Factory [ Pema group ]
David Behar Perahia and Caterina Margherita met in a Venice Gallery while preparing for an exhibition and realizing they both work similarily on site specific context
The Group aim is to conduct site specific collaborations in between the two sites of Israel and Italy.
Light room
The reality in which we live is, so, based on the concept of instantaneity where both the future and the past loose their value and where the spatial variable is subdued to the one of time.
The artistic research of Caterina Margherita, proposes a reflection on our way of perceiving the transformation of the spaces that we frequent. The artist with here sight specific installations decomposes the spaces and gives an heterogeneous and fragmented vision playing with the spectators and testing their capacity of observing.
The artist proposal consist to repeat in the Scalamata Gallery the same elements by the place is constituted; Camer chiara (Light room) it’s an opera that goes to recover the space of the gallery trough detail’s images and trough white painted square peaces of wood, the same wood that totally covered the gallery.
Installation
MuseumThe artistic research of Caterina Margherita, proposes a reflection on our way of perceiving the transformation of the spaces that we frequent. The artist with here sight specific installations decomposes the spaces and gives an heterogeneous and fragmented vision playing with the spectators and testing their capacity of observing.
The artist proposal consist to repeat in the Scalamata Gallery the same elements by the place is constituted; Camer chiara (Light room) it’s an opera that goes to recover the space of the gallery trough detail’s images and trough white painted square peaces of wood, the same wood that totally covered the gallery.
Installation
Museum
The work is comprised of images that begin with the area in which the finalist works in the Talent Prize contest instituted by the Rome Foundation’s Museo del Corso, will be shown.
The project for this work began with an inspection of the exhibition area. After this reconnaissance and the taking of several photographs, a number of images were produced: different-sized photographs arranged in a specially-designed pattern to highlight the details of the environments.
Museum illustrates the details that may be less conspicuous, the less obvious elements that refer to daily life in exhibition areas. It underscores aspects of the act of looking itself. Moreover, it echoes the presence of the observer, whom Museum places in the condition of perceiving elements in addition to those already normally registered in his experience as a visitor.
Museum aims to be a means of amplifying the perception of the environment, highlighting the formal characteristics of the architecture and what it houses, also through the specially-designed arrangement of the installation of the photographs.
Both dominant elements, such as colour, and details, less apparent elements that wish to recreate an overall view of the environment, are underscored. This accentuates the chosen work method, which prefers peripheral vision, the fragment and, at the same time, what is heterogeneous.
The decision to show images of different sizes was designed to slow down the perception of the observer, who is thus invited and obliged to stop and pause so as to be able to place every single aspect into perspective, in the ongoing process of recognition The aim of Museum is to prolong the stay of the observer and to give him/her the chance to revise his/her perceptive experience, thus transforming physical space into a mental one. The theoretical background that Museum evokes is the reflection on the current condition of contemporary life characterized by constant change that affects not only the outside world and its social and cultural forms, but also the intimate sphere, the perception that an individual has of the reality which surrounds him/her and of him/herself in it.
Speed, which has primarily affected the worlds of trade and communications, may assume the characters of cognitive superficiality and of the speed of movement in space and time. The 22 images create a picture of the three main characteristics identified:
A) Colour is a strong cognitive element in the exhibition areas.
B) The Museum is housed in a building that was once a bank.
C) The Museum also includes places that are out of bounds to the general public.
Installation
Out goingThe project for this work began with an inspection of the exhibition area. After this reconnaissance and the taking of several photographs, a number of images were produced: different-sized photographs arranged in a specially-designed pattern to highlight the details of the environments.
Museum illustrates the details that may be less conspicuous, the less obvious elements that refer to daily life in exhibition areas. It underscores aspects of the act of looking itself. Moreover, it echoes the presence of the observer, whom Museum places in the condition of perceiving elements in addition to those already normally registered in his experience as a visitor.
Museum aims to be a means of amplifying the perception of the environment, highlighting the formal characteristics of the architecture and what it houses, also through the specially-designed arrangement of the installation of the photographs.
Both dominant elements, such as colour, and details, less apparent elements that wish to recreate an overall view of the environment, are underscored. This accentuates the chosen work method, which prefers peripheral vision, the fragment and, at the same time, what is heterogeneous.
The decision to show images of different sizes was designed to slow down the perception of the observer, who is thus invited and obliged to stop and pause so as to be able to place every single aspect into perspective, in the ongoing process of recognition The aim of Museum is to prolong the stay of the observer and to give him/her the chance to revise his/her perceptive experience, thus transforming physical space into a mental one. The theoretical background that Museum evokes is the reflection on the current condition of contemporary life characterized by constant change that affects not only the outside world and its social and cultural forms, but also the intimate sphere, the perception that an individual has of the reality which surrounds him/her and of him/herself in it.
Speed, which has primarily affected the worlds of trade and communications, may assume the characters of cognitive superficiality and of the speed of movement in space and time. The 22 images create a picture of the three main characteristics identified:
A) Colour is a strong cognitive element in the exhibition areas.
B) The Museum is housed in a building that was once a bank.
C) The Museum also includes places that are out of bounds to the general public.
Installation
Out going is an installation composed of five photographs.
Like the other works, the closer Out going is connected to the place that houses it, the more ideal is its location, allowing the fifth missing image to reflect the morphological characteristics of the site. The project was conceived when the venue of the exhibition was established. The new image is created only following a site inspection and, like the others, reveals hidden presences.
Installation
5 photographs, wood.
Road MarketLike the other works, the closer Out going is connected to the place that houses it, the more ideal is its location, allowing the fifth missing image to reflect the morphological characteristics of the site. The project was conceived when the venue of the exhibition was established. The new image is created only following a site inspection and, like the others, reveals hidden presences.
Installation
5 photographs, wood.
The installation presents a section of a market to prompt reflection on the spirit of adaptation. Adaptation is what is required of the viewer, who enters an area that is strongly characterised by colour and presented in a fragmented lateral view in some of the images. It is both the subject of the images and that which is requested of the beholder faced with images that are not exactly “orthodox”, for the items photographed are not the actual goods, but the objects used by the stallholders to display their wares.
The images intentionally destabilise the viewer’s initial perception (that may have suggested a reconstruction of a market) in order to dispel the shallowness of this first impression.
The work is the result of the artist’s reflection on the change in our process of deducibility, which today is increasingly associated with time and tends to be intensified only by speed and movement.
In everyday life we rely on the first answer, but this may not be sufficient in the case of a work of art. Road market tends to mislead in order to overturn the most immediate perception.
Installation
Prited Pvc, 9 pographs. 2007
PeepThe images intentionally destabilise the viewer’s initial perception (that may have suggested a reconstruction of a market) in order to dispel the shallowness of this first impression.
The work is the result of the artist’s reflection on the change in our process of deducibility, which today is increasingly associated with time and tends to be intensified only by speed and movement.
In everyday life we rely on the first answer, but this may not be sufficient in the case of a work of art. Road market tends to mislead in order to overturn the most immediate perception.
Installation
Prited Pvc, 9 pographs. 2007
Caterina Margherita’s project for the Aurora Café merges images and sounds, in a single event. Like the artist's other recent works, it painstakingly investigates the meaning of the location through her perceptions.
Fourteen snapshots of objects, furnishings and details, never depicted in their entirety, form a sequence of partial and furtive views, as suggested by the title of the work. Peep refers to the eye of the spy or a voyeur, and indeed a peephole allows the viewer to discover a different perspective and new details. Familiar everyday shapes are transformed into something unexpected and alienating.
This quest for the unexpected meanings of the space is also revealed in the use of a “soundtrack” created for the inauguration, which features noises and voices recording during a soirée. These were set to a base of electronic sounds that link them and underscore the minimalist atmosphere conjured up by the images.
Installation
14 images covered with plaxiglas.
DiwanFourteen snapshots of objects, furnishings and details, never depicted in their entirety, form a sequence of partial and furtive views, as suggested by the title of the work. Peep refers to the eye of the spy or a voyeur, and indeed a peephole allows the viewer to discover a different perspective and new details. Familiar everyday shapes are transformed into something unexpected and alienating.
This quest for the unexpected meanings of the space is also revealed in the use of a “soundtrack” created for the inauguration, which features noises and voices recording during a soirée. These were set to a base of electronic sounds that link them and underscore the minimalist atmosphere conjured up by the images.
Installation
14 images covered with plaxiglas.
Installation. 2008
Fragil
Installation
Different materials
3x2 mt overall
2007
ChiostroDifferent materials
3x2 mt overall
2007
Installation
Murano glass. Cement, iron
140x40x40 mt
855Murano glass. Cement, iron
140x40x40 mt
Sculpture, italian and french cement, Murano glass, 1,8 x 1,2 x 1,2 mt
Cannaregio
installation
bamboo canes, cement, pigment
3 stuctures 260x160x60 mt each
bamboo canes, cement, pigment
3 stuctures 260x160x60 mt each
Caterina Margherita’s works are site specific and stem from a painstaking study of a sense of place. These works focus particularly on relationships between the units that make up the visual picture and on the resulting qualities that characterize our direct perception of space.
In less recent works related to sculpture one perceives the attempt to explore and establish a dialogue between space and matter. The works share a rapport with the habitat and from it they are inspired. In the close relationship that ties it to the context in which it is set, the work discovers its entirety and its solution.
Conversely, in more recent works the artist renounces filling space with further solicitations using sculpture, focusing instead on the place in which it is housed.
Through images the artist underscores the details and/or moods of the place in which the spectator finds him/herself.
With her study, which witnesses the desire to re-evaluate and offer the spectator the chance to establish a rapport with his surroundings in the spirit of investigation, she tends to highlight what exists already; through images she leads the spectator to penetrate the physical reality of space in an objective manner.
Domenico Papa