Nina Carini

Nina Carini

Forse eterno è un morso nel tempo

Unique work, selected at the 22nd Cairo Prize

The long roll that we see falling from above in precious Japanese paper, a very thin gauze that is usually used to repair books – is full of signs that look like commas interspersed with a deliberately unfilled white space. Hand-painted with pastel colors in shades of water, they are repeated by the artist daily on two-metre modules, almost as if in a ritual reminiscent of oriental disciplines, coming to seem, overall, an infinite score composed of short pauses, uncontrolled variables that want to communicate to the user what cannot be expressed with words or images. “They are commas, waves, breaths.” Here, what acquires importance is the repetition and the intervals between one sign and another – as if to know the time. On the ground, a puma’s mouth holds a piece of paper. The sculpture, in white clay, obtained with the casting technique, is deliberately left rough. Characterized only by some signs near the eyes notes of a suspended space.
The animal takes on the role of guardian, it is a primordial figure born from research into origins and myth.
The artist seems to ask (him) to protect the infinite just as a mother protects her children.
Faced with this installation, questions and uncertainties are generated, the artist urges us to reflect on the importance of what is immaterial such as thoughts, words and time, taking us to the border between visible and invisible.

written on occasion of the article published in the magazine Arte, October 2023
Rischa Paterlini


Installation, unique work, selected at the 22nd Cairo Prize, 2023
8mt roll of gauze hand painted, white clay sculpture, wood and iron support system, variable size

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