Lezione della dott.ssa Eleonora Charans del 13 novembre 2014 su Gino de Dominicis alla Biennale di Venezia del 1972.

1. Gino De Dominicis alla Biennale di Venezia del 1972
un caso di studio sull’immortalità e sulle sue soluzioni
Eleonora Charans
Ph.D. , Politecnico di Milano
eleonora.charans@gmail.com

2. Gino De Dominicis, Calamita Cosmica, 1990 ca., ingresso del MAXXI, Roma maggio 2010

3. Gino De Dominicis, Opera non titolata,
1962, matite colorate su carta, 95 x 72
cm, collezione privata, cat. rag. n.1.

4. Gino De Dominicis, Donna allo
specchio, 1965-66, pastelli a cera e
china su carta incollata su tavola, 98 x
75,5 cm, Coll. Luigi Koelliker
(Milano), cat. rag. n. 25.

6. I cavalli di Jannis Kounellis entrano negli spazi della galleria, autunno 1969

7. Gino De Dominicis, Mozzarella in carrozza, 1968-69, carrozza d’epoca, mozzarella, cartellino,
presso galleria L’Attico, Roma

8. Gino De Dominicis, Lo Zodiaco, 1970, presso galleria L’Attico, Roma

9. Gino De Dominicis, Gino De Dominicis a
Venezia 1972, 1992, tecnica mista su
vetro, 42 x 37 cm, Coll. Luigi Koelliker
(Milano), cat. rag. n. 430.

16. “ (…) the installation comprises a person affected by Down’s Syndrome seated
in a chair, gazing at a beach ball and a rock placed on the ground before him.
Each of these components have their own extremely long titles: the beach ball
is Rubber Ball (fallen from a height of two meters) at the instant immediately
prior to its rebound, while the rock is titled Waiting for a general random
molecular movement in a single direction to generate spontaneous movement
of the material. In addition to these object, an Invisible Cube is placed in front
of the seated performer. (...) De Dominicis once observed that a person with
Down’s Syndrome ‘was to be interpreted as a different state of being’. (…) The
work stages two irreconcialable types of vision and consciousness: the gaze of
the performer with Down’s Syndrome, and the gaze of those who look at him.
This reading is reinforced by the one official photograph of this performance, in
which we see a viewer (…).”
C. Bishop, Artificial Hells, 2012

20. (...) the performance of a person who was
supposed to be only one element
among many exhibited in the
exhibition (...)
while the idea of the show was none
other than a reflection on certain
human conditions such as old age, the
deterioration of the body, illness, and
death (...)
De Dominicis, 1972

30. a..
b.
c.

34. Gino De Dominicis, Senza titolo, 1996,
foglia dorata su fotografia, 99 x 99 cm

35. Particolare della Foto ricordo ingrandito ed esposto dall’artista a Palazzo Ducale, Venezia 1995