Exhibitions & Curatorial Projects

De Natura 

Evi Vingerling, Daniele Fabiani, Chen Li

17th November – 16th December 2018
Areacreativa42, Villa Vallero, Rivarolo Canavese (Turin, IT).

 Painting through its poetical emotionEpisode #2

Colm Mac AthlaoichThe Waiting Game (20th September – 27th October 2018)
Gillian Lawler, This Entropic Order (31st October – 8th December 2018)
Denis KellyA Sense of Order. A Sense of Disorder. (13th December 2018 – 2nd February 2019)
Galleria Weber & Weber, Turin (IT).

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The artistic and aesthetic impulse of each age is characterized by external historical-social factors that effectively influence the personal experiences of the artist. These are the basis of the curatorial project Painting through its poetical emotion which, articulated in a series of three solo exhibitions, investigates the visual art of Ireland.

Irish pictorial art, developed over the decades, has given rise to a substantial abstract artistic production. As compared to other countries which have enjoyed a past flourishing of pictorial tradition, as was the pictorial primacy in Italy from the Renaissance to the Avant-garde, Ireland is now rediscovering and perhaps renewing its gusto for painting and colour.

The Weltanschauung, or rather, the vision of the world that, in this specific case, appears in the paintings of Dublin-based artists, is the platform from which the exhibition project derives its starting point. Painting through its poetical emotion attempts to disclose the causes and motivations of this innate pictorial process which has possible similarities with modernist Irish literature tradition and its stream of consciousness. This narrative technique uses the free representation of a person’s thoughts as they appear in the mind, before being reorganised logically in sentences, just as it happens in abstract painting where, instead of words, the artist freely chooses the colours and shapes to use on the pictorial surface following freely his/her own abstraction of thought.

In Irish contemporary art there is a constant enrichment of abstract artistic practice aimed to the detriment of the subject, in contrast to a well-established figurative tradition. It follows a greater relevance in the observation of the creative process, ascribable to the temporal sphere for its immanence, rather than to an interest only addressed to the final artistic product.

To introduce this statement related to the creative temporality of painting, it is essential to make some distinctions.

Painting is a spatial artform, and for this reason it has been contrasted with other forms of art considered “art of time”, such as literature and music which are directly linked to a concept of timeline.

This kind of distinction is valid if we consider the way in which we perceive painting and literature: the first one is experienced immediately in its every facet in one sight, whereas, the second one is only possible to understand in a temporal sequence. As Lessing noted in his Laooconte, the differences between the art of painting and literature is in the difference in inherent meanings: simultaneously and linearly.

Starting from this binomial we can examine how these art forms were interpreted during the Renaissance period and extend the linear tendency of literature to painting and, in particular, to abstract painting because it demonstrates, by its loss of figuration, the importance of other variables such as the perception of “time of painting” and “time of viewing/reading”.

The time of painting – process time spent during the physical act of painting – is the set of traces which show how the painter produces the work, various marks represent the presence of the artist, the time spent while painting. Within the work we recognise the abstract colour traces or markings as an expression of the artist’s individuality and subjectivity and the consequences of time spent or its history laid bare. We can call this productive time the “time of enunciation”. It represents the productive action of painting and not its subject, since in abstract painting it loses its value because it lacks a figurative content. The moment in which the artist produces his/her own work is very important because provokes a linguistic gesture, that in turn initiates a communicative action between the present time of creation and consecutive time of enunciation, incorporating the dialogue with audience.

The time of viewing/reading is, instead, a dialogue between work and spectator that is realized when the latter is in front of the work. The typical enunciative relation of the figurative painting decays in the case of abstract painting that sees the observer involved in a perpetual action of activation of the empathic relationship of the work through its own presence. This simultaneous presence in space both of the observer and of the painting ensures that the temporality of the painting and its “reading” is always current. The resulting effects are the result of the temporal and spatial coexistence of the abstract picture that crosses the emotional space of the spectator through his fluid and composite colors.

From these times we can recognise, therefore, a different “time” to perceive and understand painting not only simultaneously but like a linear sequence.

Analysing these two categories of time  the analogy between the painting and writing creative process, and particularly the cognitive process inside the mind of viewer/reader, will make possible. The observer’s experience therefore produces his own artistic vision that follows a personal flow of emotions and thoughts in front of the works of the artists on show.

