Exhibitions, Italy, Milano, 27 October 2016
A suitable distance
Edited by Angela Madesani
From October 27 to December 23
Paint 27 October 2016 h.18
The artist will be present
Hours: Monday to Friday from 11 to 18.30
Concept: SR Contemporary Art, info@sabrinaraffaghello.com
Catalog: the limited edition artist's book
Press Contacts: info@sabrinaraffaghello.com
The exhibition:
For his first solo show in the gallery Sabrina Raffaghello Contemporary Art Alessandra Baldoni has a project freely adapted from Franz Kafka's Stories by Angela Madesani.
Pictures taken at a distance of Angela Madesani
A safe distance is the title of the exhibition by Alessandra Baldoni. The reference is first and foremost a way of being the artist and then of the beholder, is a kind of omen. These works, made in the last year, dedicated to the prose of Franz Kafka, to some stories, long, short, and in a novel. The first easy, since misreading, would be to find a picture in the images of the writer's texts Prague: A Hunger, The Metamorphosis, The den, Trees, Before the Law, The Knight of the bucket, The Emperor's message, in the penal colony, The process.
The picture, however, is born to an intimate need, domineering artist to be able to make what has metabolized, he has done just a series of writings of one of the most complex of the twentieth century writers. Baldoni not slavishly follows a written record. She does not care. "I always try to hang me with words like an acrobat and get me out of the visions, feelings. Closed, infected, loneliness, abandonment, music, downtime, broken time, apple, ruin. These are some of the words on which I placed the images. " Through the story, Kafka manages to give us the existential split, unthinkable to simply return with images. We must keep, in fact, at a safe distance, and then develop their own ways, as did Baldoni, the images that are suggestive, that give life to the atmosphere, to spaccati.Il story from which the match is A Hunger. A man fasts for trade, to excite an audience, looking for strong sensations. It's a circus, a so-called freak, lives in a cage. An impresario is enriched behind him.
But people, you know, soon tires and slowly the audience passes in front of his cabin without notice him. The man's reaction is to go out day after day, like a candle and then disappear. One wonders what prompted him to become a fasting? The fact that no food he liked. The answer is surreal, unbelievable. There is an irony of fund that we find in many areas Kafkaesque. When the fasting dies, the cage is empty and in its place comes a panther, which, however, eat hungrily. In more than a point of writing back the word melancholy. It is the melancholy of everyday life, the inexorable existence obsession that marks the lives of some of us. The story is especially timely, basically speaking audience, successful and neglect. I am reminded of a tragic character of Charlie Chaplin, the clown Calvero of Limelight, acclaimed before and then forgotten by the capricious public.
The impresario is present only in the first two photos. In the last remains of the residues of doors, windows and a clock. They are staging polite, a few items, but essential, immediately recognizable.
When you publish The Metamorphosis, his most famous story, in 1915, by the publisher Kurt Wolff in Leipzig, the writer prefers that is not shown on the cover the large insect as indeed within the volume. In Baldoni photo everything is covered with cellophane, is a kind of distancing from things. A character dressed in a black evening dress populates the scenes. Not always possible to give an explanation of things. The real protagonist is the time, what inexorable existence. An alarm clock punctuates our moments. At the bottom of ours is nothing but a journey toward death and is now evening. So Salvatore Quasimodo.
In his sets the stories are staged in an entirely personal way, symbolic.
"They used to say that I write small scripts for a click, writing is the diary of
card from which the visions come alive. Are essentially a storyteller, I love stories, I try, the steal, the stir the scompongo. Writing is the backbone that supports images. "
The characters are dressed in a special way with period costumes, but his is not an accurate reconstruction. Something must be left to the imagination of the beholder, not all is revealed. The viewer has an active role.
Some jobs are constituted by a series of images, others by one. So for the novella The den. An animal, a man can not know, lives in a den that has been built. But perceived noise, which can not distinguish. It senses the presence of a beast, who runs away. It's a metaphor here too the human condition, of certain beings who live far away, protected from the world inside their lair, afraid to sense other presences. An arm extends from a sort of white construction. It is a job that has a few tricks. It's all very simple, no exaggerations whatsoever.
Among the most intensive work, one dedicated to the short story of the 1903-1904 trees, almost in the form of poetry, which apparently mentions, as the trunks in the snow are humans. It would seem that one breath of wind can blow them away. Instead it is not possible, because they are firmly attached to the ground. But it is certain? Because this is, perhaps, only a semblance. A young man is on the corner of a room marked by the course of time. Or lift up his eyes to the viewer, his feet are two die-cut wood, light and easily removable.
Before the law of 1914, is a tale parable, which will then be inserted in The process,
some years later. It is an attempt by a man of the field to get to the law. To do this he must pass through a doorway, in front of which is a guardian who scares him explaining that, over the threshold, it is even more difficult to get there. The man decides to wait, but as time passes. Just before his death the Guardian reveals that: "This could not get any more, since this door was intended for you, and to you only. And now I'll go and close it. " It is the story of each of us. We're not that of "just", to paraphrase the title of a beautiful song by Giorgio Gaber.
