A conversation with Cristina Rizzo on INVISIBLE PIECE
By Elisa Fontana

Starting from Derrida's text " L'animale che dunque sono", passing trough the theory on genius, and the work of art in the age of technical reproduction, crossing the study of animals behaviours going to an evocation of the pop English music group The Smiths..I understand that the background of INVISIBLE PIECE it's really large. I ask myself if it does make sense to look for the boundaries of it, knowing Cristina Rizzo doesn't search for them herself, although she acts in a very rigorous and dettailed research.
Sitting at the window of a castle in Tuscany , where she is in residence to develop a first part of the piece, we talk about Anna Pavlova: her contemporaneity, her unique "aderence" at the representation of 'dead', her unexplainable 'emotional tattics'.
We try to give answers to the old question of 'genius', to understand if its a matter of 'creation' or 'beeing permeable', if before the intuition there is 'all' or 'nothing' and what relation might have an artist with this.
What about if 'all' or 'nothing' would be exactly the same thing? But what 'thing'? Maybe 'death'? And what relation we have, as humans, with 'death'? Is it maybe the perception of death which make us different from animals? Or maybe it's just us, humans, with our strong superby that we think we are the only one with the rightness to have a meta-reflective position?
If from the XVII siecle on 'l'ouvre d'art' goes into the museum, where is it today?
In the genius of the eighteen century? Or in the serygraphie of the ninteen century?
Is it possible to show the result and the process which has produed this result at the same moment?
Heisenberg has demonstrated that the use of a different instrument can invalidate the result.
Anyway, it's seems to me that the art of Cristina Rizzo is an operation at 'open heart', an operative system without interface, a body without skin, a shadow of which we can see where the light comes from, a 360° vision, very unstable and we try to understand the rules of the game, but on the end, we can just be fascinated by the showing of the mecanicism in its totally misterious invisibility.