Mountain path CAI 401 / permanent installation
HIKING DIARY – PAL PICCOLO 1886
Laser cut stainless steel plates, 25x25x4 cm
The artist’s book is inspired by those hiking diaries and notebooks left on mountain tops or on the most suggestive viewpoints, where explorers and wanderers can leave their thoughts and records inspired by the surroundings and by the path they have crossed. It is permanently installed on the Pal Piccolo peak, near the big cross and along the invisible border between the two nations. Every page that composes this diary made of steel has been modelled by following the profile of the mountains and the landscape that surround the Pal Piccolo Mount in its upper part, while maps of the Italian and Austrian trenches that run through the whole area have been milled in its central body. One page after the other, the diary creates an overlap of levels and intersections that attempt to synthesize the possible points of view of the place and the complexity of the landscape: “[…] if the direct correspondence between pages and place is played out through the abstraction of the overlap of the observed landscapes, the cuts represent an invitation to look through the artwork. The diary activates a deep dialogue with the place where it is inserted through an interpenetration of planes and levels: what is beyond can be seen through, what is familiar ceaselessly overlaps with the unknown”.
Digital Collage, lightbox, 80x80x80 cm
Remapping landscape is a collage made up of hundreds of photographs shot by the artist from every possible street, way and path leading to the peak of the Pal Piccolo Mount. Borders and viewpoints become one single unit that has no space-time connection to reality: what stands in front of us actually lies behind, what looks downstream is up, Austrian and Italian territories appear as one, and frontal views are complemented with side and aerial panoramas. In the effort of trying to synthetize the complexity of the landscape, this luminous panel brings into play recognition/disorientation and familiarity/strangeness dynamics. The look is freed from the necessity of recognizing what is on one side or the other and of identifying a border. Thus, in its willingness to go further, to drift away and as far as the eye can see, it proves that the only real limit is that of the visible.
Caterina Rossato asks herself what happens to the photographs not taken or to the images captured only with the eyes; with her practice she looks for a way to make them exist through the reflections that they leave in the others. She collects books that contain the phrase “as far as the eye can see” because she believes that, where the eyes cannot go in and the gaze fails to stop, the result is a suspension of the speech. The sky is a recurring reference point: she perceives it as a unifying element of the infinite number of variations through which reality manifests itself and she likes to think that it sheltered everything that is defined otherworldly or supernatural over the centuries. Her research never concludes with a discovery, it rather represents the accumulation of fragments, reflections and potential horizons which suggest the existence of a “beyond” of the gaze because of their evanescence. She studied piano at Giuseppe Verdi Music Academy in Como and Visual Arts at IUAV University in Venice.