Rummaging in the old trousers, faded chess. Dark stains on the pockets hem after years and years of sweaty hands. A rectangle of sugar-stuck nuts crumbles in the plastic wrap. Eating too much, too much junk. Buying low-calories frozen food. I weigh myself naked in the morning, right after taking a shit.
Paolo Brambilla: I wanna be where the people are
February 6 - February 17, 2018
The bathroom scale says I lost a pound and a half. A Kinder Pingui for little Judy, her long face is all shimmering lam fabric. Crunchy candy peanuts, sentimental portrait. On my lips and teeth, the rough texture of the first corner. Eyes shut and short breath. Five euros and five cents for the woman at the checkout: a grim matte color, undiluted, deep slate. Airport's prices choke you. With no competition everybody bums. Porn shelf, cellophane girls stunned from their tangible goods. In their churches under a metal-sheet roof Caribbean loudly proclaim the imminent end of the world in patchouli hills of foam. Stretched in a fiberglass tub, nailed flat on the bottom of the world. perry_como_because.mp3. Tingling scalp, the eyes-skin pinches. Because-You-are-miiiine.
Paolo Brambilla (Italy, 1990) studied at Accademia di Belle Arti di Brera and Koninklijke Academie voor Schone Kunsten, Gent (Belgium). His multidisciplinary artistic practice makes use of speculative processes and formal permutations, assuming or distorting different formats of production and reproduction in order to address the infinite cycles of assimilation, dispersion and transformation of the cultural product. His work is marked by speeches, perhaps even haunted by the ghosts of previous states. By taking forms and shapes, following different pathways, mimicking movements, by shadowing and repeating gestures, He has established a rich and dense vocabulary of materials, symbols and references, associatively moving between a variety of historical registers. An art object as a mold of multiple approaches. Or, in other words still, the artistic process as an amalgamation, a synthesis of radically diverging scales, rhythms and sources into a (seemingly) congruent whole that is an art object. Among his recent projects: StraightUp@ExtraDry, Dry, Milan, video program curated by Paola Clerico, Capriccio, Museo Ettore Fico, Turin; La seconda notte di quiete, DepositoA, Verona, curated by Christian Caliandro; SUPERHYPHENATION, Poppositions 2017 Don't agonize, organize!, ING Art Center, Bruxelles, curated by Niekolaas Johannes Lekkerkerk; Open Call Club, Galeria Cavalo, Rio de Janeiro, curated by Jonas Lund.