As part of the Into the Light program, dedicated to the theme of light, the Reggia di Venaria presents Frames, a site specific project conceived by Davide Ferrario for the Sala di Diana della Reggia.
The starting point of this multimedia installation is the nature of the Hall of Diana, a place of celebration and meeting, characterized by the celebration of hunting, a social entertainment that marked the great gatherings of the nobility in the seventeenth century.
Frames refers to the two expressive codes put in relation in Venaria: “frames” like the film stills of the collection of the National Museum of Cinema, and “frames” like the frames of the paintings in the Hall of Diana.
The project builds a dialectical path of comparison between eras and society: if in the canvases still present in the Hall of Diana we see the nobility of the seventeenth century, the light projections made on the canvases themselves - used as “screens” - offer images of entertainment of the people and the lower middle class of the twentieth century.
In this way, by contaminating figurative art of the past and modern multimedia representation, the self-celebratory function of the Hall of Diana by the Savoy is put into dialogue with the small, daily popular self-celebration of family celebrations, trips, first communions, and weddings of the early twentieth century.
The starting point of this multimedia installation is the nature of the Hall of Diana, a place of celebration and meeting, characterized by the celebration of hunting, a social entertainment that marked the great gatherings of the nobility in the seventeenth century.
Frames refers to the two expressive codes put in relation in Venaria: “frames” like the film stills of the collection of the National Museum of Cinema, and “frames” like the frames of the paintings in the Hall of Diana.
The project builds a dialectical path of comparison between eras and society: if in the canvases still present in the Hall of Diana we see the nobility of the seventeenth century, the light projections made on the canvases themselves - used as “screens” - offer images of entertainment of the people and the lower middle class of the twentieth century.
In this way, by contaminating figurative art of the past and modern multimedia representation, the self-celebratory function of the Hall of Diana by the Savoy is put into dialogue with the small, daily popular self-celebration of family celebrations, trips, first communions, and weddings of the early twentieth century.