Different Degrees of Freedom
The exhibition Different degrees of freedom starts from the double meaning of this phrase. On the one hand, in physics and mathematics, the degree of freedom of a point in space depends on the Cartesian system鈥檚 parameter variables that can define its position. And on the other hand, in a metaphorical sense, the degree of freedom that we can imagine about an individual, but also about a system, is closely related to the scenarios and projections related to the independence from the norms to which they refer to and the possibilities of 鈥渆scape鈥� in relation to it. In the current context of the extreme violence we are witnessing, of the polarization of the political systems, the radicalization of humanity, and the sharpening of the economic crisis, a reflection that art can generate is about these two fundamental aspects: physical and mental freedom.
The freedom we talk about when we define ourselves depends to a great extent on the critical capacity to interpret and assimilate the gestures of revolt that reshape a society. The potential of the discourse to create a real impact and authentic resistance is brought into discussion by the work Auto-da-f茅 by the artist Ciprian Mure葯an (b. 1977), where fragments of the novel by Elias Canetti are transposed into graffiti 鈥� an extensive monologue of the character Peter Kien, overwhelmed by his own utopian projections but also by the fascination of rhetoric. Andreea Albani鈥檚 work Writing at the speed of thought sets off from the idea that there is no writing system and no alphabet which can match our speed of thought, and the formulas emerging are drawings which assume the shapes of thoughts, emotions, intentions, and perhaps different rhythms.
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The exhibition Different degrees of freedom starts from the double meaning of this phrase. On the one hand, in physics and mathematics, the degree of freedom of a point in space depends on the Cartesian system鈥檚 parameter variables that can define its position. And on the other hand, in a metaphorical sense, the degree of freedom that we can imagine about an individual, but also about a system, is closely related to the scenarios and projections related to the independence from the norms to which they refer to and the possibilities of 鈥渆scape鈥� in relation to it. In the current context of the extreme violence we are witnessing, of the polarization of the political systems, the radicalization of humanity, and the sharpening of the economic crisis, a reflection that art can generate is about these two fundamental aspects: physical and mental freedom.
The freedom we talk about when we define ourselves depends to a great extent on the critical capacity to interpret and assimilate the gestures of revolt that reshape a society. The potential of the discourse to create a real impact and authentic resistance is brought into discussion by the work Auto-da-f茅 by the artist Ciprian Mure葯an (b. 1977), where fragments of the novel by Elias Canetti are transposed into graffiti 鈥� an extensive monologue of the character Peter Kien, overwhelmed by his own utopian projections but also by the fascination of rhetoric. Andreea Albani鈥檚 work Writing at the speed of thought sets off from the idea that there is no writing system and no alphabet which can match our speed of thought, and the formulas emerging are drawings which assume the shapes of thoughts, emotions, intentions, and perhaps different rhythms.
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