The work of architect Alessandro Panzetti—presented in this exhibition through nine anamorphic installations—explores the duality and ambiguity of the mark. His installations all offer a dual mode of engagement: they can be experienced freely, like any three-dimensional installation, yet each also entails a specific "visual viewing condition" that—often surprisingly—reveals the work’s compositional logic (its form and the spatial relationships between its elements). While this "visual viewing condition" varies across the four installations, in every case it stems from the application of scientific principles that alter perception: using projective geometry to establish a privileged vantage point; employing binocular vision and color complementarity to render flat shapes three-dimensional; and utilizing retinal persistence to animate static objects...
His installations masterfully deceive and disorient the viewer—much like Renaissance anamorphoses or the phantasmagoria machines of the 18th and 19th centuries that explicitly inspired him. However, while the sole aim of those earlier devices was to astonish and amaze—thereby focusing interest on the object depicted through the machine—Panzetti inverts this functional hierarchy: the choice of subject serves merely to facilitate the machine’s composition, making the machine itself the object on display, the exhibited work, the installation.
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