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Can contemporary art leave museums?

Can public space, in small towns, support contemporary art installations?

In Pisogne, a village facing of Lake Iseo, the town council has called us to reflect on the opportunity to create a small Belvedere, pile-dwelling on the lake; this scenario allows us to expand the discussion on the relationship between landscape and urban art. The small Belvedere, Mirad’Or, also becomes a place of art installations.

In “sur quelques thèmes baudelaireiens” Walter Benjamin defined the concept of shock that man received from the use of technologies in the urban environment. Returning to Freud, the philosopher emphasizes how man is provided with barriers to protect himself from external overexcitations, from too intense energies.It is the task of the consciousness to protect itself against the traumatic effect of shock, which makes creation rare and innovation unusual.

Art is first of all a way of seeing, of aiming again, the things of the world. Before the material work we need to re-discover the immaterial, to make full use of the other senses. The Mirad’Or is not an artificial correction of the shock, but rather the real possibility of a protected and intimate perception of the world.

It is a public belvedere, a sort of dark room and reassuring space from which to scrutinize the waves of the lake that ripple and the landscape that hybridizes in the water, in that indefinite instant in which the earth and the sky meet.It’s a question of light, reverberation and vision.

From Mirad’Or the two most significant views of this place will be privileged: the Tadini Museum on the opposite front, to create a “physical” link between the 19th century art gallery and the new space for contemporary art, as well as the view towards the south-west, the Toline, where the lake is perfectly framed by the two promontories , a perfect transition between water – land – sky.