In the case of Alberto Biasi, the optic-perceptive dynamic of his works is enriched by an infinite multiplicity of cases and sub-cases. Thus it becomes more complicated and opens up to the variation not only of colour but also, and above all, of perception, so that, rather than exclusively the centre, there is an inexhaustible wealth of viewpoints,spatio-temporal perspectives, very ingenious technical inventions and subtle psychological devices: these are machines capable of promoting emotion that is both internal and external to the work.
For Nahum Tevet, the work reveals a memory that functions in fragments and is practically triggered off by the deconstruction of objects, with regard to both their meaning and their purpose. The interaction between form, colour and space is also a symptom of a mentality that is heir to the historical avant-garde movements but is not dominated by them, while here and there the colour and the non-finito serve to reduce the sense of an overall project and eliminate ideology through its continuous remodelling and readjustment.
Christian Megert uses light and reflection as a laser thatsegments, intersects and decomposes the picture space, expanding to the surrounding area and the spectator’s perceptive dynamics. The mirror becomes the principal means for propagating the multiple identities and freely formulating new, continuous hypotheses for spatial modulation. In this way, complexly constructed elements create movements through the reflection and dynamic of the correspondences, also by means of dissonance.
Axel Lieber’s installations and assemblages are an ironical and surreal journey around the world of everyday objects, which become riddles and puns, are miniaturized or enlarged, held in check or deconstructed. Suggesting an infinite number of possible worlds, anthropology, science, humour and imagination coexist in his works, continuously challenging logic and also constituting an irresistible pleasure for the intelligence.