With Roberto Andreatini, aluminum becomes a high-voltage circuit: “Chaos Riflesso” is a powerful work, where aluminum cables turn into conductive ‘wires’ of barely containable energy, in constant tension between explosion and implosion, contact and detachment, fusion and separation. Andreatini, who recognizes no “specific difference, definable in linguistic terms, between aesthetic and non-aesthetic” to quote Goodman*, approaches the theme of identity and the relationship of oneself (or more generally of the individual) with the world by resolving it into a wiring, an endless tangle of high-tension fibers apparently without beginning or end. These fibers allow for interconnection but also the energetic mapping of characters and events, temples and sacred icons, of art and history, past and contemporary.

In an attempt to escape crystallization, the so-called Lacanian mirror phase, Andreatini plays the card of hesitation between taking or leaving, well aware that this is nothing more than the last stage of adaptation, beyond which there is nothing more. ‘Reflected Chaos’ becomes a reflective feedback circuit that turns the artwork into a relational mirror, a reflection that lays the foundation for a personal wired relationship between oneself and the other, between the individual and the world, between the present and the past, but also between the present and the future.

It is a long work of introspection, a lucid and relentless examination of conscience, which only rarely gives in to nostalgia, becoming melancholy. It is an endless game of closing and opening the circuit, which the aluminum rods follow in their conduction, twists, curves, and spirals. It is a harmonious motion of crescendos and diminuendos that does not allow distortions because the score is impeccable, and the conductor does not accept exceptions: the performance must be, as always, absolutely perfect.

• Nelson Goodman, / Languages of Art, Il Saggiatore, 1998.