Cythère, 1983-94

A colour photograph of the open sea, framed by a metal frame with a glass sheet that is broken at the centre, is associated with the tearing of a seventeenth-century perspectival representation (the pieces are scattered on the glass and all around the wall). In the area corresponding to the photographic horizon is the detail of the French noun "orizon" [sic], which in the ancient plate indicates the horizon line of the vision in perspective.
The work is part of a group twelve works with the same title, made from 1983 to 1994 (GPO-0483, GPO-0491, GPO-0503, GPO-0838, GPO-0522, GPO-0560, GPO-0575, GPO-0591, GPO-0634, GPO-0640, GPO-0675, GPO-0721), which are distinguished by the photograph (the various marine views were taken at different times) and by the intervention matched with the breaking of the glass. Each of the twelve episodes – the number refers to the hours in the day or the months in the year, understood as the maximum temporal dilation and index of cyclicity – evokes the inexorable, albeit unappeasable desire to conquer Cythera, the mythical island where Aphrodite (Venus for the Romans) was born, the ideal and notoriously unattainable destination. “A gesture, considered irremediable, instead resurfaces to design the distance from the horizon", wrote the artist with regard to the broken glass with the sea serving as a backdrop.1 The French title amplifies the resonance of the idyllic echo, causing the painting by Jean-Antoine Watteau, L’Embarquement pour Cythère (1717), as well as some of the lines by Charles Baudelaire and Paul Verlaine, to resound.2

1 G. Paolini, Suspense. Breve storia del vuoto in tredici stanze (Florence: Hopeful Monster editore, 1988), p. 177.
2 Cf. Charles Baudelaire, Voyage à Cythère, 1855 (in Les fleurs du Mal); Paul Verlaine, Cythère, 1869 (in Fêtes galantes).