32″ monitors, steel shelving racks, murano glass plates and polychrome glasses, multimedia players, speakers, lead
teresa mira gandini [sound] and atelier di decorazione b, accademia di belle arti di venezia
on the occasion of the project/workshop “ma a che serve la luce?” [title inspired by a verse in the poem “le ceneri di gramsci” by pier paolo pasolini, 1954], started inside the decorazione b atelier, an inspection is carried out at the headquarters of the murano municipality: palazzo da mula. the reason for the inspection is the realization of the “ara. percorsi di progettazione per il vetro artistico contemporaneo all’accademia di belle arti di venezia” exibition, held between 12th and 28th may.
at the top floor of the palace [inaccessible to the public, because it is declared inaudible], a multitude of polychrome glass is found. these fragments [most of murano glass] that once filled the frames of a window, are subsequently recovered, pulling them out of the lead structure that holds them.
reflecting on the glass recovery operation and the idea of a possible fusion of these, i opted to use the term ‘defragmentation’ [defragment v. tr. – der. to fragment, with pref. de-, on the model of the ingl. to defragment “defragment”. in computer science, an operation through which the various files on a hard disk of a computer are collected in the same disk area to optimize their performance], referred to as the work title itself: defrag.
scrubbing and casting
accurately cleaned and selected, the fragments are subjected to a melting operation with a colorless murano glass plate with the compatible expansion coefficient [the absence of this compatibility involves almost certainly breaking the glass].
the fused plates have a 16/9 aspect ratio and a 32” size, equivalent to the proportions and dimensions of the two monitors on which they will be fixed later. choosing to use displays recalls the digital environment where the term defragmentation is usually used. the monitors [previously “shelled”] are in turn supported vertically by a structure made of steel shelf racks; the verticality of the two displays, strongly reflects on the idea of the window.
prior to being mounted on the monitors, the plates were photographed. the scanned images have been processed using editing software such as adobe photoshop and adobe illustrator. the purpose of the processing is to get contours and fills of each molten fragment with the plates [about 50 for each slab] in order to switch to the video editing stage.
video and audio editing
fills and contours of each fragments are then processed through video editing software such as adobe after effect. parallel also the audio in videos that document the recovery of glasses, is reworked [in collaboration with teresa mira gandini], using audio editing software such as audacity. audio and images are finally connected, reacting certain properties of the latters to the sound of the audio track.
site specific/site sensitive
the [site specific and at the same time site sensitive] intervention creates a dialogue between the light emitted by the display and the glass surface in front of it. dialectic between signifiers, in which the meanings generated by the memory of the recovered objects agitate. to animate this tension adds the potential and mismanaged value of the place where the work is exposed: the whole plan of a historic palace preserved inaccessible to the public [used as a sort of store / warehouse] is unveiled, literally highlighted thanks to what lay in it, scattered, fragmented, forgotten.