From the newspaper LIBERAZIONE - MARCH 2010

It's said that Renato Caccioppoli, the too soon forgotten great mathematician and poet, once responded to a student who had asked a question banally pertaining to the study program: "Listen, God does not play dice with the universe!", using a famous sentence of Einstein's. Adele Lotito, a Roman artist who is experiencing a particularly happy period in her research, in an exhibition dedicated to the great Neapolitan mathematician recently proposed in Rome by Pino Casagrande, has brought back, in her unmistakable style, the psychic moods evoked by the figure of Bakunin's nephew (Caccioppoli). Moods that mix the spirit of geometry with the spirit of finesse, not with high-mindedness showing off one's useless learning, but with a clear conviction that science and humanism agree and fulfill each other. There is a careless and arrogant scientism that goes nowhere, just as there is a clinging and inconclusive humanism that remains at a standstill. What art needs, as in any great design in transforming reality, is a science for man, to understand reality and transform it, or also, simply, to have the privilege to frequent the "uselessness" of art. The strength of art actually lies in the fact that it has no tactical aims. It lives in the utopia of a design that knows no master, knows no boundaries and that, as such, is subversive, able to move on or overturn, at any time and in any way, balance and horizons. Adele Lotito's horizon is a black smoky sky that she paints using neither tempera nor oils nor lead pencil, but the black smoke from a candle. Her surfaces vary, as the sky is variable and the scenes of the clouds are unpredictable. In this uncertainty (the chance) opens up the regularity (necessity) of numbers and letters that inhabit the suspended surfaces of this artist. To endow solidity, without losing lightness, is not such an original idea for Adele Lotito and can be seen in her installation shown at the Studio Hyunnart in Rome. The work that takes up the entire space of this gallery, is called "I dadi di dio" (God's dice). The originality lies in the dice, two enormous cubes hanging in the air, each hanging in one of the two communicating rooms of the gallery. The weight of the cube is offset by their lightness in being suspended, just as the lightness of the smoke finds its place in the geometry of the dice, and the certainty of the letters (the logos) and the numbers (science) enter into a heated and very original debate. The debate between lightness and heaviness seems to allude to the "Lezioni americane" of Italo Calvin. It seems to artistically illustrate them and the blackness of the black smoke confers a solemnity to this phrasing. And then, there is a spike of irony, that adds style to the work and recalls, due to its proportions, the best of Boetti. Then, written on the ground, corresponding to each hanging cube, the phrases of two great physic and mathematic spirits bring back the sense of playfulness that can be found in all Adele Lotito's work. The first phrase is: "God doesn't play dice with the universe", which is also quoted by Renato Caccioppoli, the second by Niels Bohr, "God plays dice with the universe, and also cheats".
The joke is obvious and the irony of the scientists and the artist ease the tension that, otherwise, would weigh down on us like a rock. Who has never experimented with the fragility of plausible and necessary projects, even if at times, they end up by shattering against the unavoidability of chance. It's obvious why Jacques Monod's "Chance and Necessity" is one of the basic texts of the 1900s. Adele Lotito's last research, as clearly shown in this exhibition, has a decisive element, as it shows knowing how to bring together formal and conceptual aspects, presenting solutions in absolute quality and unpredictable, fascinating equilibrium.