On January 17, 2007, Meris Angioletti’s solo exhibition L’uomo che cadde sulla terra inaugurated its second phase, featuring interventions by artists she selected for their affinity in research, themes, or modus operandi.

As demonstrated by the works presented at careof, many of Meris’s pieces originate from collaborations. In Il Rabdomante, she documents the almost shamanic rituality of some water diviners; for Travel Tales she worked closely with John Weilacher, who suffered from what was once called dromomania, attempting to reconstruct memories of a journey damaged by his mental illness; finally, in Aussicht she draws on the expertise of cybernetic physicist Valentino Braitenberg to investigate certain brain and language functions through the unique experience of the poet Hölderlin’s confinement in the Tübingen tower.

Like in a scientific experiment open to possible developments and without knowing in advance whether the intersection will work, Meris Angioletti invites Raffaella della Olga, Paul Devens, Cesare Pietroiusti, and the writer Laura Pugno. Hosting their interventions within her own exhibition represents for Meris the opportunity to give visibility to the set of elements that have nourished and stimulated her work, sometimes resulting in real collaborations as in the case of Paul Devens.

With della Olga, she shares an interest in reading places as energetic fields; in Pietroiusti’s work, she not only looks at the relational approach but also at its ability to highlight paradoxical situations of everyday life. In Laura Pugno’s writing, finally, she finds the capacity to hypnotically tell seemingly normal stories.

Wednesday, January 17, 2006 from 3:30 PM to 7:00 PM
Intervention by Cesare Pietroiusti, "Una risposta ad ogni domanda"
Followed by the screening of the film L’uomo che cadde sulla terra by Nicolas Roeg (1976)

Man - Energy - Power Plant. Variations on an image. In these new works, I tell of energies that man accumulates and transforms inside and outside himself in a continuous cycle, generating a network of invisible threads scattered throughout space. Through the series of drawings, I animate the alienating atmospheres of my photographs. Transformer cabins, power plants, high-voltage pylons become metaphors of processes where energy is the element that creates an uninterrupted transformation of reality. (Raffaella della Olga)

The sound composition On the edge of the park, created especially for the exhibition at careof, is inspired by the controversial film La casa sperduta nel parco (1980) by director Ruggero Deodato, reinterpretating its strong emotional impact in sound form. My installations are architectural constructions conceived for a physical experience of sound, emphasizing listening situations. (Paul Devens)

The artist, to me, is a perfect amateur; someone who actually doesn’t know how to do anything, but who can do everything, crossing techniques and disciplines, invading others’ fields, instrumentally using technologies, exploiting collaborations, and perhaps above all, strategically using their own incompetences as fundamental elements of their work. For the action Una risposta ad ogni domanda I will try to answer any question that participants want to ask me; no limitations regarding the content of the questions are foreseen. (Cesare Pietroiusti)

Just as I try to concretely inhabit my body, in the same way my writing learns to inhabit history and territory, moving from an atopic, ahistorical, disembodied position to a territorial, historical, embodied one. I don’t know if this is entirely clear: I don’t know if it’s completely clear even to me. But I feel an affinity between these two movements that take us from the beauty of an abstract perfection to the beauty of a real imperfection. Beauty is something that passes and happens, in the body and in the text. (Laura Pugno)