Wednesday 25 July 2018

Imago Mundi: Join the dots/ Unire le distanze: Nature and Progress.

Quantum Filmmaking will be participating in the exhibition Art Theorema #1: Join the Dots / Unire le distanze   

From 3rd August to 1 September 2018 at Salone degli Incanti, Riva Nazario Sauro 1, Trieste (Italy).


The program of events linked to the Imago Mundi exhibition “Join the Dots / Unire le distanze” is further enriched on 3rd August with a new appointment: the presentation of the catalogue and the Imago Mundi collection Art Theorema # 1, in the company of Gianluca Calligaris and Lorenzo Rigonat, with a degree in architecture at the University of Trieste, Claudio Scorretti, curator of Imago Mundi Art Theorema and Jean-Christophe Norman, artist, coordinated by Massimiliano Schiozzi

Art Theorema is a continuation of the research and promotion of the artistic talents in Imago Mundi; it integrates the over 150 collections dedicated to the nations and native communities of five continents.

From Europe to the Caribbean, from African countries to Australia, from Canada to Central Asia, Art Theorema traces the kaleidoscopic and colourful portrait of the local artistic expressions that, all together and faithful to the pluralistic principles of the art of Imago Mundi, contribute to the formation of a global scenario of contemporary art. In the words of Luciano Benetton, Art Theorema represents “the aspiration of Joseph Beuys to artistically express ‘unity in diversity’ through the movement of ideas and inspirations that cross boundaries, interact and maybe, slowly but without hesitation, change humanity.”

Unity in diversity, the local that becomes an expression of the global, are principles echoed by Jean-Christophe Norman’s research and his artistic project “Ulysses: A Long Way”, which will also be presented during the evening. Norman, whose work is included in the Art Theorema collection, has chosen the work of James Joyce because it represents the universality of aspirations and of the human soul. Trieste, an emblematic city in Joyce's biography, becomes the parchment for Norman’s performance; on the asphalt of the city he will write with chalk phrases and passages of the famous novel, in what appears almost a physical expression of the flow of consciousness. Because, Norman believes, writing is never definitive; it is instead a vital and natural flow that traverses us in a continuous progression.