Fragment nr. 3 from “The Truth of Labyrinth”
Therefore, let us take a bow, draw it back and release our arrow. It will follow a beautifully curved flight path, will sparkle in the sun before narrowly missing the horizon: within an inch of our next question. Because, finally, what can one expect from art except a freeze frame, which inherently transcends us?
At this stage, it all becomes quite dizzying. An abyss. Before rebounding up towards the mountaintops: there,where God reveals himself to us and disappears to give us a glimpse of something beyond him. God: the focal point of divinity (in all its forms). Transcending God: a true gem, which both non-believers as well as the faithful who are permeated through and through with their faith cannot access. An uncharted, scandalous territory, bordering on madness. A hallucination. Vertigo. But also a Vision (cf. Second Fundamental), riddled with light.
Maria Rebecca Ballestra, in collaboration with Nina Bacun
Work under construction
This stage of the project is going to take place in Venice, during the artist residency at the Emily Harvey Foundation. The final work will be realised in collaboration with Croatian artist Nina Bacun and will result in a psychological and geographical map of the lagoon city.
The focus of this stage of the project is the theme of the labyrinth as a path, as a physical space that has to be experienced with one’s own body, by walking. The work is the result of a dada inspired procedure: the two artists explored the city of Venice following two different and casual itineraries, guided by instinct in front of every intersection between the calli (Venice’s typical alleys). This procedure can be compared to ambulation, to an endless and erratic wandering without destination.
In the development of these itineraries, Maria Rebecca Ballestra and Nina Bacun took pictures of the casual elements that composed the urban landscape they were experiencing. The itineraries were later rebuilt on inter-textual maps – including photographs, drawings, and texts – according to a reversed perspective of the concept of the “road map” itself: as an object it becomes not only a track to follow in order to get to a destination, but also an instrument to trace back a past experience.
The theme explored here is that of urban immateriality, conceived as the personal and virtual experience everybody can have of a city by walking its streets. This experiment was conceived and carried out in connection with the surrealist and dadaist idea that a urban space can be compared to the itineraries of our thought.