DECOSTRUaZIONE - TORRE EIFFEL : SIMBOLO O SINTOMO
DECONSTRUaCTION
TOUR EIFFEL : SYMBOL OR SYMPTOM
The idea comes from and develops on two concepts, that of symbol and symptom.
Symbol and Symptom are two phenomenon extremely similar even if different one from the other.
The word “symbol” means holding together, on the other hand the word “symptom” is falling.
The installation art derives from the difference between Symbol and Symptom, becoming intuition in splitting up the Tour Eiffel - one of the most wellknown monuments alll over the world, the symbol of oneness - into two representative elements that, coming out from somewhere else, keep a symmetrical connection along the axis of a common direction.
The main purpose is to cancel all difference between the up and down concepts.
The oblique edge and the original “subterranean geometrical sight” give dynamism to the installation art contrasting the originary static nature, and also living dynamism to the vitality absence and the real monument architectural rigidity.
The installation art goes on ideally under a visible plane just to mantain his central part, the continuos and vital balance point.
The rupture between the two elements is to be considered as evolutionary rather than destructive.
The symbol and the sympton become two parts of a deep introspective journey for the global citizens who live the difficulty about keeping themselves in union with everything around them.
TOUR EIFFEL : SYMBOL OR SYMPTOM
The idea comes from and develops on two concepts, that of symbol and symptom.
Symbol and Symptom are two phenomenon extremely similar even if different one from the other.
The word “symbol” means holding together, on the other hand the word “symptom” is falling.
The installation art derives from the difference between Symbol and Symptom, becoming intuition in splitting up the Tour Eiffel - one of the most wellknown monuments alll over the world, the symbol of oneness - into two representative elements that, coming out from somewhere else, keep a symmetrical connection along the axis of a common direction.
The main purpose is to cancel all difference between the up and down concepts.
The oblique edge and the original “subterranean geometrical sight” give dynamism to the installation art contrasting the originary static nature, and also living dynamism to the vitality absence and the real monument architectural rigidity.
The installation art goes on ideally under a visible plane just to mantain his central part, the continuos and vital balance point.
The rupture between the two elements is to be considered as evolutionary rather than destructive.
The symbol and the sympton become two parts of a deep introspective journey for the global citizens who live the difficulty about keeping themselves in union with everything around them.
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