In spring 2016, japanese artist Hidetoshi Nagasawa exhibited a temporary installation entitled “Vortex” in the exedra of Piazza Castello in Mantua. The work is made up of seven curved metal elements that are arranged in the space of the amphitheater to form a vortex.
The encounter of these two elements, the sculpture and the place, generates a third changing space, changeable and in some ways elusive; its characteristics are not stable and absolute because every slight variation influences its essence and perception. It soon becomes clear that any effort to fully represent this third space is in vain.
Attempt to exhaust a space is transformed in a research that tries to make manifest identities seemingly invisible.
The title of the series recalls Georges Perec’s attempt to exhaust a Parisian place but, unlike the writer’s intention to describe with words what the gaze sees when nothing happens, in this immobile space something happens: fleeting and ephemeral, there is a reflected and deformed image of the surrounding world that changes with the movement of the body. The presence of this image depends on the eye that wanders from one point to another on the surface and tries to cross it to understand its dynamics. But the more the eye pushes deep, to seek a safe hooking, the more it is repelled afloat by the change in the image itself due to the motion of approach. What we can do then is continue to travel and question the inexhaustible metal surface that contains within it that part of reality that we call illusion.