Museo Chiama Artista - Bora

“Bora is a project in progress started in 2011 and which is determined as an autonomous work on this occasion – writes Ludovico Pratesi in the text in the catalog – Everything seems to revolve around the unstable balance between sound and image, that particular interest of the artist for situations “at the edge of the visible”, for that impalpable middle ground between gaze and thought capable of generating a visceral narrative tension. A balance that constitutes the essence of a work like Bora, where the karst landscape of Val Rosandra - a nature reserve between Friuli Venezia Giulia and Slovenia - is agitated by the bora, a wind that blows at 140 kilometers per hour, shaking and shaping that rigid and essential nature taken up by the artist with a compositional attention that refers to the paintings of Caspar David Friederich and the romantic aesthetics of the sublime.”

For the following four years Bora was “interpreted” by various musicians while the video was projected on large screens during their concerts, a palimpstext of images that seemed to exist only as a background for a musical stage. Until May 2015, when the work takes an unexpected evolution and the video becomes one with a small Brionvega monitor, assuming its definitive structure: the integration between the video and the monitor, which works without the aid of wires or cables, transforms it into a video sculpture in all respects, an autonomous work that defines itself as the point of arrival of a reflection on the contamination between work and context.

“In the case of Bora – explains Yuri Ancarani – after having experimented with the 1:1 scale through live shows, I wanted the work to become a small object and as autonomous as possible”.

“Bora therefore becomes “a magic box full of wind” – underlines Ludovico Pratesi – which brings with it the genius loci of an ancient border land, in a world where the physical borders seem to have been canceled forever, but the ideological ones , social and economic appear more solid and impenetrable than ever.”

“Bora is an anomalous work – suggests Angela Tecce – whoever observes it is led to oscillate between the impression that it is subtly cryptic and the opposite one, that it is instead clearly literal; to interact with an “animated” sculpture and at the same time with a video art work. Finally, we abandon ourselves to the sound of the wind that seems to ruffle our hair as we observe the landscape passing by on the television. The aesthetic sense is clearly revealed, and as often happens the enjoyment gives way to a multiplicity of suggestions, which contribute to focusing the interest towards the point of view around which the work is structured.”