reviews

Sabrina Torelli

Galleria Massimo Minini

For Sabrina Torelli, a young artist from Bologna, sound is a sort of trap, presenting the viewer, as she says, with “openings, entrances, sometimes made up of a sound, a repetitive rhythm, an infinitely prolonged phrase, so-called signals of recall.” As a result, the senses are snared and attention is focused on secondary and peripheral aspects of perception. In her recent show an entire wall was taken up with a video projection, Apparati di cattura (Apparatus of capture), 2000, the title of which comes 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 lodged in her memory: the evanescent shadow of clouds passing rapidly over an expanse of desert. In the darkened room, viewers had the illusion of confronting a space that was boundless but punctuated by a double rhythm: the passing shadow

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