Painting for Colm Mac Athlaoich is an experiment of technique and color, a journey into abstraction, a deep and personal experience, an unconscious automatism that takes life on the canvas. His painting is fluid, the ductus is full and free, moving on the surface without any obstacles. The creative subconscious of Mac Athlaoich escapes from between the authentic gesture of his brushstroke and the thin oil glazes that create a translucent painting whose surface is enriched with depth and shine. Everything is subjective, everything that belongs to the phenomenal world is questioned, only through Gestalt perception the perceived visual can lead to the figurative. Time of viewing is complicated as well as the time of painting, because the final tone of colour is the result of a process that uses a stratified sequence of different tints that give birth to “variations of light”[1] since, as Renaissance man Leon Battista Alberti pointed out, colors are manifestations of light.

Gillian Lawler, since her pictorial debut, has always shown interest and attention to architectural structures with bold volumes expressed through a tonal use of color to highlight these spatial figures that only through pictorial ability they can express all the artistic value of painting as “art of space”[2]. Lawler sculpts through the pictorial matter, using the soft and refined chromatisms, the space volumes of the geometric elements that populates her paintings. Although it may be anachronistic to speak of sculptural and spatial volumes, more easily attributable to sculpture and architecture, in Lawler’s case it is, however, an indispensable parallelism given to the subjects represented. Her empty spaces are a sort of connection between sky and earth, a transitory moment in the stream of life experience. Color is saturated to cover previous painted floating structures, which are now nothing else than the presence of a forgotten past in the everyday life.

Denis Kelly’s geometrical abstractions, reproduced on found plywood panels of shipping crates, they are objet trouvé and as such they accept the incidental mark or “accident” as a fortuitous element in his paintings. For this reason his creative process is long, made of a continuous back and forward process, to find the right balance between found mark, composition and color. More recently, his practice has expanded to include his graphic sign through transfer or relief printing. The xylographic printing method is synonymous with the concept of “fullness and emptiness”, producing on the canvas a sort of relief made by the effect of figure, simultaneously at the back and front. Kelly translation of his paintings into print renews the medium but not his artistic language. His motifs often suggest a “cross over” outside the frame to “enter into reality” as part of an installation. This architectural aspect of Kelly’s work incorporates the surrounding space, giving it new meaning, a new sense of art in life.

Curated by Valeria Ceregini

G.E. Lessing, Laocoonte [or. ed. Laokoon, 1766], Aesthetica, Palermo, 1991.
[1] Author’s translation of «variazioni di lumi» from Leon Battista Alberti, De Pictura, 1435.
[2] P. Francastel, Peinture et société, Paris, Audin, 1952.

The exhibitions are supported by

Selected press:

A Setting

Imogen Brady, Cará DonagheyMegan Robinson, Dáire McEvoy

18th–21st July 2018
Pallas Projects/Studios, Dublin (IE).

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A setting space of an exhibition is often a liminal space where place and time come together.

These two variables make a crack in the experience of audience who is called to live hic et nunc, here and now. Following Heidegger’s existentialist philosophy, the human being lives always in a condition where time and space are a constant state of life. During the exhibition, time and space coexist at the same moment, although this is not true for the artist since the time for him/her is over. The artist’s time happens during the creation thus his/her hic et nunc is in the past. What the artists do during the exhibition time is create a new place zone for a new time of experience where art is involved in a new event.  In the same way, the artwork is subordinated to the same criterion since it is a human product. Therefore, we always move inside of this liminal area, in which it is possible to have a perfect empirical vision and experience of the field.

Assuming the vision as a form of cognition, we achieve perceptively the setting space as a combined place of different art practices. Each work of each artist is a personal view of time and space zone, a special universe where they explore, by their own perception, the binomial time/place. They play a role in this exhibition setting their works in the space as little constellations, metamorphosis of time and place, but they are also imaginary maps of introspection. The viewer is called to make an emotional journey across the history of each artist whether they are imaginary spaces, real Irish landscapes or everyday urban space.

All artists in the show have lived and worked in and around Dublin. Their works talk about their lived experience, and about Ireland: a country surrounded by the sea that is a special kind of medium, due to its perfect isolation, its detachment from the social, its sense of self-enclosure, and, above all, its opening onto a visual plenitude that is somehow heightened and pure.

