In 1985, Didier Anzieu published Le Moi-peau, a crucial text for psychoanalysis, in which an unusual and mysterious psychosomatic structure, the "Me-skin", was suggested as a way for decoding man's psychological mechanisms and metastases. The epidermis of the human body, in its double function as a compressive container and a place for exchange, contact, and dialogue, becomes an identity in itself. It is that very frontier or threshold, one that exposes us yet also protects us, that describes our identification. It is that soft envelope, put under tension by our organs, that supports us more than our muscles of skeleton.
It is this same hermeneutic approach that Alberto Scodro (Marostica 1984) uses for the Viafarini venue in the Fabbrica del Vapore where he pinpoints the vital relationships the place has with the environment, its dynamics for surviving, its external outlets, and its silent structural dialogues. He analyzes its internal pockets and cavities, its infillings, porosity, osmosis levels and the analogical exchanges between the inside and outside. With an anti-therapeutic approach, Scodro aims at implementing the space's tensions, without resolving them, but by eventually transferring them to a higher level of tension. Through an almost parasitical work of installation - one that uses as its working method the equivalent of the Spannung narrative technique - Scodro maintains the tensions and torsions that are already a part of the building itself. And he aggravates them and encompasses their aesthetic and symbolic subtext.
A catatonic window that obsessively opens with the incessant passing of trams, at the same time opening the space to an acoustic pollution that ought to be frustrated. A log is duplicated in the exhibition space in an installation that replicates the assertive strength of a pulveriser. A final intervention that, by the temporary closing up of almost all the exits from the exhibition space, impedes and questions its functionality, and the Spannung unity reveals itself to be a repelling and repulsive experiment shot through, however, with an internal attraction. In an almost imperceptible way, there is presented a dynamic process that could be resolved either in a constructive or a destructive manner. Scodro accepts this and finds a support in the previously mentioned conditions of transformation and metamorphosis of the building that hosts the show. However, such a transformation is held back and channelled like some underground process. A pure introduction, in place even before the beginning and never translated into a result. In a state of semi-stagnation that catalyzes energies without yet giving them a direction, Spannung freezes various processes of dissipation in a single place, and it strengthens them by repeating the introduction without ever letting them find a resolution.
Physical space is translated into an atmospheric space loaded with subtle indecision, like that belonging to operations which are obscure in meaning but extremely clear in their sense.
Alberto Scodro (Marostica, 1984). Between 2009 and 2010 he has been resident at Fondazione Bevilacqua la Masa in Venice. Solo Shows: Werkbank, Lana, Bolzano (2013); Villa Dalegno, Villa Dalegno, Brescia (2012); Lete, private space, Padua (2011); Verso, Monastero Bormida (2011); Fune, Spazio Monotono, Vicenza (2010); Alberto Scodro, Agricultural Centre,Beijing (2010); Cardine, Teatro Instabile, Naples (2008). He has exhibited his works in group shows at Fondazione Bevilacqua la Masa (Venice), Fondazione Sandretto Re Rebaudengo (Turin); S.A.L.E Docks (Venice), A + A Centro Espositivo Sloveno (Venice), Forte Marghera (Venice); Galleria Zak (Siena), MLAC (Rome), Viafarini (Milan); Cuulturecentruum (Bruxelles).