San Vito al Tagliamento
curated by Giada Centazzo e Antonio Garlatti
To see the fields and the river
It isn’t enough to open the window.
To see the trees and the flowers
It isn’t enough not to be blind.
There is only a shut window, and the whole world outside,
And a dream of what could be seen if the window were opened,
Which is never what is seen when the window is opened
Fernando Pessoa, Not enough
It’s time to enter, to begin a new journey. The wooden floor, under the weight of our steps, creaks. Many years have passed and in the vast empty space of the room, the acrid smell of stacks of silk cocoons still welcomes you. Along the walls, countless closed windows deny the external world. However, from those windows a succession of images from memory lead us on an intimate journey, where different moments of life, marked by the course of time, follow one another: daylight, the darkness of night, the sun, the rain, the passing of the seasons.
In the video-installation Diario d’impermanenza (Journal of Impermanence), a site-specific installation for the Essiccatoio Bozzoli (a former cocoon drying room), Paolo Comuzzi wants the space of the room to metaphorically coincide with that of his body, trying to bring us to a different, less predictable and less obvious world because it is «never what is seen when the window is opened». By using the technique of videomapping, the artist projects the image of windows which are actually present in the room on a wall, but showing other spaces, locations, worlds. Comuzzi therefore introduces us to his introspective journey that unravels itself in peripheral, border areas, in places –as he states– «neither beautiful nor repulsive, good or evil, where it is not easy to stop by, a sort of limbo filled with traces of humanity, yet still marked by absence, abandonment».