Text  by Valeria Ceregini

Beyond the Painting

Painting through its poetical emotion – Episode #1

José Heerkens, Bettie van Haaster, Linda Arts, Evi Vingerling, Marije Gertenbach

12th May – 17th June 2018
SEA Foundation, Tilburg (NL).

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The seeds of strife towards the beyond, the abstract and the innermost nature are contained in each manifestation. Consciously or unconsciously, they obey the word of Socrates: “Know Thyself”. Whether consciously or not, the artists gradually turn to their material to test the balance of each separate element’s innermost value, out of which they derive their creations of art.

Kandinsky, On the Spiritual in Art, Solomon R. Guggenheim Foundation, New York, 1946.

Painting, as a philosophy of seeing, was defined in the Renaissance as one of the most noble arts that man has ever used to express reality and himself. Crossing over the time, in particular in the 20thcentury with rise of artistic Avant-garde, the expression of objective reality was replaced by subjective feeling. Then, it was possible to enter into a perceived world characterised by a synchronous expressive evolution that progressively abandoned figurative art to go to abstraction. In fact, after the invention of photography (1839), painting has started its modern evolution renouncing progressively to representation of reality and nature.

The different artistic languages, from their origins, have challenged the notion of art as being “windows on the world”, human products born from the imitation of nature and as its form of knowledge. But, nowadays,it becomes important to focus on the new non-figurative art to explore and know better the new relationship between art and nature, artist and reality. Nature has its own language impossible to imitate, as the reality of the contemporary world always in continuous changing now more than before. But any art, in particular abstract painting, can recreate by artistic representation the same innermost atmosphere and pretty otherworldly values. This kind of representation is more close to the soul of artist, his or her deepest sight. Therefore, the artist reproduces a new reality relate to personal and authentic perception of nature. We lost the object, we don’t have any more references with the reality but, in the same time, we as onlooker become part of the artwork itself and more close to the creative process.

As the American art historian Rosalind Krauss expresses: “visiting an art work is the art work”. This sentence can also be extended to abstract art exhibitions, where people can walk around the space of consciousness and play an important role as external operator able to activate and complete the sense of the art work by their physical presence around paintings. The spatial experience lived in the reality of a given space makes it an important element to consider as a part of artistic process.

In all of the artists in show is possible to find the exploration of space inside and outside painting. Their research of the space in abstract painting, either geometric or expressionist, via the different use of canvas as a surface or installation, is the focus of the exhibition to show how it is possible to go Beyond the paintingovercoming the concept of two-dimensional surface bound to the ordinary idea of painting. The synesthetic effects are at the base of works, they are able to create an alternative world perceived by the sight but, at the same time, felt in deepness in own mind and soul as vibrations. This imaginary world makes a sense of enjoyment or not, this is not such important, the important things are the undefined emotions that rises into the viewer who becomes a thinker, a part of the intellectual process of the artwork. The creative work surely arouses in observer, who are capable of deeper response, sensations which cannot be defined in words.

Five women in show, five Dutch artists from the international art scene, two generations with a solo peculiar way to paint abstraction. They choose to paint privileging the strong, bold, savage and forceful sign and colour. Instead of flowers painted with soft colours, or landscape drawn by light water colours, as the women of bourgeois would have done in the past, they decided to be brave and authentic expressing herself with a personal approach and method. Each one of them uses a specific palette and sign which become a peculiar signature very visible, recognisable without any sort of doubts and capable to produce emotions.

José Heerkens by her geometric grid and coloured lines produces an infinite sense of quiet. She prefers the horizontal lines more close to the femininity and the landscape horizon, the easiest and clever line in nature. She reduces the essence of nature, the colours and lines to transform them in something absolutely essential. The research of the space in between the full and empty field of colour makes a sensation of relevant pure clarity.

Linda Arts, with her geometric optical abstraction, shows how is possible to create an imaginary space that go over the physical space. She produces an illusive gap between the painting and the viewer who falls at loss. She plays with this line of vision but, at a closer look, it’s possible to see the little details and mistakes of her hand painting which allow us as observer to feel more in confidence with her very traditional paintings.

On the other hand, Bettie van Haaster is a completely different abstract painter more impulsive and passionate. Her painting is pretty expressionist, each her brushstroke hits with power the canvas to create concretion of colours. The waves of colour stand out giving a third dimension to her handy flat painting surface.

