PROLOGUE - group exhibition
- micaelalattanzio
- Mar 14, 2016
- 4 min read
Spazio Mr - Arte e Architettura - curated by Alessia Carlino - Rome
group exhibition: Annalù . Michelangelo Bastiani . Blue and Joy – Daniel Sigalot
Emanuela Fiorelli . Micaela Lattanzio. Alessandro Lupi . Paolo Radi
SpazioMR Arte e Architettura presents its new exhibition project, curated by Alessia Carlino and entitled Prologue, which will open on the seventeenth of May.
The works of Annalù, Michelangelo Bastiani, Blue and Joy also known as Daniele Sigalot, Emanuela Fiorelli, Micaela Lattanzio, Alessandro Lupi and Paolo Radi will be brought together in a dialogue that examines the multiple declinations of organic, inorganic and digital matter.
Prologue is a visual itinerary dedicated to the narration of new expressive methods that create the portrait of an unprecedented contemporaneity, defined by the heterogeneous use of material tools devoted to the representation of an aesthetic corollary with a plastic and spatial matrix.
The selected corpus of works constitutes a unicum in its field. The very notion of sculpture is explored through the description of original forms and materials with multiple functions and degrees of ductility.
Elastic threads, aluminium, paper supports, PVC, perspex, resin, digital holograms. Each element carries with it the idea of shaping perceptive dimensions of a reality formed within synthetic contexts where the concrete datum becomes substantially dematerialised. Beyond the visible, every work creates the occasion to articulate matter through the reproduction of a sensitive datum that is never univocal or predictable. The environment is deconstructed through architectural assemblages. Robert Morris writes in his celebrated essay Antiform: “Form is not perpetuated by means but by the maintenance of idealised and separable ends. It is an antientropic and conservative enterprise. It explains Greek architecture that evolves from wood to marble and appears identical. The preservation of form is a kind of functional idealism.”
Within this functional idealism of form lies the aesthetic research of the artists involved in the exhibition project. In her paper installations, Micaela Lattanzio grants her material a sculptural dignity. Each of her works is characterised by the strong ductility to which the paper is subjected. In the hands of the artist, it becomes a mosaic fragment. Through incisions and geometric configurations, each fragment generates exclusive forms belonging to a corporeal and unified vocabulary that gives life to molecular structures, connective tissues of knowledge.
The three dimensional marks of Emanuela Fiorelli compose plastic identities that permeate the surface and render it tangible to the gaze. The elastic threads develop intricate paths and perceptual labyrinths that narrate the dialectic of an enduring form and of a “thought indissolubly bound” that grants the work the “possibility of its existence.”
The silicone diaphragm is the field of inquiry that shapes the work of Paolo Radi. His translucent sculptures reveal imperceptible realities in which the invisible becomes the absolute protagonist of each composition. The language of forms fulfils its purpose in the minimal nature of the work, deciphering space through intelligible presences defined by suggestions of immaterial and incorporeal places.
Resin becomes the medium of an aesthetic investigation centred on the definition of the intangible. In her material approach, Annalù describes a contradiction. The fragility of the sculpted physiognomies, identified through elements of chromatic fluidity, is interwoven within a holistic vision in which the viewer perceives the formal elegance of the work in its spatial unity. At the same time, the transparency represents the distinctive sign of a complex and demanding process.
Learning to employ existing materials means learning how to claim them and especially how to invent new protocols of representation by manipulating reality through artistic practice. Daniele Sigalot, known as Blue and Joy, adopts a dialectical process based on ambiguity. He grants aluminium an aesthetic code and offers the material new languages of interpretation.
The paperplanes are the central element of this formal shift. Raw and industrial aluminium responds to a question that is no longer posed in the canonical terms of the contemporary era. It is no longer “What can be done that is new” but rather breaks apart modernism and moves toward the question of the new millennium: “What can we do with what we already have.” Singularity, innovation and meaning come together in a process free from the chaotic mass of objects that surround us daily, reclaiming possible relations between the object and its illusion.
Within the search for the illusory element, Alessandro Lupi establishes a mechanism devoted to investigating the aims and methodologies inherent in perception. Light and its expressive functions grant his works a dual reading. The iridescent component becomes an imperceptible matter of fascination, while the deceptive shadow of a branch generates presences hidden from the gaze. The artist’s meticulous execution reveals his constant attention to probing human cognitive processes. His technical ingenuity and practical skill overturn established aesthetic canons and outline an unprecedented expressive horizon.
Digital matter takes on plastic qualities in the works of Michelangelo Bastiani. Through the use of holograms, the artist reproduces the fluidity of water in its incorporeal and ethereal essence. In his synesthetic installations the viewer becomes the protagonist of the work. Thanks to movement sensors, the artificial liquid substance comes to life and initiates tangible interactions, transforming the artwork into pure concrete experience.
Prologue reveals the processes of a research devoted to the essence of form. The new contemporary aesthetic sinks its roots into the construction of evocative plastic scenarios where the third dimension abandons its illusory characteristic and fully immerses itself in real space.