“Deus ex machina” (messa a punto)
“Deus ex machina” (messa a punto)
Installation, interactive sculpture.
Time has oxidized the foundations of religion underlining the anachronism that compare it to reality and our needs.
Hard crusts separate points of view into two opposite poles: nowadays there are people who believe, and they do it extremely, and people who don’t believe at all. They are static like heavy bricks, inadaptable: it is the lack of transformation towards a physiological modernity.
In a period which spirituality seems to have forsaken this contemporary society that collapses in front of a crisis which is not only economical but social- existential, the two main religions remain static. There is no direct debate between the two parts and it seems that they have forgotten their real function in respect to humans. Two different languages that should speak about the same thing. Perpetual symbols that together don’t examine in depth, they are static and don’t understand the needs of our time.
As for the Greek theatre, a Deus ex machine should come to solve the situation. But “Deus ex machine” is a scenic artefact no longer able to surprise us. A machine without movement, static, which needs a continuous maintenance.
Static work, constantly under degradation, where time would be prominent, and in this very moment that we could stop the process taking care of its fine tunning “messa a punto”. It will depend on us to take off the rust that soon will rise up from the surface of the iron, day by day, endlessly.
An interactive installation-sculpture that will become interactive as soon as the visitors and its author will directly interact with it using several instruments, trying to stop the constant process of oxidation.
Pablo Mesa Capella was born in Málaga (Spain) in 1982. After his first degree in Direction and the second one in Audiovisual Communication, he focused on theatre, looking after direction and scenic design of plays and artistic performances. In this early years he develops his aesthetic conception of plastic arts and installations which will permit him to win several prizes in Direction and Scenic design at MálagaCrea Contest.
In 2010 he moved to Rome where he continues his artistic research within groups exhibitions and associations.
In 2012 he participates in Seminaria Sogninterra contemporary art festival in Maranola, Formia, and then in MarteLive contest at Forte Portuense (Roma). In the same year he takes part into the project Spam! Cartoline d’artista for Pastificio Lab (Pastificio Cerere, Roma).
In June 2013 he exhibited in a solo show “Cartes de visite. Materia sensibile” for Fondazione Pastificio Cerere di Roma, curated by sguardo contemporaneo collective.
Recently he was one of the finalists at ArtGallery Prize in Milan.
His installations come from his theatrical experience to develop, through figurative arts, an emotional and sinestetic involvement between artwork and public, in every single hint and complexity.
Installation, interactive sculpture.
Time has oxidized the foundations of religion underlining the anachronism that compare it to reality and our needs.
Hard crusts separate points of view into two opposite poles: nowadays there are people who believe, and they do it extremely, and people who don’t believe at all. They are static like heavy bricks, inadaptable: it is the lack of transformation towards a physiological modernity.
In a period which spirituality seems to have forsaken this contemporary society that collapses in front of a crisis which is not only economical but social- existential, the two main religions remain static. There is no direct debate between the two parts and it seems that they have forgotten their real function in respect to humans. Two different languages that should speak about the same thing. Perpetual symbols that together don’t examine in depth, they are static and don’t understand the needs of our time.
As for the Greek theatre, a Deus ex machine should come to solve the situation. But “Deus ex machine” is a scenic artefact no longer able to surprise us. A machine without movement, static, which needs a continuous maintenance.
Static work, constantly under degradation, where time would be prominent, and in this very moment that we could stop the process taking care of its fine tunning “messa a punto”. It will depend on us to take off the rust that soon will rise up from the surface of the iron, day by day, endlessly.
An interactive installation-sculpture that will become interactive as soon as the visitors and its author will directly interact with it using several instruments, trying to stop the constant process of oxidation.
Pablo Mesa Capella was born in Málaga (Spain) in 1982. After his first degree in Direction and the second one in Audiovisual Communication, he focused on theatre, looking after direction and scenic design of plays and artistic performances. In this early years he develops his aesthetic conception of plastic arts and installations which will permit him to win several prizes in Direction and Scenic design at MálagaCrea Contest.
In 2010 he moved to Rome where he continues his artistic research within groups exhibitions and associations.
In 2012 he participates in Seminaria Sogninterra contemporary art festival in Maranola, Formia, and then in MarteLive contest at Forte Portuense (Roma). In the same year he takes part into the project Spam! Cartoline d’artista for Pastificio Lab (Pastificio Cerere, Roma).
In June 2013 he exhibited in a solo show “Cartes de visite. Materia sensibile” for Fondazione Pastificio Cerere di Roma, curated by sguardo contemporaneo collective.
Recently he was one of the finalists at ArtGallery Prize in Milan.
His installations come from his theatrical experience to develop, through figurative arts, an emotional and sinestetic involvement between artwork and public, in every single hint and complexity.
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