A Coin in Nine Hands: Part Four
Cesare Fabbri (Sardegna)
15 Feb—17 Mar 2018Marguerite Yourcenar’s novel, A Coin in Nine Hands (1934), follows the journey of a ten-lira coin as it travels between nine different people on a single day in Rome in 1933.
Inspired by this idea, Large Glass presents the work of a range of artists across nine parts or exhibitions over the coming nine months, revealing connections, exchanges, and highlighting some of the hidden bonds that bring artists together.
Part four of A Coin in Nine Hands presents a series of photographic works by the Italian photographer Cesare Fabbri, who captures the rugged landscape of Sardinia, dotted with thousands of ‘nuraghi’: mysterious Bronze Age stone ruins, ancient settlements, sometimes resembling old beehives. On this particular body of work, Fabbri has written:
‘Sulla terra leggeri (Lightly on Earth): it’s a path, a passage, a journey that I’m following using a large format camera, photographing around Sardinia. The particular geographic location, the peculiar geology, the largest island of the Mediterranean sea, still preserves on its territory an historic, original cultural and natural heritage that is barely touched. These remains exist side by side with a complicated military and political history, made of invasions suffered over the centuries, generated a particular spirit in its inhabitants, defined by the Sardinian archaeologist Giovanni Lilliu as 'la costante resistenziale sarda' (the constant Sardinian resistance).’
Inspired by this idea, Large Glass presents the work of a range of artists across nine parts or exhibitions over the coming nine months, revealing connections, exchanges, and highlighting some of the hidden bonds that bring artists together.
Part four of A Coin in Nine Hands presents a series of photographic works by the Italian photographer Cesare Fabbri, who captures the rugged landscape of Sardinia, dotted with thousands of ‘nuraghi’: mysterious Bronze Age stone ruins, ancient settlements, sometimes resembling old beehives. On this particular body of work, Fabbri has written:
‘Sulla terra leggeri (Lightly on Earth): it’s a path, a passage, a journey that I’m following using a large format camera, photographing around Sardinia. The particular geographic location, the peculiar geology, the largest island of the Mediterranean sea, still preserves on its territory an historic, original cultural and natural heritage that is barely touched. These remains exist side by side with a complicated military and political history, made of invasions suffered over the centuries, generated a particular spirit in its inhabitants, defined by the Sardinian archaeologist Giovanni Lilliu as 'la costante resistenziale sarda' (the constant Sardinian resistance).’