Exhibitions, Italy, Pistoia, 06 July 2017
STUDIO 38 Contemporary Art Gallery, on Pistoia's Capital of Culture of Italy 2017 and in collaboration with Die Mauer Arte Contemporanea, is pleased to present the exhibition "RECOMPOSE, Carlo Colli interpreted by gallery Giulia Ponziani". Catalog in gallery with text by Lorenzo Cipriani
Opening Thursday, July 6 at 21.00 at STUDIO 38 Contemporary Art Gallery, Corso G. Amendola 38E, Pistoia
Shows schedule:
Monday - Friday 16.00 - 19.30,
Or by appointment info@studio38gallery.it
By Lorenzo Cipriani
Kintsugi is a Japanese practice, which allows to repair a broken vase by the application of varnishes added with gold or silver dust. For the Zen philosophy a fracture is like a wound that, repaired with a precious metal, gives to the object a superior beauty and harmony. The chance whereby the fractures are determined becomes the vehicle of a new aesthetic form. Daisetsu Suzuki – the great Zen master who, as a professor at the Columbia University of New York, teached John Cage too – affirmed that the oriental art represents the spirit whereas the occidental art represents the form. It was in the 1950’s, and since then nothing was the same; also the occidental art turned to the spirit and the concept became prime in comparison to the expression of the figure.
Recompose is one of the artistic practices created by Carlo Colli in the last years, the one adopted for his solo exhibition at the art gallery “Studio 38” in Pistoia: papers painted by a monochrome painting and ripped in parallel lines realized by the artist according to a randomness which becomes the generative reason of the work. The author of these rifts is also the one who recomposes them, by an American scotch tape (in this case in white color) stuck with such an aesthetic care that contributes to the creation of new forms completely unexpected. And so, from the randomness of the rip, through a process of a meticulous and wise restoration, emerges the artwork meant as a mental process of visual research. Using the letters H/M/S, the work’s titles indicate the time employed (in hours, minutes and seconds) for the recomposition of the ripped pieces.
In the central hall of the art gallery two papers are left to the interpretation of the gallerist who houses the exhibition. In this case the artist includes the gallerist in the creative process: Giulia Ponziani, as part of the world that is around an artwork, is called to extend this process outside the capacity of the artist. As well as some Carlo Colli’s “recompositions” extend outside the paper, also the genesis of the work itself can be extended to the players who are part of the contemporary art system.
Whereas, in the entrance hall, the artist wanted to pay homage to Pistoia, named this year Italian capital of culture. In this case the ribbed papers that welcome the visitor are in green color and the American scotch tape that recomposes them is in white: just like the alternation of green marble (Serpentine) of Prato and light limestone Alberese of historic religious monuments of Pistoia. The Romanesque style in Pistoia is a single unique, thanks to the use of two-colour, sometimes it is so exasperated to overshadow the strong vertical architectural scansion of the wall surfaces that composes the decorated and stained facades of these monuments. In particular the artist wanted to be inspired by the fourteenth-century “Battistero of San Giovanni in Corte” placing these two papers high on a wall, side by side, wanting to ideally transfer the vision of an architecture’s angular portion of the great monument inside the art gallery. And so the two-colour becomes a territory’s aesthetic symbol, but also a decorative motif to reinterpret by the recomposition of the rips according to a creative process that sees the artist immersing himself in the environmental context which hosts his exhibition.
Carlo Colli’s works are conceptual and they request a knowing of the premises behind their creation. At the same time these works have a strong abstract visual connotation, in the color values and in the materials used which are proper to the artistic practice: the paper, the excellence art support, the monochrome painting, the American scotch tape. Different materials used to compose countless forms whose visual experience is almost meditative, like the one we have inside a Zen garden or to listen a natural harmonic sound.
Opening Thursday, July 6 at 21.00 at STUDIO 38 Contemporary Art Gallery, Corso G. Amendola 38E, Pistoia
Shows schedule:
Monday - Friday 16.00 - 19.30,
Or by appointment info@studio38gallery.it
By Lorenzo Cipriani
Kintsugi is a Japanese practice, which allows to repair a broken vase by the application of varnishes added with gold or silver dust. For the Zen philosophy a fracture is like a wound that, repaired with a precious metal, gives to the object a superior beauty and harmony. The chance whereby the fractures are determined becomes the vehicle of a new aesthetic form. Daisetsu Suzuki – the great Zen master who, as a professor at the Columbia University of New York, teached John Cage too – affirmed that the oriental art represents the spirit whereas the occidental art represents the form. It was in the 1950’s, and since then nothing was the same; also the occidental art turned to the spirit and the concept became prime in comparison to the expression of the figure.
Recompose is one of the artistic practices created by Carlo Colli in the last years, the one adopted for his solo exhibition at the art gallery “Studio 38” in Pistoia: papers painted by a monochrome painting and ripped in parallel lines realized by the artist according to a randomness which becomes the generative reason of the work. The author of these rifts is also the one who recomposes them, by an American scotch tape (in this case in white color) stuck with such an aesthetic care that contributes to the creation of new forms completely unexpected. And so, from the randomness of the rip, through a process of a meticulous and wise restoration, emerges the artwork meant as a mental process of visual research. Using the letters H/M/S, the work’s titles indicate the time employed (in hours, minutes and seconds) for the recomposition of the ripped pieces.
In the central hall of the art gallery two papers are left to the interpretation of the gallerist who houses the exhibition. In this case the artist includes the gallerist in the creative process: Giulia Ponziani, as part of the world that is around an artwork, is called to extend this process outside the capacity of the artist. As well as some Carlo Colli’s “recompositions” extend outside the paper, also the genesis of the work itself can be extended to the players who are part of the contemporary art system.
Whereas, in the entrance hall, the artist wanted to pay homage to Pistoia, named this year Italian capital of culture. In this case the ribbed papers that welcome the visitor are in green color and the American scotch tape that recomposes them is in white: just like the alternation of green marble (Serpentine) of Prato and light limestone Alberese of historic religious monuments of Pistoia. The Romanesque style in Pistoia is a single unique, thanks to the use of two-colour, sometimes it is so exasperated to overshadow the strong vertical architectural scansion of the wall surfaces that composes the decorated and stained facades of these monuments. In particular the artist wanted to be inspired by the fourteenth-century “Battistero of San Giovanni in Corte” placing these two papers high on a wall, side by side, wanting to ideally transfer the vision of an architecture’s angular portion of the great monument inside the art gallery. And so the two-colour becomes a territory’s aesthetic symbol, but also a decorative motif to reinterpret by the recomposition of the rips according to a creative process that sees the artist immersing himself in the environmental context which hosts his exhibition.
Carlo Colli’s works are conceptual and they request a knowing of the premises behind their creation. At the same time these works have a strong abstract visual connotation, in the color values and in the materials used which are proper to the artistic practice: the paper, the excellence art support, the monochrome painting, the American scotch tape. Different materials used to compose countless forms whose visual experience is almost meditative, like the one we have inside a Zen garden or to listen a natural harmonic sound.
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