Introduction by the director of the SINCRON Cultural Centre.

I’ve got a few works in my gallery that allow me in a few moments to stop those who are in a hurry dead in their tracks. I love the speed of the futurists but I’m against the neurosis of current times.
Munari’s Polariscope is one such work. If I have time to switch it on and give someone the lens to hold, he completely forgets he has an appointment or has to rush off to the office.
I get the same result with one of Zanoletti’s “reliefs” or one of Victor Simonetti’s “fluxes”, both of which date back some time.
For several years now I’ve kept a planned sculpture of Guido Moretti’s in a prominent position – it’s so artless and disarranged that it usually goes unobserved. It’s the coup de grâce for the victim who is about to leave. “Look at this tangled mess,” I say quickly. The visitor turns to look at it, and I rotate the sculpture through 45 degrees. At that very instant, I hear an exclamation of astonishment. A few seconds later I turn it another 90 degrees. The final exclamation is usually “That’s impossible!”
I think it’s the same exclamation uttered by Al Seckers, director of the world’s largest centre of illusory art in Los Angeles, in the US, when he first saw two of Moretti’s sculptures years ago. In his recent book, some of these sculptures represent Italy, since Guido Moretti is the only Italian among the handful of artists mentioned.

Armando Nizzi - Galleria Sincron (Italia)

All the pictures by Mauro Pini

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