Venice / 31.10.2015
A Salon curated by Orseola Barozzi e Chiara Zanella, Venice Actually, Luca Caldironi
Special Guest: Toma Clark Haines – The Antiques Diva
“The world today is so connected on the internet that it sometimes feels like people have stopped living real life in lieu of one online. We think the future of antiques, art, and design belongs in salons, as it stands for real life meeting of the minds.”
Toma Clark Haines
By Luca Caldironi
The need of a place to stop. A scene that, doesn’t represent, but that it be a real and appropriate scenery of ambivalence as ambivalent as the imaginary and concrete language of art itself. It comes to create a “threshold-container” which separate and reunite, while through iconic narration, gives a voice and an expression to a nocturnal and antique world.
Thanks to psychoanalysis we know how the iconic language has its origin in fantasy and how fantasy gets its strength from desire. We could therefore say that within our “Salon” proposal is enclosed the ambitious dare of being able to allow an aggregation of senses inside an evocative space that must remain. But at the same time it be sufficiently unsaturated as to consent the group an everlasting possibility of new feasible re-combinations.
As the dream, in the moment in which it comes narrated, leaves its most private and nocturnal place in order to translate itself into a more public and diurnal moment, just as our scene aspires to do so, always on the delicate border line that exists between what is known as familiar and what is known as extraneous. But this is the same ‘uncanny’ pathway that the artwork must accomplish amongst what happens, even in the passage between thought-thoughts (still pre-verbal) and their possibility to being expressed. More generally, it is what happens in the passage amid ‘private’ space and ‘public’ space.
“I think it may be erroneous to assume that because there is a past that seems to bear a certain resemblance to the present, the present therefore bears a resemblance to the future, which can be described in terms of the past. I can perfectly well see that there may be a crisis of development in which the human being is absolutely terrified by the fact that the future is unknown, cannot be known by himself at the present time, and may only be known to certain people, describe in terms of ‘genius’ or ‘mystic’, who have a peculiar relationship with reality.”
Fohat is a Tibetan term for the energic or motion aspect of the supreme spirit. It is usually considered in its metaphysical aspect, which is rather difficult to understand, therefore, along with the aspect in which it is usually considered should come along the ethical and practical-application aspects in order to be understood.
Every form of life is made up of a certain grade of matter expressing a certain degree of intelligence or consciousness, and the connecting link between the two: the vital power of FOHAT.
In this sense, for us FOHAT represents the creative power that inanimate the artwork and objects in our salon, as well as the manufacturers of all our pieces. It doesn’t matter when and where the artwork was made as the object represents the sole process that made its idea possible to become something tangible. This whispered dialogue between all these authors transcends space and time.
FOHAT is the order that gives shape to chaos, where imagination creates beauty, but foremost a transubstation where words become flesh and insight becomes concrete. It is a never ending process that has always been and forever will be the fundamental need for translating thoughts into essence.