The rider of the bucket is constituted by a series of four photographs. The first and last are desolate landscapes, melancholy. A poor man asks for a coal bucket to coal to warm up. When the wife of the trader realizes that the man has no money to pay, he denies coal. The man goes away riding his empty bucket, probably towards the death. Are melancholy images cool tones of gray, blue, light blue. Here too, the protagonist is a man in his animal condition only.
In some ways closer to the latter is the series of images of the emperor's message, a story of 1917. The emperor is dying, a crowd attends his death, but also relies on a messenger message to be delivered to a "miserable subject." Message that will never arrive at their destination, because the messenger is lost in the maze of the majestic Imperial Palace. It seems to be able to find references to the Hapsburg Empire sunset. Franz Joseph died in 1916, confined to the simple iron bed in his room in the palace pompier style, built to celebrate a pomp now running out. Baldoni in the images is like a blow up, a retail approach: a landscape with a tree and a distant figure, so the emperor's face, a young man, then focus on an iron glove, surrounded by flowers and a roll of paper, which presumably contains a message.
Baldoni goes beyond the appearance of writing, trying to grasp the hidden meanings. If the machine for torture might appear at the core of the Penal Colony. So it is not for her, that reads this as a dramatic device that chooses not to represent. The subject of the story is, rather, the guilt, the condemnation in unfair as subjective judicial system, in which it is to dominate man's frustration. In the photos are people, landscapes. "I superimposed the figure of the doomed soldier and officer. In the story at some point the roles are reversed, the officer (who twice washes his hands) free the soldier convicted and put in its place.
The soldier takes part in operating the machine, do not run away, escaped death. It remains there, inside the show incomprehensible death. At the bottom are both sentenced to blame unnamed, like all of us, what matters is only that flesh and blood are the price to pay at a higher verdict. "
A series of images have also been dedicated to the novel The Trial, he released unfinished in 1925, after the death of the writer, who wished were burned. Here there are two attitudes, one of passive acceptance of non-operation, devoid of any logic, the other of rationality and lucidity on the part of Josef K., accused, arrested and tried for mysterious reasons. of this extraordinary images are made by Orson Welles in his film dedicated to the work of Kafka. They are images of anguish, closing, just like those of Baldoni.
Baldoni manages to emphasize the surreal, the absurdity of the situation. The protagonist of the image is covered by a paper mask, which prevents him from looking around to finally be placed in a large room with his hands and feet tied, again without a look. It is impossible to clarify, unable to extricate themselves. Everything is too deliberately complex. Give meaning to our existence is often bankruptcy, swallowed daily in a mechanism by which it is difficult, perhaps impossible to escape
Edited by Angela Madesani
From October 27 to December 23
Paint 27 October 2016 h.18
The artist will be present
Hours: Monday to Friday from 11 to 18.30
Concept: SR Contemporary Art, info@sabrinaraffaghello.com
Catalog: the limited edition artist's book
Press Contacts: info@sabrinaraffaghello.com
The exhibition:
For his first solo show in the gallery Sabrina Raffaghello Contemporary Art Alessandra Baldoni has a project freely adapted from Franz Kafka's Stories by Angela Madesani.
Pictures taken at a distance of Angela Madesani
A safe distance is the title of the exhibition by Alessandra Baldoni. The reference is first and foremost a way of being the artist and then of the beholder, is a kind of omen. These works, made in the last year, dedicated to the prose of Franz Kafka, to some stories, long, short, and in a novel. The first easy, since misreading, would be to find a picture in the images of the writer's texts Prague: A Hunger, The Metamorphosis, The den, Trees, Before the Law, The Knight of the bucket, The Emperor's message, in the penal colony, The process.
The picture, however, is born to an intimate need, domineering artist to be able to make what has metabolized, he has done just a series of writings of one of the most complex of the twentieth century writers. Baldoni not slavishly follows a written record. She does not care. "I always try to hang me with words like an acrobat and get me out of the visions, feelings. Closed, infected, loneliness, abandonment, music, downtime, broken time, apple, ruin. These are some of the words on which I placed the images. " Through the story, Kafka manages to give us the existential split, unthinkable to simply return with images. We must keep, in fact, at a safe distance, and then develop their own ways, as did Baldoni, the images that are suggestive, that give life to the atmosphere, to spaccati.Il story from which the match is A Hunger. A man fasts for trade, to excite an audience, looking for strong sensations. It's a circus, a so-called freak, lives in a cage. An impresario is enriched behind him.
But people, you know, soon tires and slowly the audience passes in front of his cabin without notice him. The man's reaction is to go out day after day, like a candle and then disappear. One wonders what prompted him to become a fasting? The fact that no food he liked. The answer is surreal, unbelievable. There is an irony of fund that we find in many areas Kafkaesque. When the fasting dies, the cage is empty and in its place comes a panther, which, however, eat hungrily. In more than a point of writing back the word melancholy. It is the melancholy of everyday life, the inexorable existence obsession that marks the lives of some of us. The story is especially timely, basically speaking audience, successful and neglect. I am reminded of a tragic character of Charlie Chaplin, the clown Calvero of Limelight, acclaimed before and then forgotten by the capricious public.
