For the fifth consecutive year the GAMeC - Gallery of Modern and Contemporary Art of Bergamo returns to live in the prestigious Palazzo della Ragione , the beating heart of the ancient city, with a new exhibition signed by Anri Sala, the famous artist of Albanian origins who, starting from his most recent audio-visual installation, Time No Longer , he activates an intense dialogue with the iconic Sala delle Capriate .
Reaffirming an operating mode already tested on other occasions, Sala has interpreted the architectural context of the Palazzo della Ragione "not as a simple container, but as an active organ". For the artist, every physical space can bring with it values and memories that, from time to time, the interaction with the work of art can reactivate. In the case of the Sala delle Capriate, this dynamic finds a further development - a sort of amplification of the effect - in relation to the secular history of the building - the first Palazzo Comunale in Italy, transformed into a Palace of Justice with the advent of the Republic of Venice - and the ancient frescoes it contains.
Projected onto a 16-meter-long floating screen, Time No Longer focuses on the image of a floating record player in a space station. Anchored to the electric power cable only, the turntable reproduces a new arrangement of Quartet for the End of Time, a composition created by the French musician Olivier Messiaen, considered the most famous musical work composed in captivity. During the Second World War, Messiaen (1908-1992) was captured in Verdun and taken prisoner in a German camp. It was during that time that he wrote Quartet for the End of Time , presenting it for the first time in 1941 - along with three musicians who were also imprisoned - in front of an audience of only inmates and guards. In particular, for the realization of Time No Longer, Sala drew inspiration from the quartet's only solo movement, “The Abyss of the Birds”, written for clarinet and played by fellow soldier and Algerian musician Henri Akoka.