Genius Loci

Mold becomes pure linguistic code, a biological application that leads painting to the limit of its possible endogenous mutations. TTOZOI’s grammarre generates the archetypal models of Pier Paolo Calzolari and Giuseppe Penone, bringing back the iconographic orbit in the cyclic perimeters of the painting, inside the historical surface of a collective memory. collective memory. The natural action does not disperse but takes place on circumscribed surfaces, under the control of the space of action, letting life literally take its organic course. An event between randomness and controlthat radicalizes the link between Art and Nature, making biology an elaborative and participatory phenomenon. A living dialectic that brings the creative factor into the beating heart of the natural cycle. The “naturally informal conceptualism” of TTOZOI has established a dialectic flux with three Unesco sites, symbols of the Italian architectural and archaeological culture: the REGGIA DI CASERTA (November 2017), into the Samnite necropolis dating back to the fourth century BC, brought to light in 1990 in the area below the second courtyard; the Amphitheatre of the OF THE ARCHAEOLOGICAL COMPLEX OF POMPEI (December 2017) where the duo has used theambulatories, buried by the eruption of Vesuvius by the eruption of Vesuvius in 79 and then brought back to light; finally, the COLOSSEUM (coming soon), the largest amphitheater in the world, global symbol of Rome and icon of Italy. The three chosen areasrepresent the apotheosis of the Italic genius, the archaeological peak of ancient lustrums of human ingenuity. The integration with the places takes place through a ramified proliferation, not stopping at something purely formal but acting on a process that integrates visible and invisible, memory and present, history and chronicle, individuals,and collectivity.The informal process, realized by four hands, foresees the use of organic materials (various flours), water and natural pigments on jute canvases, then placed in special cases that favor the natural proliferation of molds, with always different manifestations; feeding only on the organic part, the spores will interact with the work according to an unknown and apparently chaotic scheme. But, TTOZOI monitors the progression of the process, until it decides to interrupt it, according to a declination of “rescue from aesthetics in purity”and the canvaseswillbe pictorially finished and completed, leaving visible traces of nature’s passage. The informalpainting root finds here its most significant evolution, an aesthetic landing place that overturns the interpretative factor of the works. All abstract appearances are transformed into a process of high figurative value, where what we see leads us far beyond the pure form, in the pictorial stratification of memories, experiences, dynamic processes, exogenous contributions. dynamic processes, exogenous contributions…Curated by Gianluca Marziani