Anita Sieff
Symposium on Love
      Venice, Italy, 2000
  ABOUT   >>>>>


ESSAYS   >>>>>


SELECTED INSTALLATIONS

Psyche, Ca'Pesaro Museum, Venice, 2011 [eng]  [ita]  [video]

Ordine di Senso, 2010
Venezia, Fondazione Querini-Stampalia
 [video]

the drama of love at the Fortuny Museum in Venice, 2003 [eng]  [ita]

moda è modo, 2001

social sculpture #2 at Tonic in New York City, 2000

symposium on Love in Venice, 2000 [eng]  [ita]

social sculpture #2 teatro Fondamenta Nove in Venice, 2000

social sculpture #1 the Kitchen in New York City, 1999 [eng]  [ita]


WORKS   >>>>>
  Is Love mankind's motivation to broaden its awareness and to act? Love meant as openness towards what is other, and different from oneself, and consequently as a "method pointer" for the understanding of what public means. Love as loss of self to seek the possibility of sharing in that unknown space that lies beyond our limits. Love as a principle of integration, as a key to make things come about rather than obstructing them. Love as a methodology to activate unity in diversity.
Love as an intrinsic dynamic allows to envision life as a field of relationships. In that field we com-prehend and re-cognize one another within a common intent which, owing to our respective differences, can be experienced in its inclusiveness. The monads are inviolable, do not contaminate one another; contributions (that "going beyond oneself to reach the other" ) form the seed of the relationship. Thus the relationship is outside of us, stirred by the integrating impulse of love, and in this shared, public space, it guarantees our autonomy even while making us feel "together". That condition is an incentive to creation and the spontaneous unfolding of an energy that makes us witnesses to what happens through us. The condition of Art.
An art that no longer implies the observation and deconstruction of reality but instead involvement and responsibility towards reconstruction. The imperative is active participation, responsibility for what we per-form, in the acknowledgement of the public nature of the artist. So, removed from the observer-observed paradigm, we re-establish the tension of reciprocity, the first condition of communication, and in entrusting ourselves to the process, guided by the intent, we progress towards the recomposition of life.