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TEATRO DEL SILENZIO

‚ĶPresence of different metal harmonies…

A big star composed of volumetries of aerial tubes that interlock, enclosing the space around them, dominates the scenery of the the Teatro del Silenzio. In it’s inside, different and simple, stylized silhouettes made of metal sheets, gleam on the most basic elements of our life on earth: animals, buildings, plants. Placed at the heart of the work, painted in vivid primary colours, thin human figures, that seem to be the focal point of the whole construction. The universe,the whole humanity is gathered, disoriented, dynamically projected in multiple directions, towards infinity. As if the fate of humanity, the resolution, its anatomical contraries would resolve within the continuity of space and soul. Sculpture is the ultimate form of artistic expression that relates to the concept of space.

It has always been extended over most of the twentieth century and especially since the sixties, when art exploded into a kaleidoscope of possibilities. After all, for some time sculpture did not need to rely on a three-dimensional image of stone, wood or bronze.The arts, have always been used for the purpose of celebration. In the twentieth century, the fences between the forms of expression have fallen. The work gives way to progress,randomness begins to decline more and more: the quest for greatness and eternity seems to have no more sense now. Nowadays sculpture can not just invade spaces, but entire environments. On the other hand, you can not find space without moving yourself, physically, into it. This appears to me to be the meaning of Kurt Laurenz Metzler’s work at the Teatro del Silenzio and in the center of the little town of Lajatico. A creative event. Sometimes abstract forms fit in between volumes that are connected with each other part through an uncontrollable inner strength.

It is a continuous and close dialogue between the different elements: form, color, space, light, houses, roads, squares, and knowledge. These are presences of different sizes and shapes that occupy material and mental space ‘as if every moment could drastically change from one moment to the other. And, therefore, it seems to me more appropriate to talk about work, instead of works: the skill and originality of Metzler contribute to give true meaning to the “idea of space”. Figural presences, but conceptually abstract ,reveal their construction modalities: metallic elements that come together, fit together, overlap, as sequences of symbols. Bright constructions, dynamic and shining: the interplay of color and volumes, glare and reflection, creates a magical feeling. The eccentricity, the strangeness, they become part of everyday life, embrace visitors and spectators, enhancing the wonderful music of Andrea Bocelli. An event, a glimpse of reality as concrete as perishable, insecure, unstable, ephemeral,transitory.

Ilario Luperini