A.R.T. Nutrimento e conservazione dell'Arte
A.R.T. brings together the two most important initiatives of universal theme and exhibition, taking place in Italy from May to October 2015: the 56th International Art Biennale of Venice titled 'All the world's futures', suggesting a reinterpretation of the economic laws that administer social relationships, and the Milan EXPO, with its core theme "Feeding the Planet, Energy for Life" that gives a detail of the various and unsolved nutritional issues.
Based on the above topics and within their common subject matter, the A.R.T. project unfolds the meaningfully complicated relations represented and diversely witnessed by the current 'nature' of the two Italian cities, Venice and Milan. In fact, it has to do with giving answers to universal questions, through a relation of comparison and continuity between historical heritage and contemporary action, looking for connections among experience, innovation and research, to verify the importance of the past memory and develop solutions that characterize the present.
The proposed editorial and exhibition system aims at investigating the question of nutrition and the importance of food, intending to broaden its forms and its complex values amid color nuances, flavor, emotion and experience. In particular, A.R.T. directs its attention to issues of production and 'collection', verifying afterwards the phases of consumption and conservation. Production and collection, consumption and storage are steps on which the entire system of nutritional experience and quality is built, including physical survival and cultural growth; an iconographic path dedicated to the needs of a nutritional system that embraces the structural presence of the artistic content as part of the process of maturity of human society. Moreover, the aesthetic process well captures the role and the key issue that raises the topic of food in religion - both on the anthropological and theological level - and more precisely the issue of the Eucharist in the Christian context. This explains the frequent collaboration with the Diocese of Milan and mostly with the Patriarchate of Venice.
Along this articulated and complex interdisciplinary process of theoretical development, the iconographic value of the refrigerator holds a central role with its structural and technological value, with reference to its functions and through its instrumental presence. Its identification as a dominant observer of an iconographic system characterized by the need of food 'conservation' has allowed us to extend and reach out to the various issues within this large territory, so that this food container connects to the articulation of subjects and themes, reaching up to the conservation of books and art, music and words. Symbolically, the 'refrigerator' - with reference to the ancient icebox and to the historical breadbox - seems to enclose the combination of those values that lengthen the perception of food durability, the extension of time in the process of food consumption. The installation of twenty refrigerators-monoliths, distributed throughout the liturgical hall along the visual directive that unites them to the altar tabernacle of Church Sant'Andrea della Zirada in Venice, represents the result of a cultural event characterized by a tangible experience made up of know-how and enjoyment of art.