22/12/2018 – 26/01/2019
On the 22nd of December 1968 at 11 am, a mere three months after the great artist Pino Pascali's death, the little church of Santo Stefano that had long been inactive was turned into an art gallery and named after the young sculptor born in Polignano a Mare. The first exhibition hosted the artworks by the painter and engraver Lorenzo Viani.
The opening of the “Pino Pascali Gallery” – now Exchiesetta – was the first important step towards paying tribute to and acknowledging the importance of one of the greatest Italian artists of the 1900s. In the following months also a Prize, a Museum and today's Foundation were named after Pino Pascali.
In a few days, the 22nd of December 2018, the exhibition “Clopen” by Vincenzo Marsiglia will start, as a way to celebrate the 50th anniversary of the gallery's first opening and the memory and history connected to this place.
In the jargon of Topology, the term “clopen” is used to describe a set of numbers that is both closed and open, a condition that can only take place in two possible situations: the set of Real Numbers (both rational and irrational numbers) or in the case of an Empty Set.
With his work Clopen, Vincenzo Marsiglia visualizes the abstract, mathematical and geometrical function of shape and volume in the historical building now famous as Exchiesetta.
A connection- between internal and external, indoor and outdoor- made even more relevant by projecting on the building's facade orthogonal and diagonal lines that run across the inside of the building and reinterpret the solid and compact structure of this Romanesque church in terms of a “formula”, of a rational organization of lines, spaces, volumes and proportions.
A further connection is made between rational and irrational meanings. Vincenzo Marsiglia hints at the religious nature of the the building, at its originally sacred essence in which unity of the whole and the mystical concept of Void, reach a spiritual balance. In other words, Clopen is the combination of a space that is at the same time real and surreal, open and closed, physical and spiritual.
At night, from the black iron frame that retraces the surface of the facade the bright profile of a four point compass rose with its central and cardinal directions emerges. Meanwhile, through the walls a blacklight defines the construction lines of the building, thus overturning the indoor space with the outdoor space, the empty and full portions of a shape.