{"id":9386,"date":"2017-04-01T00:00:00","date_gmt":"2017-03-31T22:00:00","guid":{"rendered":"https:\/\/www.paoloscirpa.it\/testi_critici\/the-form-of-light-the-light-of-form\/"},"modified":"2017-04-01T00:00:00","modified_gmt":"2017-03-31T22:00:00","slug":"the-form-of-light-the-light-of-form","status":"publish","type":"testi_critici","link":"https:\/\/www.paoloscirpa.it\/en\/critical_texts\/the-form-of-light-the-light-of-form\/","title":{"rendered":"The form of light, the light of form"},"content":{"rendered":"<section class=\"l-section wpb_row height_medium\"><div class=\"l-section-h i-cf\"><div class=\"g-cols vc_row via_flex valign_top type_default stacking_default\"><div class=\"vc_col-sm-12 wpb_column vc_column_container rigamostratitolo\"><div class=\"vc_column-inner\"><div class=\"wpb_wrapper\"><h2 class=\"w-post-elm post_title titolomostra entry-title color_link_inherit\">The form of light, the light of form<\/h2><h4 class=\"w-post-elm post_custom_field type_text curatore color_link_inherit\"><span class=\"w-post-elm-value\">Curated by Marco Meneguzzo<\/span><\/h4><h5 class=\"w-post-elm post_custom_field type_text periodo color_link_inherit\"><span class=\"w-post-elm-value\">01 April 2017<\/span><\/h5><\/div><\/div><\/div><\/div><\/div><\/section><section class=\"l-section wpb_row carouselmostra hide_on_tablets hide_on_mobiles height_auto\"><div class=\"l-section-h i-cf\"><div class=\"g-cols vc_row via_flex valign_top type_default stacking_default\"><div class=\"vc_col-sm-12 wpb_column vc_column_container\"><div class=\"vc_column-inner\"><div class=\"wpb_wrapper\"><div class=\"w-grid testicriticicarousel type_carousel layout_7131 cols_3\" id=\"us_grid_1\" style=\"--gap:.5rem;\"><style>.layout_7131 .w-grid-item-h{}.layout_7131 .usg_post_image_1{margin-bottom:0.5rem!important}.layout_7131 .usg_post_content_1{text-align:center!important;margin-bottom:35px!important}<\/style><div class=\"w-grid-list owl-carousel navstyle_3 navpos_outside\" 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class=\"w-separator size_small\"><\/div><\/div><\/div><\/div><\/div><\/div><\/section><section class=\"l-section wpb_row carouselmostra hide_on_default hide_on_laptops height_auto\"><div class=\"l-section-h i-cf\"><div class=\"g-cols vc_row via_flex valign_top type_default stacking_default\"><div class=\"vc_col-sm-12 wpb_column vc_column_container\"><div class=\"vc_column-inner\"><div class=\"wpb_wrapper\"><div class=\"w-separator size_small\"><\/div><div class=\"w-grid type_grid layout_7131 cols_3\" id=\"us_grid_2\" style=\"--gap:1.5rem;\" data-filterable=\"true\"><style>@media (max-width:1024px){#us_grid_2 .w-grid-item{width:50%}}@media (max-width:600px){#us_grid_2 .w-grid-list{margin:0}#us_grid_2 .w-grid-item{width:100%;padding:0;margin-bottom:var(--gap,0px)}}<\/style><div class=\"w-grid-list\">\t<article class=\"w-grid-item size_1x1 post-709 attachment type-attachment status-inherit hentry\" data-id=\"709\">\r\n\t\t<div class=\"w-grid-item-h\">\r\n\t\t\t\t\t\t<div class=\"w-post-elm post_image usg_post_image_1 stretched\"><img loading=\"lazy\" decoding=\"async\" width=\"592\" height=\"581\" src=\"https:\/\/www.paoloscirpa.it\/wp-content\/uploads\/2022\/06\/FooBgumFohYHeJuP.jpg\" class=\"attachment-us_600_600_crop size-us_600_600_crop\" alt=\"\" srcset=\"https:\/\/www.paoloscirpa.it\/wp-content\/uploads\/2022\/06\/FooBgumFohYHeJuP.jpg 592w, https:\/\/www.paoloscirpa.it\/wp-content\/uploads\/2022\/06\/FooBgumFohYHeJuP-300x294.jpg 300w\" sizes=\"auto, (max-width: 592px) 100vw, 592px\" \/><\/div>\t\t<\/div>\r\n\t\t\t<\/article>\r\n<\/div><div class=\"w-grid-preloader\">\t<div class=\"g-preloader type_1\">\r\n\t\t<div><\/div>\r\n\t<\/div>\r\n\t<\/div>\t<div class=\"w-grid-json hidden\" onclick='return {&quot;action&quot;:&quot;us_ajax_grid&quot;,&quot;infinite_scroll&quot;:0,&quot;max_num_pages&quot;:1,&quot;pagination&quot;:&quot;none&quot;,&quot;template_vars&quot;:{&quot;columns&quot;:&quot;3&quot;,&quot;exclude_items&quot;:&quot;none&quot;,&quot;img_size&quot;:&quot;default&quot;,&quot;ignore_items_size&quot;:0,&quot;items_layout&quot;:&quot;7131&quot;,&quot;items_offset&quot;:&quot;1&quot;,&quot;load_animation&quot;:&quot;none&quot;,&quot;overriding_link&quot;:&quot;{\\&quot;url\\&quot;:\\&quot;\\&quot;}&quot;,&quot;post_id&quot;:0,&quot;query_args&quot;:{&quot;post_type&quot;:[&quot;attachment&quot;],&quot;post__in&quot;:[&quot;709&quot;],&quot;post_status&quot;:&quot;inherit&quot;,&quot;post_mime_type&quot;:&quot;image&quot;,&quot;posts_per_page&quot;:999},&quot;orderby_query_args&quot;:{&quot;orderby&quot;:{&quot;date&quot;:&quot;DESC&quot;}},&quot;type&quot;:&quot;grid&quot;,&quot;us_grid_ajax_index&quot;:2,&quot;us_grid_filter_params&quot;:[],&quot;us_grid_index&quot;:2,&quot;_us_grid_post_type&quot;:&quot;attachment&quot;,&quot;page_args&quot;:[],&quot;lang&quot;:&quot;en&quot;}}'><\/div>\r\n\t<\/div><\/div><\/div><\/div><\/div><\/div><\/section><section class=\"l-section wpb_row testomostra height_small\"><div class=\"l-section-h i-cf\"><div class=\"g-cols vc_row via_flex valign_top type_default stacking_default\"><div class=\"vc_col-sm-12 wpb_column vc_column_container\"><div class=\"vc_column-inner\"><div class=\"wpb_wrapper\"><div class=\"wpb_text_column\"><div class=\"wpb_wrapper\"><p>The are many reasons of a historical kind for appreciating the work of Paolo Scirpa, but the characteristic that makes his work eminent \u2013 today as in the past \u2013 goes beyond any historical aspect and, instead, concerns only the field of art. In other words, today we look at his work not so much as an important \u201cdocument\u201d of a particular moment in art history, but as genuine \u201cwork\u201d, even after more than forty years since he made his debut as an artist.<br \/>In fact his first \u201cLudoscopi\u201d date from 1972, and with them this Sicilian artist presented himself to the public; the two-dimensional works which he had shown in the preceding decade had now been transformed into three dimensions but, above all, he had transformed what had been his way of representing light \u2013 something common to all artists and that is the basis of all art \u2013 into a \u201cpresentation\u201d of light. He did this with the technological element that is closest to the luminous essence, one, what is more, that is available to everyone and is almost humble: fluorescent neon tubes. The passage from a symbolic representation to a kind of ontological presence of the thing itself had, perhaps, been the main linguistic problem of the preceding decade, and had led to a series of extremely varied solutions. In this way there was demonstrated how this linguistic taboo could be resolved not only without eroding the traditional statute of art but, instead, by actually increasing its expressive possibilities. Such experiences ranged from kinetic ones \u2013 which in Italy became the highly modern and theoretically illuminating variant of Arte Programmata \u2013 to Minimal Art and Arte Povera, with a range of experiences where the \u201cthing\u201d represented was also the real \u201cthing\u201d. In many of these trends, and even in the 1960s, there was the presence of neon light \u2013 though perhaps it would be better to say \u201cneon tubes\u201d&#8230; -, so it could be objected that the use Scirpa made of it in the following decade, was not an absolute first, an exclusive trademark; and yet his use of it was highly personal, so much so as to merit a direct comparison with those artists who &#8211; even for reasons of age \u2013 had made use of it shortly before him. In the works of Arte Programmata neon was highly visible, but as a purely instrumental use: it had to illuminate; in other words, it was used for back-lighting and thus supplied a real and uniform light \u2013 and, I would add, a new one \u2013 according to the work\u2019s needs. In the Minimalist works by Dan Flavin, on the contrary, the objectual presence of neon tubes as though they were the basic element of a simple assemblage is absolutely