Evi Vingerling catches from reality details which seem insignificant and of minor importance to all of us. But this abstractive creative process shows the importance of every destabilised part of nature, which becomes part of our sensitive experience. Each element is linked with the perception of reality that is impossible to recognise, because the goal is the suitable mix of bold colour and light shape.

In the end, Marije Gertenbach is a very uncommon painter. She plays with the space using unstretched canvas hung on wallpainting, which becomes part of the work itself. Her original way to use the space to produce paintings, that are also installations, engages completely the onlooker who have to move in the space finding the best point of view to enjoy of her mixed artworks.

All of them come from Netherlands, an almost flat land. Perhaps it is possible to find this social identity element in their idea of limitless art and pure sensory no-space, the core of their paintings. What we obtain is a pure vision pared away into a dazzle of pure instantaneity, into an abstract condition as a moment of pure transparency and self-knowledge where the connection to the objects completely disappear to leave only the pure presentness. These pure artists sought to express inner truths in their work and – as Kandinsky wrote in his On the spiritual in art– automatically repudiated all consideration of external accidents.

The five artists’ emotional power and their capability to give free scope to their finer feelings push art to the apex of our contemporary cultural period, where so often we miss the artistic substance, the soul of art. The abstract painting fades away into the pure visibility giving to the onlooker the opportunity to be close in touch with his imaginary innermost world of soul.

Pure artistic form and colour is an expression of the artist’s nonphysical life to create a unique abstract painting, which is the demonstration of a research of simplicity and ease of the rhythm of colour to manner of setting into e-motion.

The unavoidable influence and mutual relation between form and colour causes a pure artistic composition where colour assumes a form and vice versa, provoking the observer to feel the harmony and spiritual being of endless. Since the combinations and effects of colours and forms are infinite, then abstract painting is inexhaustible.

Curated by Valeria Ceregini

V. Kandinsky, On the Spiritual in Art, Solomon R. Guggenheim Foundation, New York, 1946.
R. Krauss, The Optical Unconscious, The MIT Press, Massachusetts, 1993.
Selected press: 

 Sylvie RomieuImmersion.

 17th May – 20th July 2018
Weber & Weber, Turin (IT).

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La simbiosi fra arte e fotografia in Sylvie Romieu dà vita a un complesso organismo stilistico. La combinazione di influenze, il processo particolare di sovrapposizione delle immagini, spiegano l’alta incidenza dell’inventiva fotografica usata dall’artista come arte pittorica in grado di cogliere le finezze e le aberrazioni del reale.

Lo stile impressionistico e fantasmagorico di Romieu ha un sapore tipicamente francese di fin de siècle, secolo pervaso dalle espressioni culturali legate all’estetismo e al decadentismo. La sua capacità di cogliere l’io interiore e le caratteristiche esteriori di questi ambienti fantastici sono il prodotto di una perenne ricerca di tecniche fotografiche sperimentali che le permettono di ottenere delle immagini evanescenti dense di carica espressiva. Le sue composizioni fotografiche mantengono un gusto stilistico pittorico che si rifanno alla letteratura e, in particolare per i contenuti sentimentali, alla scrittrice francese Marguerite Duras.

Un giorno qualcuno le disse: “dovresti bruciare il tuo divano”. L’artista afferma di aver “ascoltato e inteso bene il messaggio, ma cancellare il passato e il peso dei ricordi, tramite il fuoco, non è il mio metodo. Il mio modo di fare sarebbe stato meno radicale e molto più lento, come lo sono io. Dovevo allontanarmi da questa rappresentazione simbolica pur restandone il più vicina possibile, constatandone la sua immaterialità e accettandone semplicemente il suo statuto d’immagine. La distruzione sarebbe arrivata tramite l’acqua. L’acqua dei ruscelli et l’acqua dei fiumi. L’acqua dello stagno e l’acqua del mare”.

