MIRABILIA - “Who makes a trip could get”
FROM APRIL 15 TO MAY 15, 2015 Marina Burani Massimo Lagrotteria Andrea Saltini Andrea Vettori expose MIRABILIA Text by Chiara Messori Vernissage april 15 at 18.00 pm Galeria Sztuki Współczesnej Centrum Kultury Zamek Poznan, Ul, Sw, Marcin, 80/82 Polonia
FROM APRIL 15 TO MAY 15, 2015 Marina Burani Massimo Lagrotteria Andrea Saltini Andrea Vettori expose MIRABILIA Text by Chiara Messori Vernissage april 15 at 18.00 pm Galeria Sztuki Współczesnej Centrum Kultury Zamek Poznan, Ul, Sw, Marcin, 80/82 Polonia
MIRABILIA
“Who makes a trip could get”
Yeah, who makes a trip could get to destination, as said Giorgio Manganelli. It happened to Ulysses, Pinocchio and certainly also to all those travelers who, in the twelfth century by their own, have embarked on a journey. Today remains only Mirabilia, a written text, imagery or truthful but still equipped with the necessary information to visit a museum or a city, an entire region or state. In practice, the equivalent of modern travel guides useful to pilgrims and travelers. But the Mirabilia, the wonder, has to be understood as attitude, closely related to the curiosity and to intellectual exploration, the sense of wonder and anxiety that people experiences when they begins to question themselves and their relationships with the world. This style distinguishes the works and the artists in the exhibition.
Round frames that contain hyper-realistic drapes, immortalized figures in ambiguous attitudes, mirrors that are not mirrors, black painting, boxes, skulls, mandibles, lenses, reptiles, locusts which transport us in the Wunderkammer of Marina Burani, where natural and artificial combine each other to give life to a constant wonders. The perception of these works throw us into a space in which we live at the same time an experience of simultaneity and succession (Merleau-Ponty). Here everything is concentrated in a formula that while rejecting the absolute chaos, it actually originates from that chaos, organizing it in a vision harmony.
The vision becomes airborne in the true sense of the term. Andrea Vettori makes us fly over the territories in which nature is the host, in his hyper-realistic landscapes the human figure is almost absent or otherwise accessory. These works shift attention from our regrets and confront us with new ideas and projects, just like an aerial and emotional view that would have never existed without crossing a sort of existential desert.
By the solemnity of these natural charms we pass to another type of solemnity, that coming from the figures of Massimo Lagrotteria. Tireless experimenter, he moves between raw canvas, bitumen, oil, cardboard, iron, copper, and he extracts from each element what he needs to feed his poetry. His portraits have an ancient elegance, in which large and small size match almost challenging but without overpowering each other. His figures without background, are in constant conflict, they dissolve and emerge at the same time in an apparently empty space.
I don’t like, who they are, what they look like. It was all a quid pro quo (Eugenio Montale, Cuttlefish Bones). Let’ s talk now about Andrea Saltini, master in ambiguous contents: his quotes when they are literary they are deliberately wrong and if they are visual are false. He also moves within the study of the human figure. His favorite themes are childhood and the “small injuries". His work is inspired by life experiences and misunderstanding, as he says: "The characters that I paint are the hands of what we can’t touch: love, secrets, laughter and tears, all the things that you would like with all of yourself and you'll never have, and when you realize you don’t get them, you don’t dare, and desire them again and again ... ".
The information of the XXI century runs on the network, where the Pandora's vase is spilling constantly, offering every kind of wonders and color. The kaleidoscope formation that follows is more enigmatic. All references are equal. The sights are beautiful and you know that charm sometimes leads to destruction (Philippe Daverio).This exhibition is an extreme attempt to bring order to the chaos. Each artist presents a vision, inviting the viewer to do the same: so, take your pen and notebook, indeed Mirabilia in your hand, and ...Enjoy your trip!
Chiara Messori
Translation Valentina Ferrari
“Who makes a trip could get”
Yeah, who makes a trip could get to destination, as said Giorgio Manganelli. It happened to Ulysses, Pinocchio and certainly also to all those travelers who, in the twelfth century by their own, have embarked on a journey. Today remains only Mirabilia, a written text, imagery or truthful but still equipped with the necessary information to visit a museum or a city, an entire region or state. In practice, the equivalent of modern travel guides useful to pilgrims and travelers. But the Mirabilia, the wonder, has to be understood as attitude, closely related to the curiosity and to intellectual exploration, the sense of wonder and anxiety that people experiences when they begins to question themselves and their relationships with the world. This style distinguishes the works and the artists in the exhibition.
Round frames that contain hyper-realistic drapes, immortalized figures in ambiguous attitudes, mirrors that are not mirrors, black painting, boxes, skulls, mandibles, lenses, reptiles, locusts which transport us in the Wunderkammer of Marina Burani, where natural and artificial combine each other to give life to a constant wonders. The perception of these works throw us into a space in which we live at the same time an experience of simultaneity and succession (Merleau-Ponty). Here everything is concentrated in a formula that while rejecting the absolute chaos, it actually originates from that chaos, organizing it in a vision harmony.
The vision becomes airborne in the true sense of the term. Andrea Vettori makes us fly over the territories in which nature is the host, in his hyper-realistic landscapes the human figure is almost absent or otherwise accessory. These works shift attention from our regrets and confront us with new ideas and projects, just like an aerial and emotional view that would have never existed without crossing a sort of existential desert.
By the solemnity of these natural charms we pass to another type of solemnity, that coming from the figures of Massimo Lagrotteria. Tireless experimenter, he moves between raw canvas, bitumen, oil, cardboard, iron, copper, and he extracts from each element what he needs to feed his poetry. His portraits have an ancient elegance, in which large and small size match almost challenging but without overpowering each other. His figures without background, are in constant conflict, they dissolve and emerge at the same time in an apparently empty space.
I don’t like, who they are, what they look like. It was all a quid pro quo (Eugenio Montale, Cuttlefish Bones). Let’ s talk now about Andrea Saltini, master in ambiguous contents: his quotes when they are literary they are deliberately wrong and if they are visual are false. He also moves within the study of the human figure. His favorite themes are childhood and the “small injuries". His work is inspired by life experiences and misunderstanding, as he says: "The characters that I paint are the hands of what we can’t touch: love, secrets, laughter and tears, all the things that you would like with all of yourself and you'll never have, and when you realize you don’t get them, you don’t dare, and desire them again and again ... ".
The information of the XXI century runs on the network, where the Pandora's vase is spilling constantly, offering every kind of wonders and color. The kaleidoscope formation that follows is more enigmatic. All references are equal. The sights are beautiful and you know that charm sometimes leads to destruction (Philippe Daverio).This exhibition is an extreme attempt to bring order to the chaos. Each artist presents a vision, inviting the viewer to do the same: so, take your pen and notebook, indeed Mirabilia in your hand, and ...Enjoy your trip!
Chiara Messori
Translation Valentina Ferrari
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