Exhibitions, Indonesia, Jakarta, 14 July 2010
Paper Heroes - Giuseppe Ciracì - Gianni Moretti
Paper Heroes is an exhibition featuring two solo voices structured in a series of works on paper.
Giuseppe Ciracì (Brindisi, 1975) has a technique that focuses on the visible and the invisible, on the split created by the materials almost as if it were a laceration of the film-like surface and on the “skeleton and skin” alternation, and is endowed with a poetic code that is both knowledgeable and extended in time. Often his pencil works involve a dynamism multiplied by several sheets of paper containing an organised repertoire of information that make up a single narration. In the central installation at Gaya Art Space, sixteen paper modules are arranged in such a way as to orchestrate and proportion the almost total absence of physiognomic traits, all the way to the constipation of aggregations consisting of specific details arranged in casual order, but rationalised, around the paper where there is the central head, almost as if to narrate the impossibility of an encounter occurring between the full body and the tactile relationships, between the self and between the self and the other. In this line of tension, the artist finds the right climate for the resurrection of a unique and non-judgeable style, capable of generating eroticism even in the maniacal definition of a bone structure or in the persistent lightness of specific anatomical detail. Ciracì’s primary objective is the walk towards the essence combined with the construction of double presences where action and thought cohabit. The dispossession of the identity of the subject that is being represented by subjecting it to a trimming occurs through the contraction of the methodical fracture of his artistic code, which aspires to achieve a state of transparency.
Gianni Moretti (Perugia, 1978) carries out an investigation heading in the direction of the indefinable by drawing, for his works, from the reality of perception, while aspiring to be more than what they appear to be. His works always give the impression that they can be transformed into something else, coaxed into a new life, to gain renewed dignity. Requiem (365 singhiozzi per Dawson – “365 Hiccups for Dawson”) is a site specific installation the artist made while residing at the Mongin Art Centre of Seoul. It is a work based on the fragmentariness of de-construction, on the poetics of the reutilisation of memory and expectation. The figure-matrix of the work is shaped by and originates from Greek statue sculpting, which the young artist from Perugia draws and saturates with ink before pressing it onto the single sheets of a Korean calendar that has been unrolled backwards, from 31 December to 1 January. The work oscillates over an artistic practice intended as a continuous exchange between the visible and the invisible and over the infinite possibilities of retinoic perception that seesaws away to give place to sensations that are more extreme and concealed, to ancient codices that have been redefined with a view to achieving the necessary and obsessive vision of an acute, personal and extremely contemporary view.
Memory and expectation may lead to resurrection or rebirth, they may become the witnesses of a redemption, of an unexpected opening to life. In his pounces as well as in his monotypes there continuously emerges the expectation of redemption, of resurrection. There is a feeling of redemption in his works, an eschatological expectation that is engrained in the nature itself of art that opens up the possibility of resurrection intended as a re-flowering and a sprouting in new directions, as a dissemination of a change in the order itself of things with a view to keeping under check, in those very folds, the unwieldy enchantments and pleasures. This process Moretti triggers helps us seize the enormous variety and complexity that can be concealed, folded up, within a simplicity that is only apparently straightforward.
Paper Heroes is an exhibition featuring two solo voices structured in a series of works on paper.
Giuseppe Ciracì (Brindisi, 1975) has a technique that focuses on the visible and the invisible, on the split created by the materials almost as if it were a laceration of the film-like surface and on the “skeleton and skin” alternation, and is endowed with a poetic code that is both knowledgeable and extended in time. Often his pencil works involve a dynamism multiplied by several sheets of paper containing an organised repertoire of information that make up a single narration. In the central installation at Gaya Art Space, sixteen paper modules are arranged in such a way as to orchestrate and proportion the almost total absence of physiognomic traits, all the way to the constipation of aggregations consisting of specific details arranged in casual order, but rationalised, around the paper where there is the central head, almost as if to narrate the impossibility of an encounter occurring between the full body and the tactile relationships, between the self and between the self and the other. In this line of tension, the artist finds the right climate for the resurrection of a unique and non-judgeable style, capable of generating eroticism even in the maniacal definition of a bone structure or in the persistent lightness of specific anatomical detail. Ciracì’s primary objective is the walk towards the essence combined with the construction of double presences where action and thought cohabit. The dispossession of the identity of the subject that is being represented by subjecting it to a trimming occurs through the contraction of the methodical fracture of his artistic code, which aspires to achieve a state of transparency.
Gianni Moretti (Perugia, 1978) carries out an investigation heading in the direction of the indefinable by drawing, for his works, from the reality of perception, while aspiring to be more than what they appear to be. His works always give the impression that they can be transformed into something else, coaxed into a new life, to gain renewed dignity. Requiem (365 singhiozzi per Dawson – “365 Hiccups for Dawson”) is a site specific installation the artist made while residing at the Mongin Art Centre of Seoul. It is a work based on the fragmentariness of de-construction, on the poetics of the reutilisation of memory and expectation. The figure-matrix of the work is shaped by and originates from Greek statue sculpting, which the young artist from Perugia draws and saturates with ink before pressing it onto the single sheets of a Korean calendar that has been unrolled backwards, from 31 December to 1 January. The work oscillates over an artistic practice intended as a continuous exchange between the visible and the invisible and over the infinite possibilities of retinoic perception that seesaws away to give place to sensations that are more extreme and concealed, to ancient codices that have been redefined with a view to achieving the necessary and obsessive vision of an acute, personal and extremely contemporary view.
Memory and expectation may lead to resurrection or rebirth, they may become the witnesses of a redemption, of an unexpected opening to life. In his pounces as well as in his monotypes there continuously emerges the expectation of redemption, of resurrection. There is a feeling of redemption in his works, an eschatological expectation that is engrained in the nature itself of art that opens up the possibility of resurrection intended as a re-flowering and a sprouting in new directions, as a dissemination of a change in the order itself of things with a view to keeping under check, in those very folds, the unwieldy enchantments and pleasures. This process Moretti triggers helps us seize the enormous variety and complexity that can be concealed, folded up, within a simplicity that is only apparently straightforward.
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