Bisazza showroom Berlino
Two gigantic eyes peer at visitors and indicate the entrance space of this showroom: they are the eyes of David Bowie, and his famous two-tone pupils become two concave walls marked by horizontal reliefs of different depths. A black and white floor designed as a continuing multiplication of geometric signs, and a facing wall that becomes a backdrop, curving in a wave that continues up to the ceiling, form the connective tissue of this and other evident presences. A large mirror mask observes and reflects bystanders, capturing them and directing them toward a staircase that leads to a lower level (where a system of sofas is built in modules of constant width and varying depth, to accept or suggest different postures), paced on its dark surface by phrases extracted from Waiting for Godot by Samuel Beckett: another interior that becomes a surface on which to tell a story, this time taken from the theatre. This is the attempt to stage, in an extremely designed space, the epic and still surprising work by Beckett, after having thought about the German capital as a city always waiting for new changes, in the magical moment of an opening night that does not necessarily involve an event, because ‘in Berlin everything seems to be suspended.’ A construction of great sculptural force, where the supple signs of curved profiles overlap on a geometric grid of concentric, exploded abstract signs. In a game of targets and accelerated, syncopated perceptions, a controlled carom of visual and physical paths. Fabio Novembre
