07 Jul 2009

Factory-Art presents: Logiche Trasversali

Factory-Art presents: Logiche Trasversali

Andi Ant, Max Bottino, Veronica Dell'Agostino, Giovanni Gaggia, Stella Pellegrini, Elena Rapa.

Curated by Roberta Ridolfi.

This that escapes the logic is all that what is more precious in us.
(ANDRÉ GIDE. JOURNAL)

The fact of being logical is the beginning of our collapse, at least so Oscar Wilde was declaring in the highest pages of De Profundis. He, a pure aesthete lost in an absolute egocentrism that, in fund, has determined the mental martyrdom. The weft of this exhibition becomes complicated in the labyrinth of two words that compose the title of it.
The logic, or rather the linear thought that should guide the actions of the human beings, often is hidden in the uncontrollable banality of the actions that in repetitive and mechanical way we complete in the daily life of our existence, or even more it seems to dissolve and disappear in the dismantled reactions provoked in us with the blind anger and with the violence.

The logic governs us in the calm of the rationalism that we would want always to represent, to the other's eyes, in the lucidity of thought, in the moderate hierarchy of our personal priorities. But, when it is the sentiment to govern our life, or our emotions, the logic has not any more any sense.

It ends up so to believe that nothing could be of logical one in a work of art, since art is generated by the emotionality, the rigor of a thought, a thought that gradually can become a persecution. Today that even the history seems not to exist any more, impoverished of the logic that makes it a written word and of the human experience which has become by now ephemeral moment of televisional notoriety, today in fact what sense would it have to keep on producing art, beauty, music, poetry if it was shared by the conscious ineffability of an absence of logic?

Should we to live perhaps on pure instinct, brought near so to the concept of survival suggested to ourselves by the animal world? There are questions that, today do not find certain answers... The task of an exhibition can be only that of suggesting alternative runs, not to dispense certainties, in virtue also of the intrinsic list of the art itself. 'Transverse logic' represents the attempt of indicating for six times new worlds to be discovered... Six are the artists what make the logic of this transverse exhibition, since nothing of this that they propose is obvious or tested. We imagine this exhibition like a great container of sense, to reveal, like Pandora's imaginary box.

Raising the veil opportunely descended on these works the risk is run of evoking ugly omens, remarking the uneasiness of a marginalized contemporaneity, avoiding the commercialization of the affections as well as effects... But well to think, if it revealed these works it might be also possible to see a new horizon, in whom there prevails the ideal and personal sense of beauty, not intended as aesthetic valence but like optimal inner condition.

Uncovering this magic box it is discovered that the logic is not any more a cause but effect! Veronica dell'Agostino does it her way, a fierce cantor of an ambiguity who declares present in each one of us. Her behavioural paradoxes
do not only suggest obliging cynicism but destroy all the certitude that each one of us thinks to have conquered. A stab cannot leave you uninterested to the public morals, even if certain irony is insinuated to our attention with one.
Also in the poetics of Giavanni Gaggia the sense of the double is in force... a swing that ripples in the conscience of the one who looks and his fearsome kick launches sway.

The extremes for Gaggia are conceptuality and physicality: two opposites that can insinuate a paradox! On the one hand in fact the artist gazes at the heart like symbol of a strong emotional power, at other he lives it and handles to the naked one of his physicality, without protection, vulnerable and muscular... but inactivate.

The painting of Elena Rapa derives from an iconography of the horridness that finds residence in an imaginary world that sends back to the age of the childhood. The 'icons' of the Rapa become concrete images of a nightmare that is 'exported' in the reality, almost wanting to eliminate the temporal barriers.
The maniacal care of the details, without any doubt reinforce this continuity between nightmare and reality, wanting with this, at all costs, to enter the one who look, into the pictorial delirium of the artist.

Max Bottino carries out a performative action that marks a state passage... or better more state passages. He in fact mixes wisely sacredness and humanity, spirituality and physicality, to be a human and to be an animal. A choice that imposes much mental elasticity in the one who looks, in all that the impact is strongly characterised by a physicality left free at most. In case of Bottino, the body, seems to have left really its normal physical limits, so much to provide material as possible to reflect about a possible 'self martyrdom.'

Andi Ant offers to the vision a work based on the harmful symbols of the world,not abused to reiterate stereotypes but rather to a childish state of mind, a way to offset the havoc and logic. A clean and essential work that reinforces all the more fierce criticism in certain human attitudes, peremtory corrupt from defect of power and the conscious destruction of many lives that inhabit the world.

Stella Pellegrini prefers the photographic media that she uses 'like aesthetic weapon' the narration of the own artistic poetics. Although, they do not show anything bloody, these images stimulate the reflexion through some small technical sagacity... the use of the light for example, or opposing the white one and black one against the colour... are little indications that, nevertheless, slowly have the ability of opening wide reflexion spaces.

After all, the greatest part of us are frightened to reflect deeply on a work of art: problems might emerge on our thought, on our being, they might cause the collapse of the castle of sand of our 'certainty'... while we are much more concentrated, sillily, to understand what represents a work of art.
Well where is it the logic?
Transverse.... precisely

Roberta Ridolfi