Boundaries of Perceptions

Boundaries of Perception

The paradigms of Kasimir Malevich on asymmetrical geometries, edges of light, dynamism, cosmic spatiality become metaphors and instrument of a reality that must not stop at a superficial observation. The observer is pushed and stimulated to penetrate the static reality of things by observing the beauty of the forms, contemplating theinterweavings that from time to time are changing and merge together.
The quadrangular forms, the circle, the triangles, the rhombuses, their asymmetries bring us back to the concluding words of the Manifesto written by Kasimir Malevich and Vladimir Majakovskij “with Suprematism we move from the canvas into space”. The “Black Square” rises to “zero dimension” of contemporary art: the awareness of having built new paradigms to interpret and represent Nature and the dimension of human perception based on pure creative sensitivity.

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MIRVITA is a cosmic spacecraft, a laboratory – space observatory that travels across gravitational waves capable of capturing the whispers of the changingspace-time dimension of the human soul.

It is an open space on other spaces, on the road and on life.

It is precisely the non-dimensionality free, the non-place of the utopia to define other dimensions, memory of a space, of an “elsewhere”, of an architecture that reveals a possible elevation capable of losing gravitational weight. The fierce strength of hope becomes its propeller.

MIRVITA is, therefore, the Cosmic Messenger ideal for observing travel, crossing the Human Universe.

Just as gravitational waves can be compared to sound and allow us to listen to the sounds of the Universe, MIRVITA will allow us to hear the concert of the Human-Universe sounds in which laicity is confirmed as one of the cornerstones of tolerance and dialogue.

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The suprematist work finds significant assonance with the octagonal plan of Castel del Monte, wanted by Emperor Frederick II in the first part of the 13th century (around 1240).
The project is a hymn to infinity, represented by the number eight written horizontally: TheUniverse Dimension.

For Malevich there is a continuity between present and past, an ideal link made up of non-objective plastic sensibility. In this vision, architecture is the intermediate phase between abstract art and the beauty achieved in life.

MIRVITA fully complies to the need to express new concepts, to name or qualify new things. The union of ‘mir’ and ‘life’ becomes, in this way, almost the definition of a path that is together with the intellect and the senses, an itinerary in which ‘the wine experience’ contains both the fullness vital characteristic of sensory activities, is the intellectual fullness of a legacy of memories, thought and ideals.

MIRVITA aims at makingweak and marginal places as territory of experimentation, aware that the suburbs can not be a place of romantic approach and that art education is a guard of legalness, and a powerful engine of growth and development.

Mirvita merges the legacy of the three main culture vectors which characterised the European Continent from 1913 to 1933: the Bauhaus (Weimar, Tessau, Berlin from 1919 till 1933), Unovis (“The affirmers of the new art”, from 1918 till 1922) and the Vkhutemas (“Higher Art and Technical Studios”, Moscow, from1920 till 1930).

Mirvita’s tribute to the whole constellation of the avant-gardes of the XXth century is the leitmotif of a secular journey:the final design of Mirvita will be a “Systemic Artistic Program” (“SAP”) that blends art, science and humanism in a unicum, relaunching the cultural heritage of the three centers of the European avant-gardes towards the XXIst century.

Mirvita is a bridge between cultures. It is an instrument of the diplomacy of culture and peace, particularly in the present pandemic paneuropean context. It expresses the desire to explore, rediscover and share common roots, new worlds that is perhaps one of the noblest parts of the human soul.