Il luogo di Aimo e Nadia
Entering Il Luogo di Aimo e Nadia, one gets the impression to become part of a landscape, where the furnishings that create space, artworks of art in-Absence burst from the walls, the sculptures scattered on the tables – together with panels that welcome visitors on the front entrance of the restaurant – are parts of a single district (“contrada”).
Artistic and human landscape, where the loving gesture of a cuisine capable of creating an exquisite dialogue between rigorous research on the quality of products and great creative freedom in the use thereof, is intertwined with an artistic gesture of a site-specific operation in which each sign – painting, sculpture, design – is conceived in a close relationship with the activity of the restaurant and with the overall design of installation, of which each element itself is a part.
Theoria of Absent-Glimpses and of Animated-Stones (“Theoria degli Sguardi-Assenti e delle Pietre-Animate”) is the title given by the artist, Paolo Ferrari, to an operation in-progress, composed of successive layerings to produce an interface between the world of culinary tradition and the signs of modernity – between the artistic place and il Luogo di Aimo e Nadia, no more only restaurant but also a Place (“Luogo”) due to the contamination introduced in it between the cuisine and art in-Absence.
The history of a restaurant that has founded its gastronomic culture on a continuous renewal of the tradition – of which, without betraying its roots, has continued to transform the compositive framework – has been further renewed through the interaction between contemporary art and culinary art, with the creation of “a place where the various faculties, seeing, hearing, affections, but also the subtle intelligence, could be transmitted.”
The artist’s creative process, that is based on a series of layerings and includes in its gesture also quotations from archeology to the present – twisting photographs of Romanesque sculptures, oriental faces, and also images of nature and of everyday life – couples here with activity that finds in the layering of raw material the sense of a search for new combinations, although full of references to the origins.
Inside the restaurant fifty-six chairs, on which are reproduced the views of many landscapes, welcome visitors by including them in the drawing of the composition as an integrant part, a part ‘in motion’ of a place that comes alive with the arrival of the guests. Outside, with the installation of seven plotter paintings on the facade of the restaurant, the artistic sign bursts on the urban scene on the road promoting a new transformation in which the history of Il Luogo, and that of all the territories that are evoked in its cuisine, appears on the city.
[from: Pezzoni N., ‘Luoghi in-Raddoppio’: una forma d’arte trasformativa di spazi per il vivere, il pensare, il lavorare, in Territorio n.53/2010, Franco Angeli, Milano] (translation by A. Moroni)