La macchina fotografica di Sylvie Romieu fissa la natura marina e il suo corpo immersi in posizioni paradossali e li raggela in atteggiamenti del tutto estranei al modo normale di vedere, diventando così il risultato di un effetto di luce mutevole. Quelle di Sylvie Romieu sono des arts fictifs, arti della finzione, dove la scala e le proporzioni delle figure, il loro legame con l’ambiente circostante, non sono rispettati ma ricreati. Le sue immagini latenti sono ricche di poesia, giocano con il reale. La concezione dell’arte come gioco, secondo Théo van Doesburg, artista del gruppo De Stijl, consiste nel piacere spirituale proprio della libertà di sperimentazione che risulta essere un presupposto essenziale del vero processo creativo: Gestaltung, o processo formativo, come egli lo chiamò. Il gioco, egli scrisse, «è il primo gradino della creazione».

La Romieu gioca, infatti, con la realtà e con il suo rapporto strettamente connesso alla fotografia e ogni allontanamento da essa diventa inquietante per chi la osserva. Ma è proprio questa insaziabile inquietudine a spingere l’artista a creare, con l’ausilio di fotomontaggi, figure che nessuno avrebbe mai potuto ritrarre o immaginare. Il processo artistico diventa catartico dove Le Tableau de Jo“si trasforma nelle alghe e nelle ricche acque della laguna. I colori si diluiscono nell’acqua verde, la materia s’impasta e ricopre i simboli che si alleggeriscono prima di svanire. Il dissolversi dell’immagine ne crea un’altra. L’acqua cancella e ridà vita. Pesci ballano e volano sopra il divano, il corpo diventa paesaggio, la valigia è aperta. Il dovere di memoria è soddisfatto e sono ora libera. L’arte, questa rappresentazione mentale e misteriosa dell’anima, si è trasformata e mi trasporta lontano verso nuovi mondi”.

Di fatto, la fotografia di Sylvie Romieu ritrae l’invisibile. La rivelazione fotografica di una realtà eterea, adulterata dalla mano dell’artista, diventa un atto critico assolutamente creativo. Il fotografo inglese Muybridge segnalava come lo strumento fotografico possegga un carattere simbolico. Ed è proprio questa “realtà” simbolica non rappresentativa ma illusoria contenuta in una scatola a rivelarci la possibilità di associare tali immagini ad altre icone mnemoniche e, dunque, a dimostrare come le fotografie di Sylvie Romieu abbiano una presa sull’inconscio. Il carattere suggestivo dell’immagine associata alla scatola come memorabilia non fa altro che accrescere il potere evocativo dell’opera dell’artista che si rivela come un’immersione in un universo alternativo e meraviglioso.

Text  by Valeria Ceregini

Selected press:

Denis Kelly, Impeccable Defect.

18th – 21st October 2017
Pallas Projects/Studios, Dublin (IE).

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Painting for Denis Kelly is rigour of thought and action. Each element of his art is meditated with rationality and a meticulous description of forms following Kazimir Malevič’s Suprematist criteria, whose purpose was to find a path leading to the essence of art: geometrical abstraction. These kind of works, if glimpsed, may appear as a pure geometric exercise, on the contrary, they hide compositional complexity that seek in the tonal balance and equilibrium of forms a spatial illusion. For Kelly, therefore, it is important to reach the essence of the image, which must be a composition of clear signs, simply and easily recognised, borrowing the aphorism of the famous architect of the Bauhaus, Mies van der Rohe: “less is more”.

The contours suggested by cross-planes of geometrical shapes are intuited thanks to Kelly’s clever use of colour. These geometrical compositions are used by the artist to create patterns whose “neoplasticism presents a truly free rhythm of form: a universal rhythm”[1], according to the painter Mondrian, member of De Stijl artistic movement. In addition, Denis Kelly’s art is enriched with new and unusual materials – plywood veneer, protective packaging waste from imported building materials – that become his pictorial surface, thus a part of the world enters each of his works.

In this Kelly deviates from the Suprematist and Neoplasticist movements, as to the perfection of the surface and the coloristic forms he prefers to introduce chance, a striking element in contradiction with pictorial perfection. This extraneous element is sometimes embossed on industrial wood, which he uses as a support for his paintings, or else he himself creates it as an irreverent phenomenon directed towards the observer, whose gaze is surely captured by an “impeccable defect”. The artist plays on these strident elements that suggest the image, and captures the attention by allowing the viewer to fulfil his agent role by interacting with form through an adaptive visual perception of a gestalt matrix of representation. Kelly’s pictorial accuracy – made up of volumetric sub-patterns of stretched-out colour that accentuate the luminary and spatial systems – is altered by the introduction of clear and expressive signs that allow him to go beyond the boundaries of minimalism to access a personified dimension of painting.

