Despite all that we have lived and are experiencing and for which we are sometimes responsible, we are here to fill your space, your time. A selection of works to fill your time, your space, your soul with what you cannot imagine.
Spring Forward is an invitation to positivity to grasp all the vibrant energies of the awakening of nature. An awareness of the sensible experience and a knowledge of the possibilities
Gaia Fugazza, Bye Bees, 2019, maple wood, beeswax, oli clors, mineral pigment, natural rubber, ink, shellac, 25 x 32 cm.
Gaia Fugazza focuses on the value of other species, systems and natural processes by relocating within the ecosystem in a perspective defined by the Norwegian philosopher Arne Naess of profound ecology. Painted on wood with an almost primitive and raw sign like the gesture of those who perform them. Carving, modeling, engraving are gestures that are repeated as rituals in Fugazza’s practice. The use of colors of natural origin is a choice determined by some specific peculiarities but above all by their belonging to reality: chromatic scales that refer to the geological dimension. Fugazza’s works have an ambivalent relationship between the illusion of the painted space and the use of materials and colors linked to reality of consciousness.
Vincenzo Simone, Senza titolo, 2019, olio su lino, 30 x 40 cm.
An absolute dedication to painting and its timeless language is perhaps the deepest thrust that animates the artistic research of Vincenzo Simone. A research in balance between the love for the history of art and the constant need to test the validity of the pictorial language. “An answer regarding the subjects of my paintings is” why not? ” Why the flowerpot? Because no matter how beautiful in a certain sense it is polite and rude… “. Taken from the video portrait of Vincenzo Simone for the new bread oven of MAMbo made by Veronica Santi.
Concetto Pozzati, Vulv’are, 2015-2016, pyrography and collager on wood,, 70 x 80 cm.
The series of artworks Vulv’are, by Concetto Pozzati, goes back to that ancestral atmosphere of repeated representation of the female genitalia onto different mediums: engraved on wood, painted on canvas, drawn on paper, or stratified on leather. Pozzati brings us back to the origin of painting, to the origin of the world, and of the female. The different mediums mutate the repeating shapes, that are always similar but never the same, thanks to a profound work and elaboration – a stratification aimed at bringing portals and cavities to the surface, by putting geometries, lines and shades in relation with each other. His is a primeval, multi-material sign that employs paper clips, cardboard shreds and small film slides, in a process paying homage to the Goddess, creator of the universe. Opening Venus:1 the womb-cave, the vulva-matrix di Laura Rositani
Ivana Spinelli, La Dea, segno che guarda e resta v^v^v, 2017, quiescent ficus plant, feather boa, 150 x 30 x 30 cm.
Besides the ostentatious quarrel between the caressing softness of the feather and the pointed angularity of the branches, the work La Dea, sign that looks and remains v ^ v ^ v, is a happy metaphor of the intricate relationship between nature and artifice. The pink and soft sign that gently falls following the force of gravity seems to convey an idea of order with respect to the capillary formation of the plant that evades the regularity of a pattern while suggesting an organic complex. The (temporarily?) lifeless offshoots of the shrub may recall those “comb” formations typical of many prehistoric engravings and inscriptions such as those studied by Marjia Gimbutas, at the same time these ramifications are among the most frequented anatomical evocations of the arterial – venous human system – (Pelo e contropelo – From the text by Claudio Musso on the occasion of the exhibition Contropelo 2020 – GALLLERIAPIU)
Apparatus 22, Untitled 1, 2015-16, leather, laser inscription, hand dyed in white, 140 x 100 cm.
On the perception of our body and the failure of the “protective clothing par excellence” – a dream that crosses the military and medical, sports and utopian fields, etc. – following the discovery by CERN of the transparency of solid matter on an atomic scale.
Every word becomes futile if charmingly aware that my organism is anatomically transparent to the Universe rays and that any kind of clothing cannot protect me from the molecular transit within. Exract from Beneath [three] dichotomous circumstances, of Eleonora Farina written for the exhibition di Apparatus 22 – Several Laws, The Elastic Test. 2016 GALLLERIAPIU)
Yves Scherer, You’re still the one, 2019, lenticular print with artist frame, 120 x 90 cm.
In his lenticular works Scherer places us in front of a showcase that makes us perceive the perfect union between who we want to be (Emma Watson, actress and activist, represents the aspirational model of a generation) and where we want to live (dream houses in pastel colors and minimal design). For the viewer there remains the constant sense of seeing from the outside, of being able to touch this reality but without ever reaching it.