The impresario is present only in the first two photos. In the last remains of the residues of doors, windows and a clock. They are staging polite, a few items, but essential, immediately recognizable.
When you publish The Metamorphosis, his most famous story, in 1915, by the publisher Kurt Wolff in Leipzig, the writer prefers that is not shown on the cover the large insect as indeed within the volume. In Baldoni photo everything is covered with cellophane, is a kind of distancing from things. A character dressed in a black evening dress populates the scenes. Not always possible to give an explanation of things. The real protagonist is the time, what inexorable existence. An alarm clock punctuates our moments. At the bottom of ours is nothing but a journey toward death and is now evening. So Salvatore Quasimodo.
In his sets the stories are staged in an entirely personal way, symbolic.
"They used to say that I write small scripts for a click, writing is the diary of
card from which the visions come alive. Are essentially a storyteller, I love stories, I try, the steal, the stir the scompongo. Writing is the backbone that supports images. "
The characters are dressed in a special way with period costumes, but his is not an accurate reconstruction. Something must be left to the imagination of the beholder, not all is revealed. The viewer has an active role.
Some jobs are constituted by a series of images, others by one. So for the novella The den. An animal, a man can not know, lives in a den that has been built. But perceived noise, which can not distinguish. It senses the presence of a beast, who runs away. It's a metaphor here too the human condition, of certain beings who live far away, protected from the world inside their lair, afraid to sense other presences. An arm extends from a sort of white construction. It is a job that has a few tricks. It's all very simple, no exaggerations whatsoever.
Among the most intensive work, one dedicated to the short story of the 1903-1904 trees, almost in the form of poetry, which apparently mentions, as the trunks in the snow are humans. It would seem that one breath of wind can blow them away. Instead it is not possible, because they are firmly attached to the ground. But it is certain? Because this is, perhaps, only a semblance. A young man is on the corner of a room marked by the course of time. Or lift up his eyes to the viewer, his feet are two die-cut wood, light and easily removable.
Before the law of 1914, is a tale parable, which will then be inserted in The process,
some years later. It is an attempt by a man of the field to get to the law. To do this he must pass through a doorway, in front of which is a guardian who scares him explaining that, over the threshold, it is even more difficult to get there. The man decides to wait, but as time passes. Just before his death the Guardian reveals that: "This could not get any more, since this door was intended for you, and to you only. And now I'll go and close it. " It is the story of each of us. We're not that of "just", to paraphrase the title of a beautiful song by Giorgio Gaber.
The rider of the bucket is constituted by a series of four photographs. The first and last are desolate landscapes, melancholy. A poor man asks for a coal bucket to coal to warm up. When the wife of the trader realizes that the man has no money to pay, he denies coal. The man goes away riding his empty bucket, probably towards the death. Are melancholy images cool tones of gray, blue, light blue. Here too, the protagonist is a man in his animal condition only.
In some ways closer to the latter is the series of images of the emperor's message, a story of 1917. The emperor is dying, a crowd attends his death, but also relies on a messenger message to be delivered to a "miserable subject." Message that will never arrive at their destination, because the messenger is lost in the maze of the majestic Imperial Palace. It seems to be able to find references to the Hapsburg Empire sunset. Franz Joseph died in 1916, confined to the simple iron bed in his room in the palace pompier style, built to celebrate a pomp now running out. Baldoni in the images is like a blow up, a retail approach: a landscape with a tree and a distant figure, so the emperor's face, a young man, then focus on an iron glove, surrounded by flowers and a roll of paper, which presumably contains a message.
Baldoni goes beyond the appearance of writing, trying to grasp the hidden meanings. If the machine for torture might appear at the core of the Penal Colony. So it is not for her, that reads this as a dramatic device that chooses not to represent. The subject of the story is, rather, the guilt, the condemnation in unfair as subjective judicial system, in which it is to dominate man's frustration. In the photos are people, landscapes. "I superimposed the figure of the doomed soldier and officer. In the story at some point the roles are reversed, the officer (who twice washes his hands) free the soldier convicted and put in its place.
The soldier takes part in operating the machine, do not run away, escaped death. It remains there, inside the show incomprehensible death. At the bottom are both sentenced to blame unnamed, like all of us, what matters is only that flesh and blood are the price to pay at a higher verdict. "
A series of images have also been dedicated to the novel The Trial, he released unfinished in 1925, after the death of the writer, who wished were burned. Here there are two attitudes, one of passive acceptance of non-operation, devoid of any logic, the other of rationality and lucidity on the part of Josef K., accused, arrested and tried for mysterious reasons. of this extraordinary images are made by Orson Welles in his film dedicated to the work of Kafka. They are images of anguish, closing, just like those of Baldoni.
Baldoni manages to emphasize the surreal, the absurdity of the situation. The protagonist of the image is covered by a paper mask, which prevents him from looking around to finally be placed in a large room with his hands and feet tied, again without a look. It is impossible to clarify, unable to extricate themselves. Everything is too deliberately complex. Give meaning to our existence is often bankruptcy, swallowed daily in a mechanism by which it is difficult, perhaps impossible to escape
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