Dall’Aurora al Tramonto, 2020

The metal structure contains, at various levels, a series of small-scale elements, arranged at random: primed canvases, plexiglas sheets, the reproductions of geometric drawings as well as of a negative print of a nebula.1
The key to the interpretation of the work lies in the origins of the metal volume, produced in 1999 as a small-scale model of the structure made for the mise-en-scène of the work Padiglione dell’Aurora (GPO-0832). The sides are based on the multiplication of the proportional parameter of the artist's first painting, Disegno geometrico, 1960, as well as by way of the diagonals (which are visible only in some of the modules that make up the four sides of the small model. Akin to the way, in 1999, Padiglione dell’Aurora hosted a multitude of torn fragments of writings, drawings, and figures, Dall’Aurora al Tramonto also includes a large number of visual elements suggesting the unlimited potential of figures, images, and works. And whereas in Padiglione dell’Aurora the game of lights and the variation of the volume of the soundtrack evoked the succession of the hours of the day and the night, from the auroral light to the nocturnal darkness, in this case it is the title – Dall’Aurora al Tramonto (From Dawn to Dusk) – that underscores a circular, all-encompassing itinerary of any design hypothesis.
In the strictest sense, the artist remarks, the title also implies the temporal arc that elapsed between the genesis of the design model of Padiglione dell’Aurora in 1999 and its final destination – its "threshold"– as a material component of the work realized in 2020.

1 These are the reproductions of some of the preliminary studies for the work Padiglione dell’Aurora, 1999, published in Giulio Paolini. Padiglione dell’Aurora, exhibition catalogue, Rivoli, Castello di Rivoli Museo d’Arte Contemporanea (MIlan: Edizioni Charta, 1999), pp. 9, 11, 15, 17, 27, 29.