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Attimi Fondamentali

A project by Riccardo Benassi
in collaboration with Gian Piero Frassinelli / Superstudio
curated by Alberto Salvadori
Museo Marino Marini - Firenze (IT)

Is it not true that in order to understand the latest things happening today, it would be useful to know what was “eternal” yesterday, and why it no longer is?

Slavoj Žižek

Attimi Fondamentali will not attempt to answer old questions but rather show how it is not necessary to answer questions that are now outdated. Time is the generator at the heart of Riccardo Benassi’s research, and is developed by the artist through sound, architectural and linguistic approaches. Piero Frassinelli, a member of Superstudio, embodies what today we might call the “anthropological consciousness” which is the foundation of the group of radicals consisting of architects Adolfo natalini, Cristiano toraldo di Francia, Roberto Magris, gian Piero Frassinelli, Alessandro Magris, and Alessandro Poli (1970 / 72).

The exhibition Attimi Fondamentali, curated by Alberto Salvadori, is located in the central part of the crypt of the Museo Marino Marini and originates from the paradox that creates the bond between Piero Frassinelli to Riccardo Benassi, bringing together the latest results from the theory that originated with Superstudio's Monumento Continuo with the hypothesis launched by Benassi: how every monument is basically a sophisticated form of delay which allows us to always be punctual.

Attimi Fondamentali is therefore born from the artist’s need to re-actualize and transcribe forms of thought from a seemingly remote past into the present. In 2010, Piero Frassinelli produced the three films missing from Superstudio’s Atti Fondamentali (1972/73): Educazione, Amore, Morte, produced by the Biennale Foundation of San Paolo in Brazil, based on the store of original texts and images. As a result of this work, a new series of photomontages was also created, intended to update issues in the vein of criticism and sarcasm that characterized Superstudio’s work in the 70's and 80's.

At the same time, in 2010, Riccardo Benassi experiments with Repetititititive Space, a sound environment composed solely of synthetic felt and endless audio tapes: a space that celebrates the entrance of a life act – the public, the people – into a sentence of torpor such as architecture. With Spazio Ripetititititivo, the artist investigates the ‘temporal’ data inherent in the architectural design, offering fleetingness as an antidote to the delaying method of the major projects.

Attimi Fondamentali is a time-space compression in which, for the first time, one will be able to see the final edited version of Atti Fondamentali by Piero Frassinelli, and its sensory correspondent proposed by Riccardo Benassi, a unique visual and aural environment that offers a walk in the crypt guided by paths of felt.

Tavolo Segnalibro / Table Bookmark
pinewood, multi-layered poplar, spray paint, book choosen by the owner

Meccanismo per Addormentarsi Leggendo
Mechanism to fall Asleep while Reading

Plexiglas, pillow, book choosen by the owner

...Scusa, che ore sono Io?
ø 30,3 cm Siemens industrial wall clock, modified iron hands

"I would use my watch as a mirror, to check whether I’d trimmed my moustache symmetrically. Everyone knows that it’s impossible to trim your mustache symmetrically, since it entails being able to use a pair of scissors with either hand, use them well, and do the right side left-handed and vice-versa. Some might add that it is an action that can’t be carried out with both eyes open, and this could refer to both trimming your mustache and looking at your watch to check what time it is."

from Notes for Hallways pretending to be Elevators
© Riccardo Benassi, 2011

Tutta la Vita / The Whole Life
two color silkscreen print on litographic print error from
The Whole Architecture by Superstudio (1973)

Dialogues carried out in silence n°1
synthetic felt, poplar frame, adhesive letters

"It won’t be hard to come to a consensus; actually, if you think about it, it will be easy to tune into a shared desire. It will be okay for everyone, because there will always be someone absent. Both for spatial reasons, which we could call geographic, and for temporal ones, which we could call longevity-related. The two reasons may frequently overlap, and people will tend to blame the fact that there are too many of us, as in the famous line: 'sorry I’m late, the traffic was awful!'”

from Notes for Hallways pretending to be Elevators
© Riccardo Benassi, 2011

Ogni Colonna è uno Schienale (buon viaggio)
preformed foam rubber, synthetic ribbon with metal buckle
in collaboration with Poltronova

Photo © artimages/Federica Di Giovanni