Dimora Artica inaugurates the new exhibition place presenting Screen Tearing, a collective exhibition with works from seven artists born between 1988 and 1992. The exhibition project starts from the desire to investigate changes in perceiving reality through the works from a generation born and raised in a world dominated by the pervasiveness of technology and digital communication.

SCREEN TEARING
Artists: Agostino Bergamaschi, Davide Dicorato, Matteo Gatti, Francesco Pacelli, Marco Schiavone, Alan Stefanato, Natália Trejbalová
Curated by Dimora Artica
February 6 - March 7, 2019
DIMORA ARTICA, via Dolomiti 11 – Milano (MM1 Turro)

The increasingly widespread diffusion of computers, internet and smartphones has imposed new methods of storing and exchanging information, determining new ways of perceiving the world. The superabundance of information that comes from the web and their organization in screens and windows always available through mobile devices are opening new scenarios towards a fluid dimension where endless possible realities can be recalled with a click through a search engine or a hashtag.
As digital communication evolves, genetic engineering is spreading widely, making biological processes manipulable. Robotics becomes increasingly sophisticated, presenting machines and organic based devices able to interact seamlessly with people. In this scenario boundaries between true and false, natural and artificial decline in favor of a hybrid reality in which narrative fiction, biotechnologies and androids become constituent elements of contemporary reality.
Technology is becoming soft, ergonomic, light, efficient, but nevertheless areas of imponderability remain in which the distracted flow of images is interrupted in favor of a greater problematic aesthetic experience.
Influenced by recent technological transformations, last years’ artistic research expresses its cultural impact, without making a simple and banal copy but always focusing on the complexity of evolutionary processes, often combining craft techniques with futuristic shapes or slowing down the visual rhythm to engage the sight in a meditative dimension.
The phenomenon is similar to screen tearing, a digital mechanism for which an altered image is generated from two or more similar basic frames. The process, due to a difference in the refresh rate between source and monitor, generates a new and unexpected image, possible but not real, in which the error becomes an active subject in the generation of the form. Like an image generated by a screen tearing process, art creates moments of incongruity in the linearity of ordinary vision, stimulating attention and opening up to different interpretative possibilities.

In the works of Agostino Bergamaschi (Milan, 1990), the experimentation of materials and their combination merge with narrations in which time and space are continuously contracting and expanding. At Dimora Artica Bergamaschi presents two works in which an architectural element as a column meets a biological form in a transformation state. A thin column textured with skin effects is linked to a video, combining the horizontality of an animal that seems to emerge from the subsoil with the verticality of a classic Corinthian column, with a capital unexpectedly inhabited by fantastic shapes that refer to gothic art gargoyles.

The research of Davide Dicorato (Milan, 1991) starts by using forgotten objects and materials whose experiences have a strong value. These elements are re-elaborated in new combinations, assuming renewed identity and value. The resulting narrative, often stimulated by sensory impulses, is based on opposing associations and approaches. At Dimora Artica Dicorato presents two sculptures made by combining natural elements, resin, cement and various found objects, in which the contemporary ruins are reworked to assume a regenerative value.
The evolutionary processes and a horizontal vision of natural species and human artifacts are one of the area of interest of Matteo Gatti (Olgiate Olona, 1989). In his sculptures and installations he combines unusual materials and shapes from the mineral world and the biological sphere. At Dimora Artica Gatti presents sculptures created with Carolina Rossi Casanovas for the 2018 edition of Lajoneart, an artist's residency project curated by Irene Sofia Comi and Elda Maresca, with the technical support of Ve.Co Srl. Composed of a mixture of resin, salt and pigments, the sculptures show themselves as the spontaneous result of millennial geological sediments, in which organic forms hybridize with inorganic crystallizations.
The research of Francesco Pacelli (Perugia, 1988) takes origin from multiple spheres of contemporary culture, proposing formal syntheses with imaginative and deliberately ambiguous features. The theme of the relationship between human beings and their evolutionary perspectives of hybridization with technology, the nuances of meaning between natural and artificial, physicality and virtuality and the subtle dichotomy between appearance and reality are among his main investigation areas. At Dimora Artica Pacelli presents a work that stands as an imaginative vision of a hybrid and ambiguous entity in a transitory state between organic and inorganic, almost like a new species just discovered, a mutation due to a process of genetic manipulation or the result of an alteration due to nuclear activity.
Marco Schiavone (Turin, 1990) uses photography to develop a research focused on the perception and semantic value of images. Schiavone's photographs are the result of a slow and reflective performance tending towards formal clarity, generating a sort of temporal archive of scenarios that multiply and stratify in the sediments of our imagination. At Dimora Artica Schiavone presents an image that is the result of several inspections in a bankrupt shop. The two prints show different perceptual possibilities of the same repeated image, distinguished in the format and in the use of an opaque transparent sheet placed on one of them, blurred and fluctuating like a vague memory.
Influenced by biology books and by the natural world, Alan Stefanato (Trieste, 1992) creates paintings making the color emerge in order to hide brush signs. His introspective approach in the shaded and opaque effect recalls the vision of light filtered by eyelids. At Dimora Artica Stefanato presents a diptych made by soft shapes that hint to an elusive and indistinct spatial depth.

The focus of Natália Trejbalová's research (Košice, Slovakia, 1989) is the systematic evolution of visual representations, the way they are shaped by the actual and future technological progress and the potential speculative narratives they could generate. At Dimora Artica Trejbalová presents an image from the still life series called GR (2018).

Photo: Michelle Fanucci