Curated  by Valeria Ceregini

[1]Author’s translation of «neoplasticismo presenta un ritmo veramente libero dalla forma: un ritmo universale» from Piet Mondrian, Ritmi universali, 2014.
Selected press:

Colm Mac AthlaoichTraveling Without Moving.

5th –  8th July 2017
Pallas Projects/Studios, Dublin (IE).

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Painting for Colm Mac Athlaoich is an experiment of technique and colour, a journey into abstraction, a deep and personal experience, an unconscious automatism that takes life on the canvas. His painting is fluid, the ductus is full and free, moving on the surface without any obstacles. The creative subconscious of Mac Athlaoich gets out from between the authentic gesture of his brushstroke and the thin oil glazes that go to create a translucent painting whose surface is enriched with depth and shine. The final tone of colour is the result of a process that uses a stratified sequence of different tints that give birth to “variations of light”[1] since, as Renaissance man Leon Battista Alberti pointed out, colours are manifestations of light.

The abstract composition produces liminal visual ‘capriccio’ between real and unreal, as in Joyce’s Ulysses the reader is incapable of distinguishing truth from fiction in the same way Colm Mac Athlaoich offers to the observer a new point of view, a new reality. Everything is subjective, everything that belongs to the phenomenal world is questioned, only through Gestalt perception can the perceived visual lead to the figurative. To overcome the absence of figuration the artist comes to the help of the onlooker, placing theatrical scenes at the confines of the image to create a decorative structure with architectural function. This function is capable of suggesting another realm, a scenic illusion, a perspective similar to Parrhasius[2] or the artist Antonello da Messina – exemplar of Flemish art in Renaissance Italy – who made use of the stage plan as an imaginative expedient.

Text by Valeria Ceregini

[1] Author’s translation of «variazioni di lumi» from Leon Battista Alberti, De Pictura, 1435.
[2] Pliny the Elder, Naturalis Historia, Book 35:68, “Painting contest” between Zeuxis and Parrhasius, 77-78 AD.
Selected press:

 Gioberto NoroAperture.

5th November 2016 – 28th January 2017 

Alberto Peola, Turin (IT).

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Il solo mondo che esiste è l’opaco e l’aprico ne è solo il rovescio.

Italo Calvino, Dall’opaco in Romanzi e Racconti vol. III

La coppia di artisti Gioberto Noro, mossa da una pulsione cognitiva nella realizzazione dell’opera artistica, fa mostra della volontà di conoscere il reale passando attraverso il superamento intellettivo del mezzo fotografico che da semplice macchina diventa strumento d’indagine del mondo e, quindi, del Sé.

In loro l’“Io diviso” si ricongiunge in un perfetto connubio – en to pan – in cui la polarità femminile e maschile (coniunctio oppositorum) è superata da un rapporto di complementarietà percepibile nelle loro immagini in cui i princìpi cosmici si congiungono per dar vita a un’equilibrata unione fra i generi. La salda compostezza e l’androginia delle immagini è la chiara espressione del Rebis di Sergio Gioberto e Marilena Noro che affiora nel trattamento dell’immagine e nell’“individuazione” (in-dividuus, non diviso) degli elementi rappresentati facenti parte di un universo fotografico imprescindibile da quello reale. Il microcosmo fotografato risulta avere un effetto ricorsivo nei confronti del macrocosmo potendosi quindi definire una mise en abyme in cui la dimensione individuale è reiterata in quella universale.

La ricerca poietica di Gioberto Noro, basata sull’esplorazione della struttura della materia e, nel caso specifico la struttura della luce, scruta lo spazio come un agrimensore dando origine alla serie delle Mappe. Figure “umbratili” in cui la dimensione percettiva dello spazio è definita dal passaggio della luce che definisce e compone le forme del visibile studiate e analizzate nel dettaglio per ottenere il controllo dell’ombra. Le mappe per secoli sono state un elemento di studio e di conoscenza del territorio circostante di cui l’uomo ben presto si servì per definire il proprio dominio sulla natura o su altre civiltà. L’ambivalenza della cartografia come strumento di potere, oltre che identitario e di conoscenza, è in questo specifico caso artistico superata: essa diventa espressione energetica dell’erraticità del pensiero degli artisti che immersi nella natura alla ricerca del reale ne percepiscono i flussi ombrosi. La traduzione del percepito in visivo in scala uno a uno è la summa metaforica della loro azione conoscitiva intuitiva del mondo esterno in cui le immagini diventano il dispositivo ultimo per la comprensione della compenetrazione della luce nell’ombra come serie infinita di proiezioni di profili che essa definisce.

