Edoardo Tresoldi and the heteronomy of architecture

From Firenze University Press Journal: Techne

Edoardo Tresoldi, Artista

The Heteronomy of architecture «is understood as the condition to be pursued if one sets one’s goal of producing buildings that belong to one’s own time, to the complex interweaving of values and needs that characterise it, to the place where they arise»1. Heteronomy in architecture allows us to break the boundaries still linked to the concept of the now obsolete scientific sector. The breaking of these boundaries makes a trans-disciplinary contribution possible and consequently leads us to having a transversal vi-sion. One of the people who recently successfully pursued the road of the Heteronomy of architecture and art through a borderline path is Edoardo Tresoldi, an Italian sculptor who «investigates the poetics of the dialogue between man and landscape using architectural language as an expressive tool and key to reading space».

The artist plays with the transparency of the metal mesh to transcend the space-time dimension and narrate a dialogue between Art and World, a visual synthesis that reveals itself in the fading of the physical limits of his works.Five themes were taken into consideration to address the issue of the heteronomy of architecture with the Sculptor Tresoldi. The first one concerns the PLACE, because architecture, as materially utilitarian, is completely conditioned by the material and immaterial context of which it is part. Tresoldi’s works, in the sense of public art, are to be considered the expression of a heteronomous discipline. In fact, his work is strongly linked to this concept already in the initial choice of material and in the desire to express transparency by encountering paths, languages and transversal dialogues between the elements of the work and those of the landscape. «Inserting an element with-in a context builds relationships and intertwining dynamics that dialogue in a game of cross-references.

The physical elements reconnect us to the archetypes we have built in our experiential journey and then become cultural. The moment we see a tree, for example, the relationship between us and the tree is the one we have built by coming into contact with trees in our lives. Automatically the tree, as well as a house, the sky or other basic elements is al-ready an experience that determines a sort of automatism in relating to that or any other element already experienced. Then there are other elements that are part of our cultural heritage, which preserve and hold within them-selves different languages».Working with archaeology, Tresoldi associated the sacredness of the classical language with the transparency and elements of the landscape, constructing images, languages and narratives of the surrounding space. For the sculptor, the Lombardy farm-steads have had an important relevance in the development of his sensitivity to the landscape. Places that at a young age escaped from his everyday life, the abandoned farmhouses are ruins full of poetry characterized by a dimension of transience today.

They are the places that inspire the artist because it is here that anyone can go and allow themselves a moment of suspension with themselves and with the place.The second theme tackled is the PROJECT, understood as an action of prefiguration, of casting ahead, beyond cultural, social and historical influences. According to Tresoldi, an author can be compared to an organism that absorbs certain concepts, lives them and finally releases them through the creative act. When the artist finds himself creating a work, he prefers to go to the place to try to intercept the dynamics of the place in which he can find himself and ex-press himself. When he connects with a place and sees the key to intercept certain elements, he lives this process in a partially selfish way, while in the phase of elaboration of the installation the artist expresses himself through recognizable languages common to all. From here the goal is to intercept and work with simple archetypes that make his works as direct as possible: «the process is similar to that of com-posing a love song that, most of the time, is written by the author in a specific moment lived with a specific per-son. In that case, the experience is extremely personal but the moment it is told, it becomes a choral experience».

A project is therefore nothing more than a work that can build, transcend, or transport from an intimate experience to a collective one. The sculptor also argues that as human beings we construct our knowledge based on personal experiences and we learn about hate, love or a range of feelings often through the same experiences. «Even just talking as human beings we possess a common alphabet that allows us to structure a series of collective experiences. All of this is the synthesis that allows us to connect deeply with what is around us».Beginning with “Opera”, Tresoldi’s latest installation consisting of a colonnade of forty-six wire mesh elements up to eight meters high, located in Reggio Calabria, the third theme can be introduced: TIME.

Tresoldi’s forty-six columns, according to the architect Maria Pilar Vettori, recall the “Danteum” project by Giuseppe Terragni and Pietro Lingeri designed in 1939 (never built) and the fresco present in “Sala del Bacio” of Bertoja, realized between 1570 and 1573, in Parma (where Terragni did his military service). Between these three works there seems to be an interweaving, a kind of mechanism of trace, of memory, as if there is a kind continuity in the creative process influenced by the times and by innovation. On this proposal of continuity Tresoldi argues that when an artist no longer works for references, but for necessity of expression, it becomes fascinating to imagine that both he and Terragni, as well as Bertoja, felt the need to use the column element and transparency to tell their essential concept linked to their own time and perception.

DOI: https://doi.org/10.36253/techne-11000

Read Full Text: https://oaj.fupress.net/index.php/techne/article/view/11000

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