I FOR AN EYE

Iv Toshains current solo exhibition showcase a new 4×5 meters big site-specific installation – a carpet woven out from 2000 pieces steel blades in the „Аrmory Hall“ of the Papal Fortress Rocca Paolina in Perudgia, Italy.

The concept for the solo exhibition, titled „I for an Eye,“ explores the transformation and reinterpretation of the ancient concept of „an eye for an eye“ in the context of current global conflicts and political issues. 

This thought-provoking solo exhibition challenges the very essence of our perception. Iv Toshain has chosen to trade her “I” (the Ego) for “an Eye,” symbolizing an enlightened perspective. This exchange signifies a profound shift – the artist relinquishes self-centeredness in favor of multi-perspective clarity, a wide-open eye to the world, life, truth, and love. This shift symbolizes the urgent need to move beyond the archaic concept of the phrase “an eye for an eye”, a cycle of retaliation that perpetuates division and strife. Iv Toshain calls upon us to confront our contemporary world, marked by political and personal issues that divide us, and emphasizes the necessity for a new era defined by coexistence, freedom, peace and unity. Today, the technical possibilities to fulfill this romantic vision are at least in our hands.
The main 4×5 meters site specific artwork called „Trousseau“, woven out of 2000 metal blades resembles a stunning carpet. It extends beyond the surface, revealing numerous vertically mounted throwing stars. In this perspective, the tapestry takes on the appearance of fallen stars or an army, with the vertically mounted stars symbolizing individuals. This interplay between the carpet’s design and the formation of an army underscores the concept of patterns in our world. Traditionally, carpets are known for their intricate patterns, much like the patterns that emerge within an organized army. The artwork, in this sense, is woven with the threads of history, where repetition and structure give rise to a profound and resonant message – “eye for an eye” – history repeats.

The artwork’s raw and edgy visual language mirrors the harsh realities and conflicts we face globally. There is a feminist commentary also woven into the work, it adds another layer of depth, highlighting the ongoing struggle for gender equality, an essential component of the broader pursuit of unity and social justice.

The historic Sala Cannoniera with its storied stone walls and echoes of the past, has also witnessed the groundbreaking exhibition in 1980 by artistic visionaries Albert Burry and Josef Beuys. Their departure from traditional norms transformed the cannon hall into an unexpected canvas, explored avant-garde and unconventional realms of contemporary art, challenging established conventions and expanding the boundaries of artistic expression.

Now, Iv Toshain continues this legacy with a visionary solo exhibition “I for an eye” that challenges the dichotomy of historical power and contemporary ideals. 

An installation, of 10 holographic display fans called Parresia (*greek, means freedom of speach) arranged like soldiers in a row, staged in the papal cannon hall, blurs the lines between the tangible and intangible.  This installation pays homage to struggles for freedom,  challenging the notions of authority. Against the silent witnesses of massive old cannons, symbols of bygone power, the holographic slogans in the basic RGB colors proclaim provocative messages inspired by the Instagram era: FREEDOM IS SEXY, FREEDOM IS HOT, FREEDOM IS LUX.

Its narrative draws inspiration from the contemporary where the allure of a perfect digital world clashes with the realities of our lives. The juxtaposition initiates a dialogue between past and present, as visitors confront the paradox of historical artillery coexisting with ideals of freedom, rebellion, and emancipation. The LCD fans keep spinning generating a gentle breeze, and breeze of freedom (liberation) fill the historic space. The weight of the cannons, both physical and emotional, contrasts with the weightless ideas conveyed by the messages.

Iv Toshain’s installation serves as a subversive commentary on weaponry, metaphorically designed to „kill“ anybody as well as any other artwork or sculpture placed along in the cannon hall.

(*The earliest recorded use of the term parrhesia is by Euripides in the fifth century B.C. Parrhesia means literally „to speak everything“ and by extension „to speak freely“, „to speak boldly“, or „boldness“.)

Curated by Giuseppe Simone Modeo

IV TOSHAIN & Libercantus Ensamble; 27.01.2024 finissage – “I for an eye” @ Rocca Paolina Fortress, Perugia, Italy

“Da pacem Domine” (Give peace, Lord) is the incipit of two different Latin chant texts: a votive antiphon and an introit. Both have been the base for musical compositions to be used inside or outside the liturgy. Paraphrased versions of the text were created by Martin Luther in German in 1529, „Verleih uns Frieden“, also set by several composers. In English, the first of these texts entered the Book of Common Prayer as one of the preces at Morning and Evening Prayer (Evensong).