about.

4 Tempi is born from the awareness of how and how much a solo exhibition is, in some ways, able to provide a vision so complete, even well rounded, but at the same time in some way “firm” with the work of the artist. Above all, it does so by annihilating all ideas, desires, and even impulses that interfere with the formulation and factual exemplification of the actual work, and subsequently displaying them in the exhibition in a stately manner. As a result, the elements remain virtually segregated in the space of the studio.

The project thus aims to take out of the studio a range of materials not yet formalised (excluding however those exclusively referring to personal or biographical facts), and give them, speedily, like materials in the process of being created, really important parts in that never-ending experiment that is art, free to make in one’s laboratory.

For this reason, 4 Tempi wants to respond to an idea of possibly socialising the work, or better, the ideas and methods that direct it, to a different degree of expansion. In fact, the operations test a hypothesis concerning a new formulation and relationship with ones surroundings, meaning that the actions of the individual artists seek, on the one hand, to “give” something new to the observer, and on the other hand, to “steel” from the surrounding drives, ferments, and ideas that can allow the materials to organise themselves beyond the deliberately extemporaneous event.

What it desires to achieve is a profound comparison not only between the observer and the public but also between outdated types of design tools compared to the workings of the artists as they are known.

MASSIMO ORSI                  32 bins: 1 sculpture = 1 bin: x

                                                                                        X = 1 sculpture x 1 bin

                                                                                                         32 bins

MARCO COLAZZO              Today I don’t want to think like yesterday. I want to think like tomorrow; or

                                                maybe I’d do better to think of today as now.

CLAUDIA PIELL                   I have been there since time immemorial, but visible only to those who have

                                                eyes to see. (B. Chatwin)

PAOLO CANEVARI              The search starts on one side or the other.

                                                A sign is perhaps a lot but is never enough.