Hiperbook 2011. 300x400cm, iron, steel, text
Hyperbook 2006..jpg
HYPERBOOK.-3.60mtx4.50mt- Stell&Iron.OutArt 2006..JPG
   “The study of shapes is the study of transformations”  (Goethe)    text by Enrica Torelli Landini      A book with pages four meters high and large more than two; each page encloses different coloured images.  The most impressive figurative contents of such pages are the monuments of the outshining suburban roman villa where the book is placed; however, by moving the “doors of perception”, even of one meter only, the page offers the image of a almost unlimited space, slightly restrained by the Albani hills in the distance and by a contemporary block of flats.  This makes clear how the gigantic book, which could have been also taken for a fairy tales book, is rather the outcome of a “Brunelleschi oriented” study of proportions of perception, purposely “printed” in measures that adapt to the space of that very soft hill, of that very hill studded with ancient ruins.  It is also interesting to observe the dichotomy between image and  reflection , between image and  emptying   If the page offers an authentic panorama (never realism was more realistic than here), the board to which the pages hang, in this so-called paperback edition, is made of mirroring steel and it reflect, on the other hand, a piece of panorama which is behind or on the side of the reader-spectator.  This is actually the most intriguing aspect that Dora Tass managed to instill to her splendid sculpture/special image, even disregarding the previously described engineering operation that she made.  Secondly, for what concerns the  emptying  aspect, I find that it involves the symbolic index of this instrument, rather than its perception. We tend to expect that we will deduce a cultural meaning from a page; a knowledge concept; instead, when coming to terms with the  Iper-book , our association process is different; the  blank  of the page nullifies all logic references to the book idea, dragging the giant instrument away from its most obvious meaning and, conversely, enriching the very opera by allowing it to assume a number of different meanings.     I believe I can resemble a possible cultural reference for these structures in the research that Mirella Bentivoglio conduced for years on the theme of book; in particular I refer to the collages on photography realised around 1978 –’80, where the rich façade of the church in Euclide Square or the imperial columns of the Flaminio bridge in Rome are overtopped by big volumes, on which the word  Monumento  is repeatedly written. However the work of Dora Tass is very different as it does not involve the overcoming of the “historical” dichotomy between linguistic sign/image-photography and, especially, it creates a tool that sincerely wants to be “sculpture”, a sculpture “written” in the          
Hyperbook- Space for words-.jpg
2011 18 nov Mart Dora Daniela Mirella 1.jpg
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