milan

Carlo Benvenuto

Antonio Colombo Arte Contemporanea

A simple wooden kitchen table rests on four plastic ballpoint pen caps, while photographs of similarly ordinary objects—glasses, cups, a teapot on a tablecloth—hang on the walls. The effect of these works (all untitled, 1999) by Carlo Benvenuto is that objects and spectators seem to observe each other with equal amazement. The sense of alienation induced by the photographs is closely tied to the precarious equilibrium of the real table (and a chair as well) immobilized on those little bits of plastic, abstracted from their function by this slight elevation. In both cases, the objects have lost their functionality, their sense of use, and with it their familiar domestic existence. To restore to them their identities as glasses, cups, tablecloths, the mind has to impose itself on the gaze, for the latter doesn’t perceive them in their customary way of being, but in their anomaly. How is this

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