Exhibitions, Italy, Trapani, Marsala, 23 December 2015
Fragment, piece, scrap, debris, particle, shred, splinter, fragment, crumb; all terms that instantly recall the non-unitary, the incomplete, all'interrotto. The monolithic culture of knowledge, of the great ideologies, philosophical systems (the last was that of Hegel) is dead. With the advent of the digital era, we have seen - and still are seeing - the endless proliferation of information, the propagation of total data, the universal spread of facts. The knowledge pyramid has given way to know who has fragmented his dark side in "mass culture" shallow, flat, standardizing and leveling.
The world, to paraphrase Jacques Derrida, has become a set of tracks that lead you to other tracks. No source, no beginning, no arché, no metaphysics. Behind things there are only other things; and so the Infinite. What once was called culture it has become a jumble of fragments in a huge enclosure that once was called truth.
Fragments in the fog, in the light of the current state of affairs, is an attempt to free art from the trap of nihilism, to restore the looted transcendence, to give her the task of elevating the human spirit; through the combination of fragments of art history and industrial archeology - and post-atomic doomsday scenarios where coexist, combined together, bits of culture with urban wrecks - proposes new mental spaces, new places, where you can escape from pollution mass media and by the prevalent oblivion (fog) that is invading the collective memory.
The smell of hot asphalt and heavy, metallic colors of carcasses of cars, wrecks urban, clouds of cement loaded with acid rain, coexist with fragments of works of art: Goya, Caravaggio, Mantegna, Turner, Boccioni, Manet, Le Corbusier, Rembrandt; fragments, the latter, which emerge from the depths where they were relegated from the "mass culture" that flattens everything and trivializes.
Peppe Denaro
Mazara del Vallo, on Aug. 6, 2015
The world, to paraphrase Jacques Derrida, has become a set of tracks that lead you to other tracks. No source, no beginning, no arché, no metaphysics. Behind things there are only other things; and so the Infinite. What once was called culture it has become a jumble of fragments in a huge enclosure that once was called truth.
Fragments in the fog, in the light of the current state of affairs, is an attempt to free art from the trap of nihilism, to restore the looted transcendence, to give her the task of elevating the human spirit; through the combination of fragments of art history and industrial archeology - and post-atomic doomsday scenarios where coexist, combined together, bits of culture with urban wrecks - proposes new mental spaces, new places, where you can escape from pollution mass media and by the prevalent oblivion (fog) that is invading the collective memory.
The smell of hot asphalt and heavy, metallic colors of carcasses of cars, wrecks urban, clouds of cement loaded with acid rain, coexist with fragments of works of art: Goya, Caravaggio, Mantegna, Turner, Boccioni, Manet, Le Corbusier, Rembrandt; fragments, the latter, which emerge from the depths where they were relegated from the "mass culture" that flattens everything and trivializes.
Peppe Denaro
Mazara del Vallo, on Aug. 6, 2015
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