DOMENICO BIANCHI

SIDEREUS

13 June – 13 July 2014

The project of contemporary art interventions in the Limonaia Grande of Boboli continues with a new site-specific installation by Domenico Bianchi. A monumental work of approximately 90 meters composed of a sequence of images and paintings made with different materials. The title Sidereus refers to the Sidereus Nuncius, the famous scientific treatise by Galileo Galilei. And it is precisely the celestial horizon, the most distant universe, the ‘music’ and the light of the stars that inspires Domenico Bianchi’s project.
Conceived and curated by Sergio Risaliti, the project was carried out in collaboration with the Special Superintendency for the Historical, Artistic and Ethnoanthropological Heritage and for the Museum Center of the city of Florence, the management of the Boboli Gardens and organized by Once events.

Concept
Sidereus is a monumental composition of images and works that occupies the internal part of the Limonaia. An unfolding of spheres of light, of sidereal images, which give the sensation of an immense vastness, of sublime depth, of infinite variety and prescribed regularity. Bianchi also decided to place a bench in the front garden, establishing an inseparable link between contemplation of art, with its pre-established harmonies and surprising varieties, contemplation of the cosmos, with its immense and sublime apparitions, enjoyment of nature with its beauty multifaceted and with its variety of lights and colors. The benches enriched with marble inlays recall, according to an ancient tradition, the link between abstract geometries in painting and decorative arts, the link between earthly music and celestial harmony, between knowledge of the micro and the macrocosm.
Domenico Bianchi imagined a series of works to be placed specifically inside the Limonaia, a building designed by the architect Zanobi del Rosso in 1778 commissioned by Pietro Leopoldo di Lorena in the area already occupied by the Serraglio, commissioned by Cosimo III in 1677. All inside, a single room 106 meters long, we are surprised by a large succession of images that are arranged on two levels: the first is a vast frieze, a continuous horizon of spheres and stellar vortices with varied designs arranged regularly in rows parallel, while the second is the plane of pictorial evidence that detaches itself from that background. It is a series of paintings made on wood or wax with silver-palladium inserts, fifteen works of different sizes placed freely on the level below.
The most obvious reference is to music, in particular to formal structures of great ‘symphonic’ nature in which the main theme, the motif, is broken down and enriched with the entry into play of musical structures of different intensity, vibration and imagination. The relationship between music and cosmology is evident. The image suggests a spatial vastness, a cosmic dimension, in which creation is determined by the reproduction of regular shapes and continuous variation of the image. The immobility of the archetype, constantly recognizable as identical to itself, regenerates itself in new appearances and geometries, reproduces itself in ever different and unique forms, generating an apparent movement, a dynamism that is both spatial and temporal.
In Sidereus there is an inherent thought towards the philosophy of symbols, that of Hermeticism and Platonism, a tribute to the new science of Galileo and to man’s constant desire to deal with the inner imagination of forms and archetypes, with the geometry of cosmos and the infinite variety of worlds between visible and invisible, between near and far.

The image in Bianchi’s works is made up of a sign, which is always the subject of the painting and a central nucleus, always circular, sometimes almost transparent which generates form and which refers to infinite figurative-symbolic hypotheses. A designed and constructed form that always remains faithful to a main and founding model that generates infinite variations. The central image constantly changes within geometric structures that form the remaining space according to the proportions of the square. Vaguely symbolic design, key to an organic geometry, pure decorative element. A figural sign that is neither abstract nor figurative, neither metaphysical nor naturalistic, despite being all these things together. Bianchi’s drawing is also an index of a force, of a procreative action that arises and propagates in wax or wood, on paper. Wax is a place of gestation, transmutation, solidification and resonance; a place made of compact physicality and immanent brightness. Luminous and sensual material from which the painting is born, both in terms of structure and image. Each painting arises from a complex process: it is about vision, imagination, construction.
Bianchi reaches and reunites the microcosm with the macrocosm, the finite with the infinite, the earth with the universe, the individual unity with the archetypal matrix. The size ch

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