Occhio Riflesso is a project started in Sardinia, in 2013, by artists Enrico Piras and Alessandro Sau. The project was developed through a series of one day exhibitions set up in unusual contexts, that were conceptually and formally chosen for hosting these works. In Occhio Riflesso the landscape becomes an active and fundamental part of the exhibition of the works, and it doesn’t only stand as an object of representation in painting or photography, but it assumes the role of scenario for the construction of a semi-theatrical exhibition where the same structural part of the show
Located between the kaolin mines of Monte Porceddu, S’Iscurosu is a huge artificial cave which is still used as a barn and a shelter by the local shepherds.The space rotates around an enormous central rocky body, similar to a column. The various spaces that were excavated around this centRal column have regular walls, their red color is due to the presence of iron oxides in the area
Domus de Janas are pre-historic chamber tombs carved in the rock, dating between IV and III millennium BC. They are found along the mediterranean area, and especially in Sardinia. In English, domus de janas is translatable as “House of the fairies”. It is possible to state that as the nuraghe from the bronze age characterized the nuragic civilization, these hypogeic chambers, characterized the pre-nuragic period
Caposaldo XIII is a bunker located at the edge of some cultivated fields along the reservoir of the Simbirizzi. Camouflaged in the maquis that surrounds the lake, this bunker is an example of blockhouse for coastal defense, built between the I and the II world wars.The architecture of the blockhouse was realized with the use of huge molds with a single pouring of concrete and stones. Its shapes recall examples of Nuragic architecture, like the sacred well of Santa Cristina in Paulilatino or the sacred fount of Su Tempiesu, in Orune
Pinnettas are old pastoral conical buildings, typical of central-eastern Sardinia. Depending on the geographical location they can be built entirely of dry stone, or with the base, circular or rectangular, made of stone and the roof or top cover in wood and reeds. The peculiar circular shape and the materials used in the construction, make them similar to the old nuragic huts. They are generally used by shepherds for overnight stay in the wilderness or hardly accessible places, and for the storage of food or other materials useful to work with the livestock.
Close to the village of San Vito, the mining village of Monte Narba was built in 1863. The lead and silver mine, previously explored by Carlo Gustavo Mandel, consul of Sweden in Cagliari, in the middle ‘700, was given in concession to the company Società Lanusei. Since 1916 some Austrian prisoners were in the village for forced labor; in 1935 the concession was revoked and agricultural activities were started in the area. The center of the mining village is Villa Madama, designed by Giovanni Battista Traverso for the residence of the director.
Villa Elvira is an aristocratic villa built near the square of Sas Animas, in the old town of Orosei. The building takes its name from its original owner Donna Elvira Musio. The plant is typical of a XVII century building, with a belvedere, a gallery framed by arches with typical brick’s vault overlooking the inner courtyard. Today the building, after a rigorous restoration, still presents the original architectural peculiarities.
O R, The catalogue of the six exhibitions of Occhio Riflesso was presented on the occasion of the exhibition Occhio Riflesso presented by MAN (Museo d'Arte Provincia di Nuoro) at Casa Lai, Gavoi.
Un dialogo tra Montecristo Project e il filosofo Raffaele Alberto Ventura
[...Il fatto è di natura antropologico-sociale: il mondo dell’artista, quello che lui vive, è profondamente cambiato; la vita di un artista è infatti possibile unicamente all’interno del mondo dell’arte, del sistema dell’arte, con tutti i suoi cerimoniali estetici e riti di accettazione..]
Questo breve testo presenta una riflessione critica sulla documentazione fotografica dell’opera d’arte nello spazio espositivo contemporaneo: l’installation shot. Si delinea una sintetica evoluzione di questa pratica al fine di analizzare quelle costanti che da sessant’anni, e più che mai oggi, fanno parte della documentazione delle opere e della loro circolazione attraverso mezzi di comunicazione di massa.
Occhio Riflesso is a project started in Sardinia, in 2013, by artists Enrico Piras and Alessandro Sau. The project was developed through a series of one day exhibitions set up in unusual contexts, that were conceptually and formally chosen for hosting these works. In Occhio Riflesso the landscape becomes an active and fundamental part of the exhibition of the works, and it doesn’t only stand as an object of representation in painting or photography, but it assumes the role of scenario for the construction of a semi-theatrical exhibition where the same structural part of the show
Located between the kaolin mines of Monte Porceddu, S’Iscurosu is a huge artificial cave which is still used as a barn and a shelter by the local shepherds.The space rotates around an enormous central rocky body, similar to a column. The various spaces that were excavated around this centRal column have regular walls, their red color is due to the presence of iron oxides in the area
Domus de Janas are pre-historic chamber tombs carved in the rock, dating between IV and III millennium BC. They are found along the mediterranean area, and especially in Sardinia. In English, domus de janas is translatable as “House of the fairies”. It is possible to state that as the nuraghe from the bronze age characterized the nuragic civilization, these hypogeic chambers, characterized the pre-nuragic period
Caposaldo XIII is a bunker located at the edge of some cultivated fields along the reservoir of the Simbirizzi. Camouflaged in the maquis that surrounds the lake, this bunker is an example of blockhouse for coastal defense, built between the I and the II world wars.The architecture of the blockhouse was realized with the use of huge molds with a single pouring of concrete and stones. Its shapes recall examples of Nuragic architecture, like the sacred well of Santa Cristina in Paulilatino or the sacred fount of Su Tempiesu, in Orune
Pinnettas are old pastoral conical buildings, typical of central-eastern Sardinia. Depending on the geographical location they can be built entirely of dry stone, or with the base, circular or rectangular, made of stone and the roof or top cover in wood and reeds. The peculiar circular shape and the materials used in the construction, make them similar to the old nuragic huts. They are generally used by shepherds for overnight stay in the wilderness or hardly accessible places, and for the storage of food or other materials useful to work with the livestock.
Close to the village of San Vito, the mining village of Monte Narba was built in 1863. The lead and silver mine, previously explored by Carlo Gustavo Mandel, consul of Sweden in Cagliari, in the middle ‘700, was given in concession to the company Società Lanusei. Since 1916 some Austrian prisoners were in the village for forced labor; in 1935 the concession was revoked and agricultural activities were started in the area. The center of the mining village is Villa Madama, designed by Giovanni Battista Traverso for the residence of the director.
Villa Elvira is an aristocratic villa built near the square of Sas Animas, in the old town of Orosei. The building takes its name from its original owner Donna Elvira Musio. The plant is typical of a XVII century building, with a belvedere, a gallery framed by arches with typical brick’s vault overlooking the inner courtyard. Today the building, after a rigorous restoration, still presents the original architectural peculiarities.
O R, The catalogue of the six exhibitions of Occhio Riflesso was presented on the occasion of the exhibition Occhio Riflesso presented by MAN (Museo d'Arte Provincia di Nuoro) at Casa Lai, Gavoi.
Un dialogo tra Montecristo Project e il filosofo Raffaele Alberto Ventura
[...Il fatto è di natura antropologico-sociale: il mondo dell’artista, quello che lui vive, è profondamente cambiato; la vita di un artista è infatti possibile unicamente all’interno del mondo dell’arte, del sistema dell’arte, con tutti i suoi cerimoniali estetici e riti di accettazione..]
Questo breve testo presenta una riflessione critica sulla documentazione fotografica dell’opera d’arte nello spazio espositivo contemporaneo: l’installation shot. Si delinea una sintetica evoluzione di questa pratica al fine di analizzare quelle costanti che da sessant’anni, e più che mai oggi, fanno parte della documentazione delle opere e della loro circolazione attraverso mezzi di comunicazione di massa.