Jugalbandi, review by Giulia Colletti
Amorphous entities inhabit t293 gallery space, emanating an uncanny aura. Indulging the pathetic fallacy, the totemic features of Lorenzo Vitturi’s sculptures – a dazzling hodgepodge of brightly coloured fibres, scraps, glass fragments, and contrasting textures – seems to belong to guiding daemons while, in fact, they allude to the outlandish balance of fortuitous assemblages of worldly objects. Vitturi’s research conflate the act of abstraction and play in connecting heterogeneous tokens together – from Indian rugs to Murano glass – to re-balance canonical hierarchies, and to suggest cartographies where people and artefacts intersect in a compositional funambulism, at times resembling Matt Calderwood’s or Stephanie Mann’s works.
In the frame of his latest exhibition, Vitturi weaves tapestries of multifaceted and fringed narratives. Eschewing prosaic claims of authorship, he embraces a polyphonic form of production. The installation veers between the artist’s gaze of Rajasthan – whose photographic documentation of piles of objects stands as the initial suggestion – and the craftsmanship of the Indian artisans, to propose a tableau of singularities overlayered in the materiality of the artefacts.
Photographs and handmade textiles significantly differ in the time of production: the first is considered an instantaneous act; the latter is the result of slow labour. Nonetheless, the potential of Vitturi’s work stands precisely in his ability to tuning asynchronous rhythms into a performance with the weavers, as the etymology of the exhibition title – Jugalbandi – recalls. The works do not function then as singular objects; but rather as transitional sculptures, since they mediate between several individualities at once, bringing them together in the ritual of transformations.