The work of Jacob Hashimoto addresses a theme of recent relevance: while art is possibly an alteration of the scheme of man over nature, of the order of man over primordial chaos, then how does its meaning change when we realize that the infrastructures, systems and algorithms designed by man to move towards utopia are losing their efficacy?
Entering the 18th-century ground floor of the Palazzo, visitors encounter an immense floating site-specific sculpture composed of 8500 black kites of paper and bamboo, suspended from the ceiling and assembled in a spectacular wavering cloud.
The work of Emil Lukas occupies the first level of the space. The internationally acclaimed artist has created three groups of works that are separate but interconnected: Lens, Puddles, Threads.
At the end of the hall, 650 aluminium tubes are assembled in a sort of gigantic lens. Through the welded tubes, the concave sculpture becomes almost iridescent, shifting its appearance with changes in the viewer’s vantage point. In many ways, these works are more like sculptures than paintings, with surfaces that become concave with the form of a funnel, thanks to a pattern of threads.
