"Intendo il valore esistenziale di un lavoro anche senza una retorica umanistica esibita, con leggerezza, un po' come lo zen ed il tiro con l'arco, evitando di proiettare la propria ombra sul campo di lavoro. Mi interessa gestire la complessità tramite la geometria, intesa come relazione tra le parti, e non come forma di bellezza. L'estetica non c'entra; si tratta, piuttosto, di ciò che matematici e fisici chiamano "eleganza" quando discutono di una teoria. Se un approccio è elegante, forse si sta avvicinando al vero. - Luca Trevisani "The turning point was the use of all this plastic know-how, these symptoms, like a storyboard; therefore, not as an inanimate object but as players of a story. Do you know the puzzle in the weekly Italian puzzle magazine Settimana enigmistica where you have to join numbers to obtain a drawing? I was asking the arts administrator, spectator and everyone outside this studio to do the same. I was asking them to join the pieces. Beginning in 2012, from Il dentro del fuori del dentro [The Inside Outside the Inside] everything is part of a storyboard. It is always up to the spectator to make a connection, but I pre-set it. Regardless of whether it is a film, a video or an object, there is flow, dynamics, a relationship and a story line. I no longer ask you to eat something raw but I serve it to you cooked. I realize that this deviation truly leads to a change, not of direction, because it’s always the same thing, but it is a different type of cuisine. It all has to do with an idea of storytelling and, if you think about it, of generosity. After the intuition of the storyboard, the works have a longer period of preparation. On the one hand they are defined much more, on the other, inevitably different from works before 2012. LLP: What year was this work done? LT: 2008. The title is "Every basin is a mixing bowl". So every basin, every basin of life is a place for mixing, please stir and mix. LLP: Did these different elements have a relationship with the exhibition or did they stand alone? LT: I have always thought of exhibitions as short stories, so there was a relationship. They were stories in my mind, but for the spectator they weren’t cooked, to continue with the previous metaphor. I now feel more like someone who cooks, builds relations and expresses them clearly. LLP: In a certain sense, does this work with flowers derive from this one with the fishing rods? LT: There are a lot of works hanging ... also this one ... They are gardens, places where your body enters into a relationship with a sculpture. When you think of a garden, the sculptures no longer stand alone. If something is hanging and mobile, the relationship that it establishes with your body is much stronger. There is no plinth to protect and separate it. The one at MAXXI with eggs is also the same thing. LLP: How was this work conceived? LT: I bought the fishing rods at the flea market in Berlin. I put together archives of objects that have something to do with mixing air or water and to show them, I used fishing rods. The two fishing rods are joined at their soft, loose ends that, when they bend, reveal the weight of the objects they were carrying attached to their extremities. This one was at Mehdi Chouakri a few months earlier. In this group, there are a series of mixers to prepare colors, an instrument to mix concrete, wind chains, a cocktail mixer ... And these are straps used for artistic gymnastics. A wide variety of materials used for the art of mixing. LLP: What do you mean by fishing rods as an archive? LT: They were a physical base ... LLP: ... they supported ... LT: ... all these shapes. LLP: They were the surface. LT: Exactly, and the fishing rod in any case throws something in liquid and pulls it out. In the exhibition, they are attached to the ceiling with audio tapes on which I had recorded sounds of water mixing it with my hands or with a stick. The work expands into space depending on the position of the fishing rod. LLP: Do you consider it more a set-up or a sculpture? LT: It’s a good intersection between the two... It’s a sculpture that constructs the set-up." - Luca Lo Pinto, "Perverted Weddings. A Conversation with Luca Trevisani"

AA.VV., "Luca Trevisani. The effort took its tools", catalog, Argobook publisher, Berlin, 2008

STOCCHI, Francesco, "Luca Trevisani", in "Work. Art in progress" Automn 2007, pp.170-171.

TREVISANI, Luca, in POLITTI, Giancarlo, "Dizionario della giovane arte milanese", in "Flash Art" n. 263, Aprile-Maggio 2007, p. 79.

Sitography: LO PINTO, Luca, "Perverted Weddings.
A Conversation with Luca Trevisani", www.lucatrevisani.eu, 2014. Available online at
www.lucatrevisani.eu/wp-content/uploads/2020/03/intervista_LT_LLP.pdf

TREVISANI, Luca, "Every basin is a mixing bowl", www.lucatrevisani.eu
www.lucatrevisani.eu/every-basin-is-a-mixing-bowl/nggallery/image/12-10/