Page 64 - BECOMING EVA SHOW CATALOGUE

and remains for those who sting. The point is that in one hand to dethrone, on
have shared something with the moment in which spe- the other hand to maintain
me for those who have af- ed should become instan- because one would never
fected my existence or in a taneous the circular would expect a young person to
collective doing. Here I am, it correspond with the eter- come and talk about the
is fundamental to build the- nal, and the eternal is time- Church, people, people,
se forms of ... I don’t know less and at the same time remain a bit strange and
the exact word ... communi- it is also precisely eterni- often disoriented, I must say
ty is wrong, but as a group ty. Paradoxically, in extre- however that I don’t mind
that moves for something ... me speed you end up going this.
back to what you are saying.
IB: Why is community wrong? SG: Yes, but also true that
SN: Going back to Eva cle- there is a certain tradition
SN: Because the word ‘com- arly I take out these given in contemporary art about
munity’ is used badly and very terms to overturn them. A spirituality, I’m thinking for
much, and when something little bit there is a Dolcinian example of Joseph Beuys
is mentioned so much it lo- Eva in many ways, with a
ses its meaning, especially in great sense of sabotage in- SN: Of course, I often call
art where there are the for- side. Just think that with the myself the dystopian son of
mations of terrible commu- radio control she operates Beuys (laughs).
nities that returning to Spi- devices that affect my work,
noza are the sad passions. I it’s a questioning of the sy- SG: I love it when you’re so
prefer to use the term ‘af- stem in which you live and at assertive.
finity’, I feel it more mine. the same time a questioning
of Stefano Non as an au- IB: Speaking of fathers, the

IB: Affinity based on know- thor, I would say as a father. other great fathers that ap-
ledge, on knowing, on que- pear in the framed text in a
stioning oneself, which has IB: Yes, and in the dialogue more or less declared way
always been the key to the that Sergio created between and that instead absolute
sin of our dimension. Eva is extreme speed and eterni- protagonists in the moment
not tempted by the snake but ty, the action of blowing up of the performance is all the
decides to know what it is. Eve’s balloon is an action of Russian Cosmogony.
a very fast microsecond of
SN: It’s an excellent me- circular minutes and millen- SN: Yes, that’s important,
taphor. Clearly I move in a nia, so we don’t know what that’s an important door
continuous dialectic betwe- it is in the new temporari- that’s opened for me now...
en appropriation and rever- ness, but that action - which
sal of Christian semantics. is an immediate action - has IB: It’s something you’ve
This immense narrative has an eternal character on the been standing on.
counted and still counts a work. That is, his work will
lot in our culture, one can’t never be the same again. SG: The initial genesis is
limit oneself to hastily ju- alchemy. I was trained as a
dging only a few passages. SN: Yes, and I’m very hap- chemical engineer, then I did
py about that. First of all be- anything else, I don’t do it
SG: Which is an even cause it’s funny, I’m the first anymore but I was passio-
broader Judaic, and mo- one to be sacked. Then what nate about it. At that time I
notheistic translation. does Eva do? She takes the was passionate about what
limits of what I do, of what is an ancestor of chemistry;
I do, and she moves them a even if chemistry is quanti-
SN: Yes, all this brought, a bit further. Because I made tative and alchemy is qua-
river of deep history fasci- these structures, sculptures, litative, so worlds that are
nates me a lot. In my work but they are formalisms in almost incomparable. By
there’s so much of this idea the art world of the 20th chance alchemists disco-
of fascination and formal century, it’s not that I’m very vered things that then had
instances of comparison. interested in them... to do with chemistry, but
Very powerful but not per- alchemists had a different
ceptible forces on the sur- SG: It’s an installation in path. The Opus Alchemicum
face that move with very which sculpture and other ends with the philosopher’s
slow times, in contrast with things live together... stone, which is the final sta-
the electron times of today te of Rubedo, but it is also
and even with the circu- SN: Exactly. Another very the final stage of the Perfect
lar minutes of tomorrow. beautiful thing, Eva has Androgynous: Becoming Eve
dethroned my doing and my is interesting because she is
SG: This comparison with work herself, as I do with in the process of becoming,
circular minutes is intere- the Black Church, on the but Eve, in the most esote-