Dirac

«We cannot absolutely consider the painting as a space on which we project our mental images, but rather as our area of freedom, in which we delve for the discovery of our primal images. Images as absolute  as possible, which cannot be worth for what they recall, explain, express, but only because they exist: beings»
Piero Manzoni, in Metodo di scoperta, 1957-58
 

Between 1957 and 1963 Piero Manzoni presented some achrome surfaces, white canvas soaked in kaolin, a space of absolute freedom, open to infinite meanings. In the emptiness of those plaster canvases, the artist discovers his primal images.
Chalk. Non-matter, non-color. Since the V century B.C. the plaster model has been an essential analytical moment, in which the artist focuses on the structure, the balance of the masses, the gradients of lights and shadows, movements and pauses.
Klingenberg Arkitektur Atelier alignes to this approach and puts on display six plaster maquettes of its projects, on the border between theoretical and visual research, which testify the importance of the model as a mean of experimentation.
Here comes the idea to broaden out the debate and include the students of Liceo Artistico Boccioni, by convenig their own sensibility.
Starting from a standard plaster cube, each author has imagined a place. Cartesian constructions, beyond space-time, which tell in their absences, excavations and subtractions, a rarefied idea of Architecture.
The rigorous initial conditions, the same material, an identical format, have strongly highlighted the diversity of each project; side by side the models present themselves as gestures of liberation, a spatial narrative of the coming-of-age that the authors are going through.

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