Dance Immersion Festival"# William's passions: 5 artists at Palazzo Berardi Mochi Zamperoli" Jacopo Mandich Noa Pane, Jessica Pelucchini, Marika Ricchi,Elvis Spadoni. curatore Matteo De Simone

The work of art was born of necessity
Rainer Maria Rilke
Artistic creativity and lights along the spaces of infinite life in a way, the first graffiti to modern installations and performance artists have given body to a continuous human soul needs: endure the anguish of loss of time which inevitably consumes, the certainty of death through creativity and continuous genesis. All this movement has allowed mankind to advance,, scientific discoveries, that whether medical or otherwise, are born from a moment of deep creativity.
Shakespeare's works have traveled through time and, even today, the affections deep and adventures of life he narrated are milestones in the way of all passions of existence, no matter what time or place in which he lived. Hamlet / Juliet / Romeo / Othello represent the intermissions of the heart and soul of the human instinctual movements, in his poetic art along the intermediate space where time has no end, but is always.
It seems significant that at a festival in honor of Shakespeare there is an exhibition of five young artists Jacopo Mandich Noa Pane, Jessica Pelucchini, Marika Rich and Elvis Spadoni: William, in fact, loved young people and their look at the world with the heart.
It 'important to museum spaces, like Mochi-Zamperoli palace, where lifetime memories are filed and artists, is open to new creative proposals, it produces, as well, an ideal continuity between the founding tradition of the place and the continuity of' exist in its development through the passions and the work of young artists.
The art, creativity gives back breath and life to these sites and removing them from oblivion through roads and interstices, mystery and not always traceable, infuse, so, new life to the entire territory.
The exhibition is like the island in Shakespeare's Tempest: the 'island is the possible place where everyone is saved, and the creative imagination triumphs, meeting, without denying the painful vicissitudes of the deep and accepting the other in us and by us . The charm and the vital look that gives the art, helps to re-emerge from the shipwrecks of life, like a rebirth, amazed listening our breath after apnea resumes agonizing, rhythmic, simply to exist.
Sculpture and psyche, were for the first time put in close relation to each other by Sigmund Freud that highlighted how both techniques were using "extractive", the first calling into artistic forms from the bare stone, the second, through the psychoanalytic technique, digging into the human mind , allowing the identification of conflicts and removed so as to promote a process of elaboration and psychic integration. In sculpture, a fundamental element for the analysis of the work is the void that it contains. The sculpture, between the various arts, actually occupies a space filling a void and at the same time creating it. All artists have to do with the empty but some have made the vacuum true works of art. The sculptural work is always the culmination of a meeting, of conflict, of harmony between full and empty. The sculptor must know the material, respecting the form and the constitutive structure, if that happens, from an inert material, it turns out something alive, that the artist perceives as alive, what allows you to mold it into a form, starting from his own content. It becomes a form in space with a variety of dynamic tensions, which attract and repel each other. The work on the matter in sculpture investigates not only the texture of the same material but through the inner space and outer space. All this involves processing through a decomposition of the structure, considering the direct relationship between matter and space, respecting the declination of the intrinsic qualities of the material, so you draw the perceptive space as a place of knowledge and existential determination recomposition. The work can be looked at and perceived from different viewpoints and is a set of voids filled. The element of removing the sculptor allows that the object found in the material, which it is stone, marble, wood, iron becomes a work of art thanks to his to give, so the void is another empty raising paradoxically offers us an elsewhere . This creative offer of sculpture allows endless possibilities of expression and understanding of the work in the encounter with the other, using all the parts of which it is composed, from the material to the title, from the empty concept. The work on the matter is not just something that relates to a technique, of course, necessary to give the work frame and structure, but has a job on his extension, a continued demand sull'esistere the feasibility of replicating moments and crossings meeting between the artist and the world.
Many artists speak of the absolute necessity of a feeling of emptiness that allows the work of art development. The perception of the void, the spatial and temporal pause, silence allows you to find the authenticity of what surrounds us but also the opportunity to live the interval. Usually the term "vacuum" has a negative meaning in the text essays and speeches Heidegger argues that the vacuum can be welcoming and offer us something. In this historical period in which the excess of too much, the full, continuous perceptual stimulus is essential to cultivate a moment of emptiness / range which is a generating factor of life and of any event connected to it. The creative vacuum, writes Gillo Dorfles, may be the pause between two full, two objects, two sounds, it is a between: that is all that is in the midst of two or more distinct entities. Emptiness as an aesthetic, much space and time generator factor, allowing us to savor that interval between two columns of a greek temple in the curvature of a sculpture, between two phrases of a musical composition capable of suspending, if only for a moment or for a minimum segment, the incessant consecutio of our Dasein.