“We depend on our surroundings obliquely to embody the moods and ideas we respect and then to remind us of them,” so writes the philosopher Alain de Botton in his book, The Architecture of Happiness. “We look to our buildings to hold us, like a kind of psychological mould.” De Botton’s claims for the ability of our environments to impact on our wellbeing finds fruition in the Italian artist Paola Pivi’s latest exhibition, World Record, opening today at Museo Nazionale delle Arti del XXI Secolo (MAXXI) in Rome. The centrepiece of the exhibition, from which the show derives its name, is an enormous L-shaped installation consisting of mattresses, piled high on two levels with a gap in the middle where visitors are invited to don a pair of plastic booties and hop aboard. The idea for the structure came, as Pivi says, from a “vision” she had of “an ocean of mattresses” and is about “the effect of architecture.” In this vast, padded crevice, visitors are summoned to regenerate and shut out the noise from the world. “This strange architecture that I created has the strong immediate effect of making you feel happy,” says Pivi.
Originally shown at at The Bass Museum of Art in Miami late last year, the monumental structure enacts many of the key facets of Pivi’s work. Based in Alaska, the Italian artist works across materials and mediums to create playful and imaginative interventions in space. Winner of a Golden Lion at the 1990 Venice Biennale, Pivi believes that art is a vital form of communication, one that can change the world. In her own works, Pivi does this through frequently fantastical forms: miniature sofas, drenched in perfume; webs of intertwining fabric suspended overhead; an enormous inflatable ladder, propped in unlikely places; photographs of animals in surprising scenarios — a leopard prowling through cups of cappuccino, a donkey afloat a rowing boat — and of course, her joyous fluorescent, feathered polar bears — the works for which she is best known. For her latest exhibition at MAXXI, Pivi brings a number of these key works from across her career together with new pieces to engineer a rejuvenating sense of escapism and hopefully, a sense of fun and positivity — two things she holds in high esteem. We caught up with the artist to find out more about the experience of sitting on a giant mattress with strangers, dreams and fantasies, the purpose of art, and those beguiling bears.
What experience do you hope visitors will have when they hop onto the mattress in World Record?
When I had the idea originally, I was thinking of peace and the padded space as a sort of break from the news. But there are many different feelings that come over a person when they jump in. Usually a smile comes to your face. And then people roll around. Relax — it’s a bit like taking a power nap to be there. It’s like a re-generating feeling. It definitely give you a feeling of euphoria. It’s happiness. It also takes away the body language of people, the usual one, as people are very, very comfortable. As everyone wears the booties, it feels clean and protected, and people can talk to each other. When you explore a show with other strangers, it creates a friendly intimacy between people.
Would you say this relates to the wellbeing trend and mindfulness movement in general?
No — I don’t intentionally want that. It’s more the effect of architecture. This strange architecture that I created has the strong immediate effect of making you feel happy. It makes you feel like crawling around or lying down. I wouldn’t say that it’s about mindfulness, even though it does activate a new awareness when you are there.
I understand. You mentioned that visitors crawl around the work. Is it true to say that there’s a childlike, fantasy aspect to your art?
Fantasy is the basis of dreams — it’s one of the great things we can do. We can have fantasies, and then we can make them true sometimes. It’s one of the forces of human development, growth and exploration
How did this idea of the giant mattress come about? Was it a fantasy of yours?
Basically, about a year and a half ago, I had this vision of an ocean of mattresses, and then another one on top of it with two feet and a half in between or some space like that. This felt very attractive to me. I had this vision as a place where I would love to take a break.
What effect does it have to bring fantasy into the real world?
It’s art — art is the thing that can change the way people think and perceive. And therefore it can change the world. That’s the function of art. It’s like an exchange of communication — sharing a large amount of information in a very condensed time. This is art, and it is a very, very important form of communication that leads human beings to develop.
When human beings see art, their brain, their soul, all that part of perception and operation is developed and that affects their choices, their decisions and their critical thinking. And so, it can potentially change actions and the world. The collective accumulation of many artworks does this, or so I believe.
And what effect do you hope your works would have on someone when they see them?
That they become smarter than me.
When people hear your name, they think about your bears. How did they come about?
I live in Alaska. The bears are the landlords of Alaska. We are like guests, or tenants — this is bears’ land. So, the spirit of the bear is completely around me when I’m home. The polar bears entered my art and it feels like they’re not leaving. It’s the power of the animal — tremendous and very connected with human beings. And sometimes I have a feeling that polar bears need a voice at this moment because they are dying. They just keep coming into my imagination and they communicate with people. People react very strongly to these sculptures.
What kind of reaction have you noticed in people?
I have literally seen museum guards scream because they could not fend off visitors who want to hug the bears and take photos with them. I’ve seen this in Australia, when I showed them at the entrance of the National Gallery of Victoria in Melbourne. Maybe also because it was in this foyer entrance, so people were even less restrained by gallery code and they were just ignoring the guards. The guards were going crazy.
Did this make you feel happy that your works triggered this kind of response?
Sure. Very happy.
As you mentioned polar bears are in danger. Would you say the sculptures are an environmental comment?
I did not think of this consciously the first time that I made the polar bears. But definitely, it’s a public concern today. Climate change and the fact that these polar bears are in trouble so I cannot and don’t want to disconnect from it.
How have you ended up in Alaska? What was it that drew you there?
I went for a holiday, I pretended to be a journalist. I fell in love with Alaska, then I went back again the next year. I felt at home in this place. And then I stayed and I met my husband after. I love this place.
Does Alaska influence your work in any other ways besides the bears?
Definitely, the inuit cultures are extremely interesting. I am influenced by the aesthetics of the way in which inuit people handle the animal element in their art.
Other than Alaska, what would you say are your inspirations?
What exactly is an inspiration? I don’t really know. I explore my life. I am very curious and I’m into the truth. I don’t really know what people mean by inspiration. I’m very interested in so many things. I’m just a very excited and positive person actually.
And so lastly, what would you say is the common thread joining your work together?
I really hope I break that thread with every new work. I don’t want a common thread. I’m more happy when I do different things.
Paola Pivi: World Record opens 3 April through to 8 September at MAXXI.