Non sempre il posto vicino al finestrino è quello migliore
Punto Fermo collection
Curated by Giada Centazzo e Antonio Garlatti
After ten years, Alessandro Ruzzier is back in San Vito al Tagliamento with a site-specific project entitled Non sempre il posto vicino al finestrino è quello migliore: ‘the window seat is not always the best one.’ In his 2015 Custodia series, included within the project Città che si vedono curated by Giorgia Gastaldon, Ruzzier chose to map the places which were the closest to the historical center of San Vito: these photographs are on display again in this exhibition. Today, in a change of course, Ruzzier has decided to investigate places in the hamlets of Ligugnana and Rosa and of the landscape encountered by walking forty-three kilometers along the mouth of the River Tagliamento.
Ruzzier’s artistic research follows the footsteps of the so called Scuola italiana di paesaggio (Italian school of landscape photography), an ensemble of artistic practices which interrogate man’s space, location, memory, presence—sometimes even absence—in relation to his surroundings.
Ruzzier’s work investigates the correlations between man and landscape, and the various social, political and environmental forms they take. By using both narrative and documentary sources, Ruzzier combines on-site work with archival research, with the aim of redefining the apparent order of things into a new poetic and experiential relationship.
Ruzzier’s “photography of places” strongly resonates with the attitude and perspective of the landscape of writer Gianni Celati: «Objects are out there floating in the light, emerging from the void to find a place in front of our eyes. We are always implicated in their appearing and disappearing, almost as if we were here just for this. The external world needs us to observe and recount it, in order to exist. And when a man dies he carries with him the apparitions come to him since childhood, leaving others to sniff the hole where all things vanish.»