Time to watch
On the essay "Open Work" (1962), Umberto Eco (Italy 1932-2016) reflects on the artwork in general, and on contemporary art in particular.
The artwork is for the philosopher an accumulation of stimuli directed as much to the senses as to the knowledge; and the act of presenting oneself in front of a piece of art, is both reception and appreciation, the objective of which is delight and pleasure.
The artwork is open because it is presented to the viewer as unfinished, so the viewer has the responsibility to build, rethink and reflect on the content of the work. The gaze that completes the work is the gaze that contemplates it.
The open work seen in this way is an invitation to personal freedom of reading and joy.
This particular perspective of Eco serves as a pretext to present Time to watch in Galeria Contrast, a group exhibition focused on the gaze, perhaps that of the spectator whom we invite to wonder:
Where does the gaze of the character on the work goes?
Or perhaps, that glance of the model in the work that sometimes directly challenges the viewer and sometimes eludes him, to the point of hiding behind its hair or a window, or even turning its back, leaving.
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On the essay "Open Work" (1962), Umberto Eco (Italy 1932-2016) reflects on the artwork in general, and on contemporary art in particular.
The artwork is for the philosopher an accumulation of stimuli directed as much to the senses as to the knowledge; and the act of presenting oneself in front of a piece of art, is both reception and appreciation, the objective of which is delight and pleasure.
The artwork is open because it is presented to the viewer as unfinished, so the viewer has the responsibility to build, rethink and reflect on the content of the work. The gaze that completes the work is the gaze that contemplates it.
The open work seen in this way is an invitation to personal freedom of reading and joy.
This particular perspective of Eco serves as a pretext to present Time to watch in Galeria Contrast, a group exhibition focused on the gaze, perhaps that of the spectator whom we invite to wonder:
Where does the gaze of the character on the work goes?
Or perhaps, that glance of the model in the work that sometimes directly challenges the viewer and sometimes eludes him, to the point of hiding behind its hair or a window, or even turning its back, leaving.
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