| Summary: | <p><span style="font-family: Times New Roman;"><span style="font-size: medium;">Lucia Romualdi is an artist active since the 70s in the context of conceptual art. Since 1989 she has been working </span><span style="font-size: medium;">to</span><span style="font-size: medium;"> a close dialogue </span><span style="font-size: medium;">with</span><span style="font-size: medium;"> musical languages. Her </span><em><span style="font-size: medium;">oeuvre</span></em><span style="text-decoration: line-through;"><span style="font-size: medium;">is</span></span><span style="font-size: medium;"> basically </span><span style="font-size: medium;">focuses</span><span style="font-size: medium;"> on the relationship between space, music and light, and so she creates performances </span><span style="font-size: medium;">made of</span><span style="font-size: medium;"> optical equipments which turn on and off according to musical rhythms, </span><span style="font-size: medium;">that are</span><span style="font-size: medium;"> taken not only from original sound scores, but also from old movies soundtracks and </span><span style="font-size: medium;">that</span><span style="font-size: medium;">are mostly</span><span style="font-size: medium;"> structured on the reading of mathematical rules of solids and voids which do inspire her extremely unusual selected locations. Golden measures, music and sea are her main topics. The sea, in particular, is the element that merges Lucia Romualdi’s artistic journeys, always symbolically marked by the numbers of harbour tides, or through the projection of minimal digital images from old movies and/or showing sea animals taken from ancient manuscripts and printed books. The real structure of the places changes, and it is perceived in a total, complete emotional immersion, measured by mathematical and musical scores, too. You just have to be dazzled by such very personal atmospheres whether in Malibu, Chicago, Antwerp, Prato, Naples, Rome or Samorin. The artist </span><span style="font-size: medium;">let</span><span style="font-size: medium;"> the visitor </span><span style="font-size: medium;">be</span><span style="font-size: medium;"> an active protagonist of the </span><span style="font-size: medium;">visual</span><span style="font-size: medium;"> experience, and he himself is required to establish a connection, apparently indefinite, which becomes </span><span style="font-size: medium;">certain</span><span style="font-size: medium;"> in that time. The performance concretely experienced by the visitor, by his own hearing and viewing, with his total physical immersion in a not tangible but special space, transcends the architectural context; and only in this way it provides him a contact, a fusion of physical awareness and sentimental emotion, which throws the visitor in a field </span><span style="font-size: medium;">that is</span><span style="font-size: medium;"> ‘other’, and therefore different.</span></span></p>
|
|---|