manifest, and almost absolute: a luminous object as an element of a minimal alphabet, arbitrary but essential. In Arte Povera, there was a widespread use of neon light as a symbolic form: it symbolised \u2013 though we could also say \u201cit represented\u201d \u2013 energy, and when a neon tube formed a written word (in the work of Mario Merz or Pier Paolo Calzolari, for example) this increased its rhetorically symbolic value. So we are dealing with a series of different usages with a different signifier and significance, perhaps even united to the \u201ctechnologically evident\u201d presence of the neon tubes that, at the time, were still an unusual element and certainly an anti-traditional one. In the following decade experimentation had become accepted and the \u201cnew\u201d had become \u201ctradition\u201d only for being new (this happened with neon lights just as it did with video, even though based on very different theoretical supports&#8230;): Scirpa was tangential to this attitude, and he certainly never became a champion of experimental adventures, and it is due to this very fact that his own experimentation has lasted: because it is not \u201cexperimental\u201d but is the very substance of the work.<br \/>And so, even before discussing the merits of Scirpa\u2019s work, it has been necessary to clear away the misinterpretation of \u201cnovelty\u201d at all costs, and to concentrate on the quality, on his ways of using the new, without being clouded by a category that is historically important, but artistically neutral (though this does not mean that we must stay quiet in the presence of works that are formally identical and that are passed off as original and new when, in fact, they are not, as has happened with Scirpa himself with works identical to his but made some thirty-five years later!&#8230;). I said earlier that Scirpa\u2019s \u201cnewness\u201d does not stop being new with the passing of time, simply because it was not born as a \u201cnovelty\u201d but as a \u201cnecessity\u201d inherent in the work: in fact Scirpa uses neon tubes as light and form and, even though staging a kind of perceptive and sensorial illusion, in no way does he hide the elements he uses. He exhibits them for what they are, and the strong expressive and symbolic charge that they gain is not the result of an a priori declaration of a neo-avant-garde attitude but is the outcome of a successful formal and conceptual combination that never stops being effective and renews itself each time it is looked at. Scirpa\u2019s works create the illusion of depth through a skilful use of mirrors that greatly multiply the neon tubes, so much so as to make what is physically contained in a moderate (and visible) thickness seems to be bottomless pools, but the construction is visible, there is no trick \u2013 which would consist of concealing the elements in play in order to obtain a misleading result -, though the effect is the consequent result. The illusion that is created for the viewer and that constitutes a continuous perceptive pleasure because it is physiologically repeated, even once there is revealed \u2013 or simply seen \u2013 the construction of the work, is however only a part, and the most superficial part, of the work; this should be considered even more in depth, starting from the very form that captures the light. In Scirpa\u2019s case, light can have a precise form thanks to the ductility of neon tubes, which are like a mark of light that obeys the artist\u2019s desire for form: a circumference, a square, a triangle&#8230; these are the forms that Scirpa brings to light, and it is natural to associate the purity of the forms and the glare of the light to the \u201cidea\u201d, to that first driving force from which all things derive. This is not an intellectual question , it is not necessary to know Plato in order to associate form with light, even these forms with light, and to transform physical luminosity into a symbolic splendour: the form of light, the