Loris Cecchini, Exhibition Ca 'Rezzonico - Museum of the Venetian eighteenth century, Venice

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Loris Cecchini:

Salti, spazi e sovrapposizioni di diagrammi

From 21 September to 31 March 2025

Ca 'Rezzonico - Museum of the Venetian eighteenth century

Dorsoduro, 3136, Venice

Open, closing soon closes at 18:00

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The branching and proliferating sculptures, which today constitute a fundamental axis of Loris Cecchini's practice, derive from his early experiments with modular sculpture conducted twenty years ago. It was the unprecedented calculation capacity of the new three-dimensional modeling tools of the time that made a quantum leap in the three-factor diagram that has always underpinned his work: nature, science, art. The firepower of technology combined with modularity opened up new operational spaces towards an ancient goal, expressed in Cecchini's own words: Finally trying to break the Euclidean box in sculpture. The exhibition Leaps, gaps and overlapping diagrams presents a series of modular works that attempt to incorporate potential interactions between the modules into their structure, as well as those between the modules and the expansion space determined by the external environment. In this sense, they are constitutively, and not episodically, site-specific works that form and function in relation to the context. The placement of Cecchini's sculptures in the rooms of Ca' Rezzonico also determines an additional level of interaction and correspondence. Admiring the masterful frescoed ceilings by Giambattista Tiepolo, Jacopo Guarana, Giovanni Battista Crosato, and Gaspare Diziani, one perceives how they project a desire for a visual breakthrough of the architectural cage. Tiepolo's clouds, formless forms, volumes without mass, are at the same time a support for the figures populating the sky, but also a connecting tool that crosses the states of pictorial matter (represented sky, painted architectures, real architectures) like Aristotelian spheres, until they connect with the viewer in physical space to draw them upwards. A common anxiety to dismantle established geometries inspires the eighteenth-century frescoes and Cecchini's artistic practice. However, while Tiepolo and his emulators proposed the illusory representation of a dazzling celestial space as a remedy, Cecchini works by subtraction from mimetic logic. Certainly, his installations may resemble mineral concretions or vegetal proliferations. But what essentially characterizes them is the elimination of the threshold between inside and outside, the absence of a center, and the abolition of form understood as intuitively understandable convexity, recognizable, assimilable to some geometric solid. Cecchini wants to extract the morphological structure, expose the morphogenetic process, stage the jumps and holes of non-linear processes, to "celebrate the geometry of everything" without limitations, to follow polysemous and unpredictable geometries. This entails, not accidentally, a sensitive contiguity to some expressions of Baroque and Rococo decoration that radiates in every available space.

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	opens - closes	last entry
monday	10:00 - 18:00
tuesday	Closed now
wednesday	10:00 - 18:00
thursday	10:00 - 18:00
friday	10:00 - 18:00
saturday	10:00 - 18:00
sunday	10:00 - 18:00

Loris Cecchini:

Salti, spazi e sovrapposizioni di diagrammi

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