Ex Elettrofonica

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c/o ArtNoble gallery
Via Ponte di Legno, 9
20134 Milan

MON CLOSED
TUE-SUN 3:30-7:30 P.M.

ARTISTS:
Sergio Breviario
Mario Merz (Collezione Ramo)

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Sergio Breviario answers questions from
Irina Zucca Alessandrelli, curator of the Collezione Ramo.

Give a definition of what drawing is for you.
Drawing for me is an effective system of visualizing time. It is light becoming shadow and vice versa.

What techniques and creative processes do you use when working on paper?
Consciously I do not put any creative process into practice, however, I must admit that I have a certain dedication to the drawing medium, which attracts my attention and steals a considerable part of my time. As a boy, I wanted to draw on something intangible, a medium impossible to focus on: I found an architect's paper, a polyester paper, useful for this purpose. For the drawings made over the past few months, I have been using a paper with mica in it. Mica is a mineral having the characteristic of reflecting light with ever-changing iridescence. It is like drawing on a mirror that throws a tantrum.

Why did you choose this work from the Collezione Ramo?
I chose a work by Mario Merz(Fibonacci, 1070), consisting of a series of numbers that follow one another forming a vertical line in the center of the sheet: one of the Fibonacci chains that made the artist famous.
The Fibonacci chain is not just about man but about nature; it is a way of representing the universality of what we call life. It concerns everyone.
Those who deal with Italian art recognize in these numbers the work of Mario Merz, but if this paper ended up on the table of a mathematician.... goodbye Mario and such numbers would simply go back to being Fibonacci. Similarly, if an elementary school teacher wrote these numbers with white chalk on a black slate board, the pupils would understand after a short time that we are talking about addition. Simple, effective and in some ways amusing. Our Mario, and with us internally calling the attention of those who love Italian art, speaks to us about the universe, about nature, about life, without trying to persuade us with any particular narrative talent or technical skills related to drawing. This work is a small piece in the path of a great artist, but even if small, this piece is able to hold all the intensity of a universal message and, for this reason, I am happy to have it in the exhibition.

What value does dialogue with modern design hold for you?
I was born in 1974, grew up with B. television, lived through Post-modernism's attempt at self-definition, Grunge, the birth of the Internet, the spread of the CD and its end-of-life (total disappointment), 9/11, Techno, Britain's exit from the European Union, the questioning of globalization, until I found myself in theaters with Christopher Nolan's (now out-of-time) propaganda film about the figure of Robert Oppenheimer, and you ask me what value does it have for me to dialogue with modern design? It relaxes me.