to something glimpsed as hidden 'between' or, more accurately, 'beyond' experiences, something unsayable because painting lacks words, yet can express through line and color what words cannot convey. Over the past twenty years, building on this concept, Ruggiero has occasionally interpreted Duchamp's work as symbols with alternate meanings, using them as subjects for frescoes that thereby acquire a completely different significance. Playing with the overblown cult of the Art-Star System, he assembled preparatory studies for the anamorphic view of Nu descendant un escalier, celeste! (1989), the series Ariadne and Dionysus per À bruit secret & Pandora's (2010), and the fresco portrait Marcel Duchamp with piercings (2008), among other works collected in the grand Boîte-en-valise II, red. (2011).

I componenti l'installazione: