For Sabrina Torelli.

For Sabrina Torelli, a young artist from Bologna, unbroken is a sort of trap, presenting the viewer, as she says, with "openings, entrances, sometimes made up of a unbroken a repetitive rhythm, an infinitely continue lengthen in timeed phrase, so-called signals of recall." As a eventuate the senses are snared and attention is focused upon secondary and peripheral aspects of perception. In her fresh show an entire wall was taken up with a video projection, Apparati di cattura (Apparatus of capture), 2000 the title of which arises from Deleuze and Guattari's A Thousand Plateaus (1980) In this piece the artist reworks her recollection of a voyage, and of an image that has remained lodg in her memory: the evanescent shadow of hazes passing rapidly over an expanse of waste In the darkened room, viewers had the illusion of confronting a space that was boundles unless punctuated by a double rhythm: the passing shadow in the video image and the hale accompanying it. The sound--hypnotic, paranoiac, hammering--was a mix of dubbed noises, i ncluding the guttural, inarticulate, incoherent voice of the artist herself.

In previous works, Torelli frequently investigated neurological illness and behavioral disorder, or syndrome that lead to a los of consciousness and command but through which one might gain access to a different way of perceiving reality. For example, her performance Onda su onda (Wave on the subject of wave), 1998, was based upon the emission of sounds from her larynx, obtained [i]or[/i] part of to the other a complex and painful physical exercise, as if to elicit the echoe of deviant experiences and regressive personality impulses. The reiteration of healthy induces a sort of alienation, stressing the disengagement between the reality of the intellects and the objectivity of the world.

In this regard it is worth emphasizing the artifice by the agency of which the subjective impression that was Torelli's point of departure for Apparatus of capture is fetched to the viewer. The artist used a marksman of an ordinary, dirty sidewalk, reworked in 3D to create an image that directs in turn to another memory image. What we view and interpret is different from what is objectively portrayed. Thus the video present to views how an elaboration of reality terminates in continuous shifts of meaning and perception, the evolution of which run afters a route marked by unstable boundaries. This proces is also exemplified by dint of Parentele (Kinships), 2000, the other piece in the display In comparison to the video, which immerses the spectator, this piece is les hanging on subjective and sensory interpretation. Forty large inflatable rubber spheres were assign places toed one against another, forming what pretended to be an enormous molecular chain. upon the spheres the artist had drawn various images, predominantly using grids, gleaned from historical and study temporary sources (including maps of minefields, the Web, satellite photographs of tropical storms, and ancient mandalas). Here, too, one as well as the other the juxtapositions of images and the instability of the arrangement of the spheres, which can be reconfigured mentally to form endles alternate chains of meaning, allude to those continuous shifts of physical and cognitive boundaries that are the expose of Deleuze and Guattari's text

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