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Fabrizio Plessi - La Stanza del Mare, 1990/1991, 260 x 1440 x 60 cm, steel, 1-channel video, audio, 18 monitors, laserdisc, laserdisc player, steel cabinets, wooden planks © EVI LICHTUNGEN Photographer Sara Foerster, courtesy of ZKM | Zentrum für Kunst und Medien Karlsruhe and T.W. Stiftung Hamburg


La Stanza del Mare

Since 1968, water has been the defining element in the work of the internationally renowned video artist Fabrizio Plessi. In his impressive, space-consuming video sculptures, he combines different, initially opposing materials and thus creates a visual and content-related tension. In the present work, Plessi condenses the essence of his concept of the work by combining natural materials with technical devices, as Dorothea van der Koelen writes: "La Stanza del Mare, the sea space, shows a long row [...] of similar cabinets placed next to each other. The videos of the monitors in the upper part of the cabinets show seawater and the waves of the surf. Instead of the doors there are numerous crossbars that reach so far up that they partially cover the monitors. The woods vary in colour and quality, age and condition, creating a poetic structure, almost like an impressionistic painting. They are reminiscent of driftwoods that the sea washes onto the beach from time to time. It is precisely these woods that now create a barrier here, as if they wanted to protect the sea from the eyes of the viewers, from the visitors to the beaches, from the destroyers of the beauty of nature. These cabinets - here called space - are to be understood as a hymn to the sea, a declaration of love to the water." (Fabrizio Plessi, Opus Video Sculpture, catalogue raisonné of video sculptures and installations 1976-1988, Mainz and Munich 1988, p.246/250).

The work from the production years 1990-1991 is being exhibited in its entirety for the first time since 1993. Since its creation, the symbolism of confined water has gained new meaning through the news and movements of recent years, inviting a dialogue about individual associations.

Loans by ZKM | Zentrum für Kunst und Medien Karlsruhe and T.W. Foundation in Hamburg.


Fabrizio Plessi

With his contemporaries Nam June Paik, Bill Viola, Marie-Jo Lafontaine and others, Fabrizio Plessi (*1940) shaped the collective understanding of new media in art, especially in the eighties and nineties, and is also considered an influential representative of the Arte Povera movement. 
Plessi exhibited his productions at documenta 1987 and the São Paulo Biennale and designed the Italian pavilions for the 42nd Venice Biennale and EXPO 2000, among others. Further solo exhibitions have been realized at the Martin-Gropius-Bau, Guggenheim Bilbao, Ludwig Museum Budapest, and numerous renowned institutions. Furthermore, the Plessi Museum in South Tyrol was opened in 2013.




As a key work of medieval art, the Michaeliskirche was built by Bishop Bernward von Hildesheim (1010-1022) as an abbey church. Since 1985 St. Michaelis and the Mariendom have been UNESCO World Heritage Sites. Its architectural symmetry, the painted stucco reliefs of the choir barriers (late 12th century) and the wide painted wooden ceiling (early 13th century) still make it a special place today. An active parish and the centre for worship and church music of the Landeskirche in the adjacent Michaeliskloster characterise the village. The church is a contemporary place of learning for cultural and social formats, in keeping with the spirit of UNESCO.