Senza più titolo, 2010

Situated atop four plexiglas cubes placed close together on a white platform, a plaster colonnade of a temple undergoing construction or in ruin – some of the columns are missing, others are broken – delimits a space occupied at the centre by a small transparent volume evoking a "cell". This "cell" is, in turn, presided over at the vertices by four statuettes of military police is uniform. Strewn about in the central area are undecipherable drawings reproduced on acetate, which in the area corresponding to the empty "cell" feature several squares in red ink. The squares are staggered, and the profile of a life-size hand appears to want to hold them.
In the heart of this "sacred place", the author's hand attempts to fix that Absolute that escapes every chance for appropriation and definition, rediscovering a recurring gesture in several of Paolini's works. Broadly speaking, Senza più titolo offers a reflection on the deeply "other" dimension of a work of art. The archetype of the temple and of the cell (the naos where the statue of the deity was kept) bring back the ideality of the work to its classical origins, to its inviolability and mystery. Stripped of its features, either lost or forgotten, and dispossessed even of the title that identifies it, the work is "no longer titled”. Emptied of every contingent meaning it reflects on its own ultimate reason for existing. That is: it upholds its exile from the world, its extraneousness to any direct contact, its intimate belonging to a dimension regulated by a secret code. All the author as well as the spectator can do is listen to the imperceptible echoes in between the columns of the uninhabited temple, and grasp the shadows and reflections drawn by the light between the empty plexiglas volumes and the white surface of the platform.