2022-08-07 at 7.37.42 am


5 Aug 2022 - 24 Aug 2022
In Parallel Visions & In Paralell 2022 Catalogue pages)

For Parallel Visions 2022 CO.AS.IT., that sponsored the printing of the 2020 catalogue, kindly agreed to sponsor this updated one and generously offered each of us the use of one of CO.AS.IT. Museo Italiano’s display vitrines to exhibit newly created works that, in some way, reference those of 2020. To enliven a vitrine a small, enclosed space usually associated with archival or historical display of objects–with a touch of contemporaneity has provided an opportune spinta to sidestep our self–imposed conceptual framework obviously linked to works by our selected Italian designers. In Parallel displays closer associations with our long–established personal art practices but still acknowledges those aspects of Italian design contained within the 2020 work. This catalogue reproduces works from both exhibitions.

—Wilma Tabacco, June 2022

Artists: Liliana Barbieri Sarina Lirosi Anna Caione Wilma Tabacco

Anna Caione

Placement Displacement - 'Per Giocare'
(To Play)
Foam and acrylic paint

This art installation was created for a collaborative exhibition, Parallel Visions, 2022 at Museo Italiano, Melbourne.

Click Here for Art Vitrine Information

The concept for my vitrine derived originally from the word play or playful.  Originally inspired by Italian designers, who first applied the theme "Abandoned Playfulness" to their designs at the 1954 Triennial event.  Italian Design is now described as ‘artistic and useful'. Hence, the body shell aesthetic for most Italian design is an attempt to turn mass-produced forms into sculptural, playful art forms.  The word play or playful recollects lost and past joyful life scenarios such as one's infancy and how play can slowly transform or even disappear as we convert to adults.  The part of my life where I can contact play is through the process of making art.  As the title suggests for this piece, Placement Displacement - Per Giocare. (To Play). I was particularly influenced by Italian artist Pisoletto and his site-specific installation titled The Mirror of Judgement, 1965.  An interactive piece, resembling a labyrinth or maze.  He applies rolls of corrugated cardboard that loosely unfurl and retain a coiled appearance, formed by undulating waves, through which the spectator makes paths to the centre of the piece and finally arrives at a mirror. Interestingly, the artwork is organised and not made, it has no joins, no supports, and no other materials. As simple as it may appear, it is complex and layered and the Material has been carefully arranged and designed.  The notion of space has always captivated me and how one reacts to space.  This new work titled Placement Displacement - Per Giocare’(To Play)is made up of irregular foam pieces, that have been carefully and intentionally inserted and placed delicately into the vitrine’s interior space, however, the foam pieces appear to have been ‘stuffed’ quickly and without thought. Installation art is often seen in architectural spaces, like that of Pistolletto’s. My art piece is an attempt to convert the vitrine into a miniature interior space- a minute gallery, with also a mirror, but obscured by red pieces of foam. The vitrine could be a moment of reflection or reflection- a thought/contemplation- a study.  The use of foam connects with my previous artwork ‘La Mamma Dispersa 2020, motivated by Italian designer Gaetano Pesces 1939- and his UP Series c1968 of furniture chair designs, made from polyurethane foam. Like Pistoletto’s piece, Pesce’s design of the La Mamma Chair also has no structure, no supports, and no joins. The chair compresses down into a vacuum-packed envelope and expands back into its form once the pack is opened. The notion of an object being compressed into a tight space and then metamorphosising into a three-dimensional form resonates with my attempt to understand the potential of space. In this instance, I aim to compress and place as many pieces of foam into a glass box. I often ponder about form and its placement within space and the meaning of atmosphere and how it intercepts the human dimension. I also apply the colour red to this work,  the original colour of Pesce’s Chair Design. I frequently use red in my work and recently started to wonder why.  We all have an intimate colour palate and red is an obvious hue. For It also is a form of silence or deep pause, like the colour white, which I frequently use.   What I aspire to, is how art can be a medium for a subtle advocate for social change. For me, It connects with my existence, awakens my senses and makes me question our existence of life. 



M Pistoletto Installation The Mirror of Judgement1965

Michelangelo Pistoletto – The Mirror of Judgement, 1965

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