Peter Demetz "the Perception"

7 - 25 March 2018 at La Triennale di Milano

Peter Demetz
THE PERCEPTION

La Triennale di Milano - Quadreria
8 - 25 March 2018
Opening 7 March, at 6,30 pm

Curated by Angelo Crespi and Marco Izzolino

The perception is an installation that simulates the presence of some visitors within a space composed of two adjoining rooms. The space inside the sculpture has a realistic height and width, but a compressed depth. The installation floor is indeed sloping, to exploit the rules of the “accelerated solid perspective”. Some wooden sculptures are placed in the architectural space; they depict three people, two in the first room and one in the background room. These extremely realistic sculptures are not all-round but only relief sculptures, a rather “accelerated” relief, as in the tradition of the Italian “stiacciato” (very low relief). The installation offers only its front view to the visitors who enter the room, from the opposite entrance, and gives back - thanks also to a skilful control of the internal light - the perception of a space in perspective, which makes the environment appear much deeper than in reality. Then, approaching the sculpture, visitors have the opportunity to interact with it, its (open) internal space and the figures represented, realizing that the depth is altered.

The work displays a possible situation within an architectural space. The two people represented in the foreground observe a third person and perceive his presence in relation to the architecture. There is nothing else besides the people. The space is completely empty. The artist aims at soliciting the visitors' identification with the figures and the space, as they were before a mirror. Visitors are invited to look at themselves, to question themselves, to ponder, to identify themselves. The installation aims at raising a reflection also on the human need to move within the environments to be fully aware of the space, of the various elements and of oneself towards them. The glance from a single fixed point of view, basic to the rule of the linear perspective and the optical and geometrical structure of photography, is actually a symbolic form: that is, a convention to which we got used to through centuries of figurative painting and, subsequently, photography, in order to reproduce and transmit at least in part the visual information within the real space.

Top of Page