A SITE SPECIFIC STORY FOR AN ANTI-MONUMENT
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A SITE SPECIFIC STORY FOR AN ANTI-MONUMENT Davide Cascio “To relocate a work made for one particular site can be to destroy it.” “The viewer becomes aware of himself and of his movement through the plaza. As he moves, the sculpture changes. Contraction and expansion of the sculpture result from the viewer’s movement. Step by step the perception not only of the sculpture but of the entire environment changes.” Cfr.: Richard Serra, Art in America, september, 1985.
Transcript of A SITE SPECIFIC STORY FOR AN ANTI-MONUMENT
A SITE SPECIFIC STORY FOR AN ANTI-MONUMENTDavide Cascio
“To relocate a work made for one particular site can be to destroy it.”
“The viewer becomes aware of himself and of his movement through the plaza. As he moves, the sculpture changes. Contraction and expansion of the sculpture result from the viewer’s movement. Step by step the perception not only of the sculpture but of the entire environment changes.”Cfr.: Richard Serra, Art in America, september, 1985.
Richard Serra, Intersection,Theaterplatz, Basel, 1994.
Mary Foy and Christine SterlingLos Angeles, 1930.
“The girl left, I loved her and she hated me, and this is my story. Ask the dust on the road. Ask old Junipero Serra on the Plaza, where his monument is, still lined with the marks I made lighting matches for the cigarettes I smoked and humanity which I have seen pass by…”Cfr.: John Fante, Ask the dust, 1939.
Scratch a monument and, by unsettling that finely balanced ideological skein that relates form and appearance to collective memory, you automatically conjure an antimonument. A failed work has the same fascination as a failure in life, as failure in love. An exemplary failure is perhaps more difficult to obtain than an exemplary success.
Lo Spazio Umano. Rivista Internazionale di Scienze Umane Arte e Letteratura. N.2 . aprile-Giugno, 1985.
Poster for March 6th hearing, 1985.
Richard Serra, poster, 57 x 97 cm,1989.
