LCPNCRZZ
Luca Pancrazzi, LCPNCRZZ 1
Luca Pancrazzi, LCPNCRZZ
Luca Pancrazzi, LCPNCRZZ 2
Luca Pancrazzi, LCPNCRZZ
LCPNCRZZ by Luca Pancrazzi was made in Albisola in 2001 during the 1st Biennial of Ceramics in Contemporary Art “The Happy Face of Globalization” and was also presented at the exhibition “Artist's Ceramics”, Ariana Museum, Geneva, 2002.
Gli stati d'animo
Luca Pancrazzi, Gli stati d'animo
Luca Pancrazzi, Gli stati d'animo
Luca Pancrazzi, Gli stati d'animo. Former Railway Station, Vado Ligure
Luca Pancrazzi, Gli stati d'animo. Former Railway Station, Vado Ligure
Luca Pancrazzi, Gli stati d'animo. Former Railway Station, Vado Ligure
States of Mind
States of Mind. Those Who Go and Those Who Stay
A Tribute to Umberto Boccioni and Rivo Barsotti
This project involves the placing of ceramic works that together compose a tribute to Umberto Boccioni and to Rivo Barsotti in two different points. The works have been created specifically for the two sites.
While the Futurism of Ivos Pacetti encountered Albisolan ceramics , I have found no trace of Boccioni being here but his work has undoubtedly influenced me. Two paintings entitled, Those Who Go and Those Who Stay from the “States of mind” series are cited in the two installations created for the second edition of the Biennale of Ceramics in Contemporary Art.
Rivo Barsotti has left his mark on the artistic manufactures of this area and it is above all to his expert craftsmanship that I owe the realization of my first works in ceramics dedicated to the works. His name, an abbreviation of Rivoluzionario, immediately attracted me and is in turn a tribute to Futurism.
Those Who Go
There’s safety in distance
Former FFSS railway station, Vado Ligure
This virtually abandoned station is in the centre of the maritime area of Vado. Located strategically with respects to the modern expansion of the town from the beginning of the century, it is today an archaeological relic of infrastructures. The lines have been isolated since a collapse in the nearby tunnel blocked access from the west and operate solely as a goods yard for the neighbouring power station.
Today, what first catches the eye are the signs of abandonment, despite the attractive architecture and in a certain sense the state of conservation due largely to disuse: the underpass between Platforms One and Two is crumbling and allowed to flood every time it rains. Restoration work only extends to patching up, as with the glass-block skylights over Platform One, covered and walled-up rather than being repaired. Despite having lost its hands, the clock on the façade retains its function of relieving the horizontality of the structure like a wheel of time, making it movable.
The abandonment has at least allowed many features to remain intact, such as the brass and glass doors, the marble of the floors, the brass letters above the office doors and a number of window-frames and, above all, it has spared the structure from the insertion of later accessories.
Project
Two figures standing near the ticket office, dark and anonymously classical, timeless. One is turned towards the ticket office window and his minimal gestures suggest that he is discussing the route and the cost of the ticket with the seller. The other figure is behind the first and appears to be in the queue but is distracted. He/she could be the companion of the first who, respecting the privacy of the conversation, avoids approaching the window too closely. This figure has been distracted by something that has made him turn towards the glass doors of the entrance. However, an object he is holding up to his face with two hands betrays his classical timelessness; it is a modern, metallic object, possibly a video camera with which he is framing and filming those observing him. As if to offer militaristic protection to the back of the first figure, the companion notices a movement at the entrance and lines his sights on those arriving.
The second figure acts as a conductor between the actuality of the observer and the timelessness of the scene. Through the video camera the spectator’s gaze manages to penetrate the scene through to the ticket office window, seeking in the dark, reflecting surface the face of the traveller as well as that of the ticket seller on the other side.
“The journey is the traveller,” said Pessoa… “I do not go I do not stay,” said Boetti.
The platform is empty, the train has been missed or it is late.
A ceramic script, “la distanza è sicurezza” (there’s safety in distance) will be installed in a niche outside the station.
The script is composed of ceramic letters finished in a third firing with platinum enamel.
Luca Pancrazzi
Gli stati d'animo by Luca Pancrazzi, was made in Albisola in 2003 during the 2nd Biennial of Ceramics in Contemporary Ar.