La metafora dell’“ombra illuminante” si rinnova fra le fronde del lucus di Aperture in cui gli artisti, operando nella licht, mantengono fede alle qualità percettive del loro mezzo espressivo attraverso il quale custodiscono i fugaci fenomeni luminosi (phainómena) che permeano la realtà fenomenica. Gioberto Noro agendo nell’opposizione congiunta di luminosità e oscurità della radura diventano essi stessi dei gelichtet capaci, secondo l’invito di Eraclito, di disvelare e preservare la Lichtung (Heidegger, 1927) attraverso una costruzione dell’ombra.

Le immagini della serie White rooms sono l’emblema di tutto questo processo conoscitivo e compositivo poiché è solo grazie alla padronanza del vuoto e al sapiente uso formale della luce che è possibile rendere visibile l’invisibile – Eraclito sosteneva che ciò che è nascosto e invisibile ha molta più rilevanza di quanto è apparente e visibile – e ottenere tale resa spaziale tridimensionale in contrasto con l’elemento fisico bidimensionale della fotografia. Come nel taglio di Fontana, anche qui siamo di fronte a un “concetto spaziale” in cui il superamento della superficie permette di varcare la soglia dell’immagine per entrare in uno “spazio altro” dove lo spettatore diventa parte integrante dell’opera dal momento che si instaura una relazione simmetrica e d’interazione con l’immagine.

All’esperienza estetica del vuoto, contemporaneamente, si deve aggiungere la consapevolezza che la serie White rooms è un’evidente costruzione artificiale che richiede al pubblico la “sospensione dell’incredulità” (Coleridge, 1817) affinché possa addentrarsi in quella visione particolare in cui è possibile apprezzare l’architettura della luce. La riproduzione del mondo, portatrice di un’ambiguità visiva, assume una pienezza e concretezza di cui solamente attraverso una visione percettiva della luce è possibile fruire della forma. La maquette, come una scatola scenica, riproduce lo spazio “aperto” (Rilke, 1922) del reale rivelandosi attraverso l’obiettivo della macchina fotografica posto dinanzi a catturare l’elemento luminoso restituendolo come una porzione del mondo che, per un processo gestaltico, la mente è portata a completare cogliendo nel particolare l’universale. Gioberto Noro operano così un “ritaglio” paradossale del mondo che si afferma solo ed esclusivamente nel momento stesso in cui è rappresentato come una porzione del campo visivo. Ciò avviene anche per le Aperture e le Mappe poiché, quest’ultime inoltre facenti già parte del paradosso di Borges, sono ascrivibili al “foglio dell’enunciazione” (Peirce, 1904) e come tali rappresentazioni formali e circoscritte del reale che può essere compreso solo se racchiuse nella cornice cognitiva. La fotografia è vissuta da Gioberto Noro come una catarsi aristotelica poiché pur ritagliando un frammento di realtà con determinati limiti ha la capacità deflagrativa di rivelare una realtà molto più ampia, come una visione in fieri capace di trascendere spiritualmente il campo compreso dall’obiettivo.

Facendo un excursus fra le opere appare chiaro come il significato intrinseco sia da rintracciarsi fra gli elementi di pieno e vuoto, ombra e luce, caos e ordine, due fasi della stessa logica della materia (Calvino, 1980). Attraverso questo dualismo è possibile risalire al rapporto dialettico e ancestrale fra silva e domus da cui perviene una stratificazione semantica dell’immagine. Ogni opera, infatti, contiene una pluralità di “forme simboliche” (Cassirer, 1923) e molteplici possibili rinvii a partire da uno stesso soggetto che secondo una diversa visione del mondo (Weltanschauung) è passibile di un arbitrario significato espressivo poiché legato alla sensibilità empatica di ciascuno di noi. Ogni forma di conoscenza è un’inferenza, nessun oggetto, nemmeno il nostro corpo o il nostro stesso Io, viene da noi raggiunto in modo non mediato e diretto: la realtà viene sempre mediata da uno strato di segni, inferenze, rappresentazioni. Il che vale anche per quanto riguarda la percezione: ogni cosa è frutto di interpretazioni precedenti ma attraverso l’embrayage è possibile disporsi percettivamente ai tempi e agli spazi della visione narrativa delle immagini di Gioberto Noro perché disseminate di luce sensibile che si contamina di metaforico appena accede al linguaggio testuale.