mechanical act of bending the glass tube filled with neon to create the wished-for form, transcends this physicality and becomes an immaterial substance, it becomes the light of form: the universal \u201cbrightness\u201d of the geometrical forms joins with the luminosity that they emanate. Brightness, luminosity, and splendour are only apparently vague terms \u2013 or else they are vague for those who think of light only as electromagnetic frequencies \u2013 because in fact they speak of the transcendental aspect of light, just as Plato spoke of ideas or medieval philosophers and theologians (which at the time were the same thing) spoke of \u201coptics\u201d: how and why we physically see the world is only a reflection of how the Creation is manifested, and in its manifestation we know and recognise the Creator. And so optics \u2013 in that context \u2013 was the science of God, because it analysed the essence of His first act towards the world: the separation of darkness from light&#8230; With greater modesty than those philosophers, Scirpa does not perhaps wish to aim so high, but the transcendental component of his work is very important, even though, as an artist, he cannot and does not want to eliminate the material aspect of the work: so what to do then, unless try to reconcile the two aspects and suggest transcendence through the material?<br \/>This was once a common practice for artists, so much so that interpretative codes were based almost completely on the metaphorical or symbolic meaning of the things and people represented, but after one hundred and fifty years of \u201cbourgeois realism\u201d proposed in every possible way (some, to tell the truth, really marvellous) this precise aim of art has lessened and is the prerogative of just a few artists who, in fact, follow paths different from those of the past to speak to us about a \u201cbeyond\u201d that is not physical. Perhaps in Scirpa\u2019s case a noble analogy might help this interpretation. In the Orthodox Christian world icons were \u2013 and still are \u2013 sacred objects because they did not represent a \u201cwindow\u201d onto the divine, but they \u201cwere\u201d a genuine opening onto a further world. Now, with all the necessary caution, whoever places a work by Scirpa in their own particular space \u2013 on the wall, a pedestal, or the floor \u2013 \u201cbreaks through\u201d that space and transforms it into an opening, a metaphorical bridge, even an indefinite and infinite passage to a world that is now unknown. Perhaps it is not the same thing, but it certainly functions as a simile, while the comparison paradoxically reinforces the question of the physicality of contemporary work \u2013 at least, that by Scirpa \u2013 with respect to the codes of transcendence that are so deeply rooted in the collective imagination. Because the difference from the icon tradition \u2013 and the difference between contemporary art and antique art \u2013 is the very fact that today we are no longer succoured by the familiar apparatus \u2013 of saints, symbols, and codes \u2013 that accompanies us across the threshold, and comforts us with its tranquilising nearness. Today we are more alone, and from those depths that we contemplate, perhaps even the abyss might in turn look at us.<\/p>\n<p>\u00a0<\/p>\n<\/div><\/div><div class=\"w-separator size_huge\"><\/div><\/div><\/div><\/div><\/div><\/div><\/section>\n","protected":false},"featured_media":709,"template":"","class_list":["post-9386","testi_critici","type-testi_critici","status-publish","has-post-thumbnail","hentry"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.6 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>The form of light, the light of form - Paolo Scirpa<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.paoloscirpa.it\/en\/critical_texts\/the-form-of-light-the-light-of-form\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The form of light, the light of form - 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