Dimora Artica presents Upgrade, a collective exhibition showing the works of nine young emerging artists born between 1989 and 1997.
Artists: Giovanni Chiamenti, Filippo Cristini, Lorenzo D’Alba, Pietro Di Corrado, Alessandra Draghi, Giacomo Giannantonio, Matteo Messori, Viola Morini, Federico Polloni.
Curated by Dimora Artica
20 June - 7 September, 2020
Dimora Artica, Via Dolomiti 11 Milano
The project was born from the desire to investigate the different expressive methods developed in the most recent artistic production combining painting, sculpture, installation and video works. In compliance with the actual safety rules, the opening will take place during three days, from June 20 to 22nd from 4 to 10pm.
The mechanism of adaptation to the mutating environmental conditions is leading to a costant update of social habits, in a process similar to the necessary periodical upgrades of our technological devices. Difficulties due to the pandemic and the contextual measures of social distancing have transformed citizens' lives, spreading a greater affinity with the digital world and also making people more aware both of their bodies and of the processes of biological life. Collectively traumatic events accelerate social transformations, making society more aware of the interdependence between the different individuals with the surrounding environment, all bond in a complex ecosystem of bodies, images and thoughts. By investigating the present through artists’ individual imagination, art contributes to constantly reworking on collective consciousness, contributing to the metabolization of the changes taking place nowadays.
Giovanni Chiamenti's (1992) research starts from observing and listening to the landscape. One of his aims is to deepen the relationship between humanity and nature by creating a perceptual imbalance, altering the spectator’s point of view. The process consists in progressively creating a distance from the object, removing most of the spatial coordinates and keeping only the traces needed to capture the aura of the original element. For the show Chiamenti presents Overlayed Symbiosis, a video work based on the role and action of humanity into its ecosystem, conceived as an entity defined by a complex system of relationships and interdependencies, starting from the concept of "sympoiesis" by Donna Haraway.
Filippo Cristini's (1989) work mainly deals with history and philosophy from western culture through rielaborating images taken from contemporary visual imaginary. His latest works focus on the theme of the will to power, triggering an analysis on the image itself, investigating at the same time the concept of the myth and its shape. The works presented for the show are part of the Fitzcarraldo series, in which the jungle is identified as an objective correlative of the will to power while the smaller works express the potential condition of the will itself.
In his works Lorenzo D'Alba (1998) uses sculpting as a medium, which he conceives as an interrelation between traditional and experimental practices, in order to investigate the archetypal dimension of imagination and the related implications of the creative act.
For the show he is presenting two sculptures based on nature's ability to develop new shapes through metamorphosis, combining found objects and tapered spines, all made with papier-mâché and synthetic materials. Protuberances represent a recurring element in nature, rielaborated in this casee to shape a new out of the ordinary imaginary.
Fascinated by the history of art, architecture, design and more generally by shake themselves, the imaginary of Pietro Di Corrado (1995) tries to build a continuous visual grammar, analyzing the possible relationships between shake just apparently disconnected one from the other for temporal or cultural reasons. A sort of reworking and restitution of all that kinf of aspects is part of his work, whether it is an architectural artefact, a trivial object, a shop window, the graphics of a commercial product and so on; the synthesis is programmed according to a certain logic .
By analyzing and recomposing the characteristics of photography, Alessandra Draghi (1994) investigates the infidelity of a medium traditionally considered as objective. The alteration of the photographed subjects implies different meanings to read the images she creates. The two works she presents for the show are developed starting from studies based on the craftsmanship from the italian region of Trentino and Carnevale Ladino. Alessandra Draghi’s work focuses on the decontextualization and re-presentation of objects from cultural tradition, reinterpreted through the use of technological tools. Anthropomorphic sculptures are combined with corals and natural shells in delicate compositions, showing themselves as residues or finds. A print presents the image obtained through the digital re-elaboration of the 3D scan of some objects.
Giacomo Giannantonio's (1998) multidisciplinary practice is based on experimenting with various production processes, focusing on the energy of the individual work, on its meaning and on its formal complexity. The do-it-yourself approach, the use of materials belonging to the domestic sphere and pop imagination are primary needs in the construction of a single scenario, where sexuality and living spaces are the main actors. Entitled Lebenslauf, the work on display is a synthetic and natural self-portrait, organic waste and industrial product at the same time.
In his works investigates the disturbing shapes that marked the psychological growth of human physiognomy. For the show he is presenting paintings from the Antiforma series, in which a vaguely anthropomorphic shapes intersect at different additional levels, including landscapes, interiors and geometric shapes. In the Antiforma series, the artist wants to question the human condition, communicating man's powerlessness in relation to situations generated by himself.
Viola Morini's (1997) research mainly deals with the connections between everyday life and the subconscious, studying this relationship through systems that are able to put the practice itself in a state of crisis.
The work on display is a liberation ritual, both a strongly dreamed image and a game conceived to abolish austerity and to provide pleasure.
Federico Polloni's (1991) research starts from elements taken from collective imaginary, referring to a mystical symbolism that primordially combines the natural and artificial dimensions. Personal experiences are mixed with historiographic studies, in a pictorial practice poised between abstraction and figuration, in a continuous search for an objective synthesis and for an intrinsic truth.
The small works on paper presented for the show present strong chromatic contrasts, providing a dreamlike and imaginative synthesis of the elements depicted. Lights and shadows assume a theatrical and epic feature, accompanied by the vaporous and mechanical use of color.