Halfway between what is and what could be

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The plots need to annoy, pierce, and destabilize. Then they unite and do their work. It's in their nature to take a risk before they get there. Once ready, they hide the process that produced it all, the wear and the skewers. Revealing the needle is to see a little of the tortuous path that led to this point. In the case of Zamproni, the task is this: what are the ways to show the improbable? He's been trailing this path for some time now, measuring and filling in spaces that don't yet exist. Seeing them is the first step. In the past, it supported the emptiness of marquees and buildings with comfortable cushions, floated heavy pillars in the water, and built walls with zippers. From start to finish, the process is an exchange between idea and matter, a division of land between what is possible and the space that is available for the impossible to inhabit. The starting point always seems to be a big “what if?”. The game of images and simulations goes beyond what it might seem at first because the form invites the imagination. The object is not just what it tries to be mimetically, but what lives in the familiar universe of things and their senses. Therefore, it depends on the environment it occupies and on the other, it sees: it challenges the former with its foreign body and invites the latter to remember the past.

The vital threads woven here are not so obvious. They depart from the museum to the city and can form a path so broad that it works with both memory and imagination. However, this seems to be the ideal path. Zamproni does not dictate senses to be discovered, his objects already take the lead in the conversation with perception, inviting the spectator's imagination. The dialogues between the museum and a large needle start out noisy, involving eyes, body, and environment in a wide seam. Perhaps, one is not comfortable in its presence, but making plots is just like that.

 

 

Renan Archer