Six large portals reinterpret the founding themes of Fabrizio Plessi's work, related to natural elements such as water, lightning, fire, lava, gold, smoke

In a historical moment in which technology is no longer an instrument in the hands of man but governs the world and humanity, in which technology has ceased to be a means to an end and has itself become an end, i.e. a ‘world’, Fabrizio Plessi's art reminds us that technological media should be used as simple ‘media’, which are very important, but which are and remain means and instruments. To make ‘poetics’ coincide with technology is always risky.

Read also: Fabrizio Plessi at the Palazzo Reale in Milan

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Fabrizio Plessi, Water.

A human approach to technology

‘TuttoPlessi’, an exhibition project that at the Palazzo del Broletto in Como (from 5 October to 17 November) synthesises sixty years of the career of the visionary pioneer of video art and video installations in Italy, recounts this approach to technology. Six large portals reinterpret the founding themes of his work, linked to natural elements such as water, lightning, fire, lava, gold and smoke. In the elaboration of the project, Fabrizio Plessi explored the Romanesque-Gothic spaces of the Broletto, started from the drawing, giving visible form to the content, chose the archetypes to represent, and finally arrived at the identification of the right media and material and technological tools to communicate his poetics.

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Fabrizio Plessi, Lightning.

A dynamic mirroring

Curated by Paolo Bolpagni and Giovanni Berera, with scientific coordination by Ilaria Bignotti, ‘TuttoPlessi’ reveals the summa of Fabrizio Plessi's technological revolution, developed in the 1970s but capable of providing stimuli and suggestions even in the first decades of the Third Millennium. The spectacular installation, specially designed for the hall of the medieval seat of the Como city government, proposes a complex system of videos from which images are amplified by a tank, placed at the foot of each portal, in a dynamic ‘mirroring’ of moving images.

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Fabrizio Plessi, Fire.

Impossible cohabitations and different possibilities

‘Drawing charcoal, straw, marble, iron, earth,’ Fabrizio Plessi explains, ’becomes a means of approaching and fully understanding the ancestral physicality of these materials, represented always and in any case in contact or confrontation with the means in use of technology. From this only apparent ‘clash’ of such different substances, from these ‘impossible cohabitations’ between the poverty of the natural and the iridescent richness of the electronic, from these forced assemblages that then became almost biologically communicating vessels, from all these ‘different possibilities’, over the years many, infinite projects have been born, studied and represented, many of which have not yet been realised’.

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‘TuttoPlessi’ is the exhibition project that at the Palazzo del Broletto in Como (from 5 October to 17 November) summarises sixty years of the career of the visionary pioneer of video art and video installations in Italy.

Spatio-temporal happenings

The monumental arches designed for the Larian exhibition dedicated to Fabrizio Plessi generate a flow of images and sounds that narrate spatio-temporal happenings: water that rushes and flows, lightning that tears through the black sky and bursts, fire that crackles and rises, lava that heats up and explodes, gold that drips and melts into the blackness of Vanitas, smoke that clears and shows a glimpse taken from Giovanni Battista Piranesi's ‘Carceri’.

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Fabrizio Plessi, Lava.

Beyond Medium and Language

Each of these installations visually emphasises the most characteristic themes of Fabrizio Plessi's research: ‘The large structures designed for the Broletto in Como,’ emphasises curator Paolo Bolpagni, ‘are, beyond medium and language, like the cave paintings of Lascaux: tales, narratives of mythical truths, of archetypes, and at the same time gnoseological instruments, which speak of us and of nature, and of us as nature.

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Fabrizio Plessi, Gold.

A technological warrior

‘TuttoPlessi’, recalls Ilaria Bignotti, who curated the exhibition's scientific coordination, ’is a courageous, peremptory title that looks at the river of projects and installations, of the fluctuating, dynamic, passionate videosculptures and videonarratives that the maestro has created over almost sixty years of research and production... Fabrizio Plessi is a technological warrior, an ancient poet, a fearless explorer who, like an alchemist, knows how to mix nature and culture, technology and art, word and image, sound and mechanisation, light and water’.

The exhibition is accompanied by the catalogue Alberto Peruzzo Editore edited by Fondazione Como Arte ETS. For info: info@comoarte.org - comoarte.org

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