Non Vedono (Aequusol, AUTUMNUS MMXX)

Installation

“The entire evolution of science would suggest that the best grammar for thinking about the world is that of change, not of permanence. Not of being, but of becoming. We can think of the world as made up of things. Of substances. Of entities. Of something that is. Or we can think of it as made up of events. Of happenings. Of processes. Of something that occurs. Something that does not last, and that undergoes continual transformation, that is not permanent in time. The destruction of the notion of time in fundamental physics is the crumbling of the first of these two perspectives, not of the second. It is the realization of the ubiquity of impermanence, not of stasis in a motionless time.” 
— Carlo Rovelli, The Order Of Time

Theoretical physicist Carlo Rovelli, describes that out of human’s partial capacity to discern the world, a feeling of time asserts itself as a “blur”. Fabio Perletta locates his “eventi lunghissimi” [very long events] between the manifold wakes of quantum gravity and the “persistent” illusion of the daily time of our lives. A stone shaped by the sea, eroded by salt, encloses acoustic facts resonating from its matter, without beginning or end. Without surface, words and sounds are said to be some of the few events truly able to exist in time. The objects, compressed into their material envelope, are aggregates of a consonance of lived and implied sounds, emitted without interruption. As a map is opened to reveal a lattice of creases altering the shape of the surface it describes, what we perceive as time reflects a multitude of orders and layers. A collection of structures, oscillating with information, push what we know to be still objects further from their fixed positions into a free fall, where a path or coordinate becomes an ever-increasing line. As well as at the very microscopic level, the world is made up of “events”, each of its own timescale, defined by a place, resolute in their impermanence. “…non vedono…”, falls just after “I fiori…”, the second part of a developing phrase, still poised between the downward give and upward resistance written into an agreement between gravity and life. Perletta invites to experience a formula accessible amongst every ecosystem, under the guidance of sonic entities and their processes.


AEQUUSOL > AUTUMNUS MMXX

On the ephemeral courses of Lynx Lynx Apennina, in AUTUMNUS MMXX Pollinaria focuses on subjects of perception, a world made up of numerous, overlapping events, knots tangled in timelines of density. Within this brief fraction of equinoctial time, artist Fabio Perletta, three researchers and land hermeneuts, and the authors of Bagliore - a biography of new cultural centres in Italy - will drive together a passage, operating on a plane of shared knowledge through a shuffling of landscape. Along dissolving lines the decryption of these precarious threads of complexity unfolds, toward a new destination, another nascent Autumn.

In the year 2020, Pollinaria launches a distinctive participatory experience to mark the passage of seasons: decoding the data of the landscape to investigate future rural perspectives. Focusing on the scientific, ritualistic, sonic and textual elements that shape currents of cultivated and wild activity, the local community will join agricultural and arts practitioners in speculating rural potential.

Aequusol, combines latin words to describe the emergence of dawn and its departure from night at the equilibrial axis that parts rest and activity, a moment of energetic stasis. Aequusol uses these four transitional points of the year to center the activities that are constantly occurring and fluctuating in value here at Pollinaria. Each celestial episode is totemically represented by a mythological entity blurred into reality and history by it’s fantom-like presence across the particular landscape as well as the region.