After 15 years of searching a lexicon in photography, in 2014, at the age of 33 years, the artist found himself in a deep personal crisis. This process led him to the entrance of a Cave. The visions at the roots of this show are to be found inside this human and very personal experience that in the last year has become Universal.

 

We all had to gaze into our own Cave.

 

Il Teatro del Tempo is born out of a reflection of a Dark Room into itself.

In 2015 Domingo Milella began a voyage with his own analogic camera obscura in the painted caves of human origins. Il Teatro del Tempo is a debut of a body of work but also a Number Zero of a larger vision. Many coincidences collide together. The first is the encounter of two Sanctuaries: The Church of San Francesco della Scarpa in Lecce (1100-1700 CE) and the Deer Cave in Porto Badisco, Otranto (+_3955 BCE). This mirroring of Space and Time gets crystallized in 8 works the artist realized inside the Deer Cave in the Summer of 2019. Different dimensions of depth collide on the very same surface.

The Photographs of the Cave are neither documents nor scientific proofs, they are not illustrations or folklorisitc things. These works of Domingo Milella try to build a relationship, they cast a space. In this installation, they make a Sanctuary reappear into another Sanctuary. The artist calls with his images an elsewhere; from the heart of the Neolithic to us now. But how could those obscurities ever be interesting in times like these? The images from the Cave do not respond to the questions posed, they open a scenario, trying to suspend for a moment our conventions about the Past, Mysterious as the Present, Unfathomable as the Future.

The Coincidences around the Deer Cave and the journey that led to the entrance and exit from the site are fascinating as much as the gestation of the Il Teatro del Tempo. In the terrible year of the Global Pandemic of Sars CoV2 or “Coronello” as some children named it, it is Grotesque and uncanny to learn that the entire Deer Cave was painted with Bat Shit.

 

Bat Guano was not only the ink of the dark abstract code of the Neolithic Sanctuary, but also one of the potential vessels for the remote Coronavirus to reach us. Different form of Archaism in the present resides in this “Theater of Time”. These images, symbols and pictograms of more then 6000 years ago remain uncomprehensible to us, yet they prove a physical relationship with Darkness that Survives Time, before and after History.

The Deer Cave because of its fragility, morphology. microclimate and undiscussable complexity remains an Off Limit site. Even if separated from the external world, the Cave endures as a real place, remaining Virtual. Today, as when it was painted, the Sanctuary resists intact and unreachable with its “Magic Aura”. Yet it’s Out of Time. In the new digital world towards which we travel so fast to be petrifed: “Is the Darkness of the Cave immune to all of this?!”. The artist asks himself this question and he insists that we do not only have to get vaccinated for the New Patogens that reach us from the Past but also begin an immunization of our imagination: to Imagine the Unimaginable.