Andrea Mariconti approaches the problem by making a museum the subject matter of his work: a museum that becomes a subject matter to be viewed, an internal landscape populated by works of art and people. Its effect is the same experienced in his landscapes where you can breathe the humid air passing over the rugged Irish cliffs, the morning mist that struggles to clear amid the silent trunks of a dark wood, the stifling fog that lingers over the long-harvested fields, or the cold wind blowing against the cracked face of a huge Andean glacier. Here spatial atmosphere is more intimate, and yet it remains central to the whole work. It works as a centripetal force that holds the ancient artefact and its visitor both here depicted in a dynamic equilibrium. The visitor sometimes appears as no more than a blurry prototype and at other times is known to be present only by the shadow he or she casts on the work exhibited in the museum. There is a constant interplay between the relationships within the individual work of the artist, the original work therein depicted and the beholder depicted before it.
Giovanni Intra Sidola