Curated  by Valeria Ceregini

Selected press:

Paolo PerelliPensieri-Oggetti.

28th May – 11st June 2016
AccorsiArte, Turin (IT).

Paolo Perelli realizza le sue opere con meticolosa precisione, la sua scrupolosa attenzione verso ogni singolo elemento della composizione è atto a favorire una percezione sensibile della sua produzione artistica che si fa artificio di una visone dell’umano sentire. Le raffinate sculture realizzate per lo più in legno e metallo sono strutture fragili che rappresentano l’essenza effimera dell’essere umano. Le sculture antropomorfe sintetizzano con i loro rarefatti elementi la caducità dell’uomo percorso dagli elementi naturali che lo rendono così leggero ma, allo stesso tempo, lo ancorano a un’incredibile stato di realtà. Infatti, nelle sculture di Perelli si ritrova spesso il richiamo verso gli stati dell’essere e l’intimità umana. Sono, inoltre, interessanti e degne di nota alcune citazioni alle figure mitologiche, come in “Narciso”, e alla storia dell’arte contemporanea.Altro elemento caratterizzante l’esclusiva arte di Perelli è la pittura che realizza con tecniche miste. Tali dipinti hanno spesso come elemento fondante l’albero realizzato visivamente con vari elementi pittorici e metallici.
Il simbolo archetipico dell’albero è spesso riconosciuto in psicanalisi, in particolare nella letteratura junghiana, come elemento raffigurante l’uomo e la sua essenza. Ed ecco che ritorna così quella visione intimistica che già si è riscontrata nelle sculture ma che nella pittura viene comprovata dalla presenza preponderante dell’albero, personificazione del Sé. L’albero della vita, del paradiso, filosofico, genealogico… Molti di questi sono stati raffigurati nella storia dell’arte, nelle religioni giudaico-cristiane e non solo ma mai come nelle opere di Paolo Perelli si ha di fronte la purezza dell’elemento naturale che vive attraverso le sue radici di una vita parallela e indipendente rispetto a ciò che emerge. “Ciò che sta sotto” mostra proprio questo mondo sommerso, oltre il visibile, dell’arbor inversa che si radica verso il terreno lasciando in superficie un albero minuto propeso verso il cielo dorato.

Text  by Valeria Ceregini

‘900 – 2000

2nd – 16th April  2016
Group exhibition curated by Daniela Accorsi & Valeria Ceregini
Artists in show: Umberto  Mastroianni,   Antonio Carena, Giovan Battista Quadrone, Pietro Morando, Giuseppe Capogrossi, Raffaele  Pontecorvo, Aligi Sassu, Giorgio De Chirico, Renato Guttuso, Pietro Garino, Ezio Gribaudo, Sergio Saccomandi, Salvatore Fiume, Italo Gilardi, Colombotto Rosso, Maxo Della Rocca,  Mario Schifano,  Horoki Katsutomi, Abacuc,  Beppe Gallo, Angelo Maggio, Della Merla, Piero Cerato, Stefano Galli, Maria Luisa Acciaioli, Massimo Romano, Maria Cristina Pisigano, Micaela Callerio, Stefano Torrielli, Melugi, Gianni De Simone, Carla Castaldo, Maria Giacchetti, Paolo Perelli, Amir Tasami, Maria Giuseppina Barbanotti, Elena Lungo, Also BAsili, Jeanclaude, Marco Altavilla, Anna Bertuzzi, Marco Bibiano, Emanuela Boursier, Federica Burlando, Nenè Da Canto, Francesco Cannalire, Roberto Carlocchia, Gaya Maria Halip, Atthanasia Karatza, Rosa Maria Lo Bue, Isabella Indiesigh, Paolo Remondini, Laura Respiggi, Destiny, Ciro, Patrizio Zanazzo.
AccorsiArte, Turin (IT).