The indeterminacy of an enounter
I believe this is also confirmed by your relationship with the environment. I mean, you aim to share your works with other people and offer them experiences.
When I think of the environment I see it essentially as a space of potential that, being naturally changing, demands we pay due attention to the elements and factors that alter it. Space for me is a starting point and it inspires me. It will contain the work but also those who can experience it. I cannot focus only on the former and ignore the people. These initial issues have been joined by another that, let’s say, took shape after my exhibition at the Fondazione Merz in Turin: the space has increasingly guided me in my choice of installation. My work The indeterminacy of an encounter (2021) also originated in this way.
What did you discover on that occasion?
I sort of made a leap forward because I could work on an image that came to me and only produced it via my constant relationship with space and time.
That is, I achieved a natural performance: the sky reflected in the water to form a large liquid pupil that could be observed from several angles; alongside it, arranged in a semicircle, nine black wires five metres long concealed a speaker system. Observers could walk around this huge sonorous eye made of water and sky. When I discovered I could relate to nature as I worked and so not merely seek a steered performance but accept that it may constantly change, I realised the meaning not just of the relationship with space in terms of environment but also with the factors that may alter it, natural ones included. These relationships linked one to the other made me review my subjectivity and, of course, had no small impact on the subsequent transformations of my work.
Implausible
Long before an absence, it is a presence that guides..
Nina Carini talks to Davide Dal Sasso
Commissioned by the Merz Foundation for the thirteenth edition of Meteorite in Giardino 13 curated by Agata Polizzi and Maria Centonze.