On Saturday 19
November 2005, at 5-30 pm, the CACT Centro d’Arte
Contemporanea Ticino in Bellinzona will host the opening
of the thematic show
LE DEFINIZIONI
DELL’INVISIBILE 1 / THE DEFINITIONS OF THE INVISIBLE 1
Maurizio Anzeri,
Daniel Bolliger, Andrea Crosa, Gianluca Monnier
The aim of the
curator of the show is to investigate within the current
artistic production certain themes in relation to the
languages the authors use. During the 90s the main target
was to create and strengthen the concept of international
globalization very much supported by the art market. After
the political changes occurred in the last few years,
artist’s search tends to go back to more individual and
intimate values leading to universal themes around the
mankind.
Inside this
universe of communicational excess, the authors point out
the importance of the human being related to his paradoxes.
Their political and social involvement about important
themes had inspired the title of this exhibition, for which
the artists try to make visible the invisible, inner and
intimate visions through new languages. While the society is
more and more concentrating around banality and escape, the
exhibition tries to make us have an “other” vision of life
that we forgot or completely removed from our consciousness.
To define the
invisible is among the strongest ambitions of human being.
The works of
British artist Maurizio Anzeri (1969) forms a sort of
hybridization between certain media and languages; the use
of specific materials like the hair for the realisation of
the two exhibited works has to be strongly linked to the
final result. Little Black Dress (2002) and Strait
Jacket (2004) are two clothes sewed together with the
dead part of our body (the hair). With this material M.A.,
acting sarcastically, invents an evening dress, a playful
“seduction medium” with the concept of death suggested by
the material he uses (a sort of useless social game), while
the theme of the human identity – the dress – developed with
Strait Jacket reminds us back to the idea of cerebral
death.
For his video
works Daniel Bolliger (1976) does not want to use
real screen plays. With them the artist refers to intimate
perceptions of the human being: his work clearly shows
references to the tradition of painting, going from the more
recent video clip, to documentary, as well as to the
performing aspects of contemporary art. D.B. never features
the medium he uses, but overcomes what seems to be the limit
of a style. His work is meant to bring us back to ourselves
and to flee from an artistic and iconographic imagery.
The approach of
Andrea Crosa (1949) to the theme of the show is
interesting. He thinks about painting, a style of which the
artist born in Buenos Aires has a good knowledge. Of him the
CACT shows two canvases representing two interior
architectures going back up to the 70s. A.C. was deepening
at that time the concept of meta-reality of his subjects, of
suspension of time and of the connections between fiction
and reality, micro and macro, objective and subjective.
Similarly to the themes he developed within the solo show at
the Museum of Contemporary Art Villa Croce in Genoa last
July, the artist draws invisible, and at the same time
anguished, presences behind an image completely independent
from temporal criteria, but confirming the identification of
his work as an art work. His third exhibited work is a
video.
The 1 channel
video entitled Scart (2005) and the video
installation Timecodedeath (2005) of Gianluca
Monnier (1971) are for the artist again a sort of
desperate way out to get rid of a suffocating TV everyday
life and of a productive society more and more dominated by
anonymous powers and by communicators of nothing. The
information replaces the communication and becomes along the
years a pile of grotesque waste lacking in meaning.
The exhibition is
open for the public Friday, Saturday an Sunday from 2 to
6 pm and by appointment and remains open throughout
February 5th 2006.
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Daniel
Bolliger, tränenwechselrythmus, video still, 2005. |
