Andrea Galvani © A Cube, a Sphere, and a Pyramid #5, 2011
Archival pigment print, 70 x 100 cm // 27.6 x 39.4 inches, framed
Courtesy of the artist and Revolver Galería, Lima

A Few Invisible Sculptures

What are we talking about when we talk about sculpture? With the rigor and method characteristic of the American writer Raymond Carver, who in 1981 published a collection of short stories entitled, What We Talk About When We Talk About Love, Galvani calls widely accepted definitions of the medium into question. Thus A Few Invisible Sculptures provides a sober and insightful reflection on the function of contemporary sculpture, radically extending its boundaries. The exhibition consists of an interdisciplinary body of work including sound sculpture, drawings, text-based works, collages and photographs, which cumulatively delve into phenomenological experiences to convey what the artist describes as an “architecture of the invisible.”
The project began with three minimalist sculptures constructed and later destroyed for the sound installation A Cube, a Sphere, and a Pyramid #1. Originally recorded in Germany, the audio track documents the echolocation of a group of bats flying around the suspended sculptures. Recorded with extreme precision, it provides a sonar scan of the negative space around the objects, which is then played back at an audible frequency in an immersive installation of eight standing speakers.

Andrea Galvani © A Cube, a Sphere and a Pyramid #10, 2011
Ink on paper, 70 x 100 cm // 27.6 x 39.4 inches, framed
Courtesy of the artist and Revolver Galería

In A Cube, a Sphere and a Pyramid #5, one of the bats was captured mid-flight while in the act of scanning the sculptures. In this black and white photograph, a scientific study of motion, the bat’s body disappears behinds its wings, transforming the animal into abstract geometry.
The two drawings A Cube, a Sphere and a Pyramid #9 and #10, hand-drawn in ink on paper, display fragments of a diagramatic score from the sound installation. Projecting events from three dimensional space into two dimensions, the work records moments of interface between the bats and the sculptures. Over the course of the recording period, the artist raised and lowered the sculptures in and out of the bats’ field of flight; the two registers at the bottom of the drawing indicate their positions in space at any given moment.

Andrea Galvani © A Few Invisible Sculptures #0, 2016
Customized 1978 Guzzi V35 Imola
Courtesy the artist, Artericambi, Italy and Revolver Galería, Lima 

A Few Invisible Sculptures #1, a large scale photograph, captures a performance Galvani staged in one of the oldest clay pits known in Europe. Now abandoned as an open museum, the clay pit in question supplied materials for terracotta artifacts and sculptures for over four centuries of human development. For his intervention in this historically loaded landscape, Galvani constructed a geometric steel sculpture and used it to replace the fuel tank on a motocross bike. The volume of fuel was translated into discrete action by instructing a rider to drive the bike in a continuous loop until all of the fuel was spent. The resulting sculpture takes the form of an excavation, translating the volume of fuel into a displaced volume of clay.
In A Few Invisible Sculptures #5, a second motorcycle and fabricated fuel tank sculpture come to rest at the end of the action. Documenting the end point of the sculpture’s existence, the photograph allows both a sense of monumentality and one of impermanence to coexist.

Andrea Galvani © A Cube, a Sphere and a Pyramid #1, 2011-2012
Exhibition view of Lo Real Absoluto, 2016
Curated by Jorge Villacorta, Revolver Galería, Lima

Andrea Galvani © A Few Invisible Sculptures #1, 2012
C-print mounted on aluminum dibond 145 x 195 cm // 57 x 76.8 inches, framed
Courtesy of the artist, Revolver Galería, Lima and Marso, Mexico City