Scritti


Ambiguous writings in straight volumes

di Lino Sinibaldi (2003)

Volume n. 1. Measure of the extension of a solid in relation to a given unit of measure … 2. Without implying a reference to space, global quantity… * In the language of figurative critique, the fullness of architectural or sculptural shapes and, in painting, the mass effect created by fiction… . In acoustics, sound v., energetic intensity of sound. 3. lit. Sin. Of mass… . In Dante, with a mean. closer to etymology. Io real manto di tutti i v. del mondo… 4. In ancient Greece and Rome, scroll made of several strips of papyrus… . So, in modern use, the equivalent of book, meant both structurally… and as containing a work… with reference to its contents: Vagliami ‘l lungo studio e ‘l grande amore Che m’ha fatto cercar lo tuo v. (Dante)… (From lat. Volumen – bus “scroll”).

Licia Galizia’s most recent research – structured in volumes, parallelepipeds of various sizes and colours containing forex carved rolls – show the extraordinary journey of the artist among the connections and the gestures of the art system, among the etymology of instruments and the introspective implications, among the differences of syntactic relations and writings. In the artist’s works the observation of the innermost meanings of words, which in themselves overcome the outward appearance of image, present themselves in closed, elementary figures which include other more complex forms. The most immediate and simple figure of volume manifests itself in the double meaning of its significance, vis combinatoria of polysemyc word, used by Licia Galizia as artistic acrobatics. Words are used as devices serving figurative means, practices containing a proposal, Joycean fields for partial abolitions and intimate selections, for individual and gratifying knowledge. Galizia states lucidly the conditions, the right to create her work, she claims for herself the right to fix and cross her ideas and to transfer actively her ambiguous game to works which are accumulations. The experiences of the artist, with the syntactic structures and the semantic information relative to the text, do not take place following a method of succession but simultaneously, they create the alternatives of an unlikely library which, from one volume to the next, seem to strengthen themselves in atemporal linguistic effects. The time needed to disambiguate a work resorts to interactivity, the philology of our lexical knowledge. In every rectangulation or squaring of her “volumes within the volumes” Licia Galizia again proposes her generous and avid reflections; she overcomes the natural barrier of the regularization of the inner wall of the box-shaped volumes and persuades herself and our free interpretation, she re-writes for herself and for those who watch Rosa Pierno’s words, she re-writes a personal and ambiguous grammar made of verbs and lines. The artist sets out the probabilities that the various signifiers are used, she defines volumes as motives, she makes use of individual readings, initial signs, motives which make one reflect on the corpora of unforeseeable events. It is not superfluous perhaps to remember that the connotative logics of Licia Galizia’s works have always been denotative expressions which are extraordinarily temporary. The fields proposed are the minimal units of varied poetics which have their origin in the qualities of extemporaneousness and change. The onlooker can avail himself of a wide range of syntactic occasions subject to the poetical reiterations with which the artist has run through that word-sign in other distinct contexts of the artistic grammar. When the reader becomes one with the roll of forex, concluded in its volume, he finds himself in front of an exercise: to understand the indefiniteness of these volumes-cases, to accept the game of more subjects. Today the possible pathways of Volumes and Rolls change the form but not the idea of a lyric text which varies its code to respond fully to an ideal of interaction of crossing looks, where “a dialogue is going on, where it means to put oneself under the guidance of a subject aiming at the partner in conversation”. Licia Galizia’s merit is of being an artist of the distances of thought, of volumes and sheets carved with the independent resoluteness of reflection and intuition. An artist of altered works taken care of in the concretisation of, in the letting go to an impulse, ambiguous and magical works-fetishes where you try to see yourself; poetical simulacrums that seem to disappear in the mannered and transitional exteriorisation of more forms which suggest that “you cannot get out of the game”.