ASTERGERE,PURIFICARE,DETERGERE

 

 

March, 08, 2019 - Astergere

March, 15, 2019 - Purificare

March, 29, 2019- Detergere

 

Purify, depurate, make beautiful, thin, smooth, polish, wash, make clean, disinfect, lighten, clean up, sweep, free, scrub, scrape.

 At the time of its presentation in the spaces dedicated to art, the work needs to complete an astersion process from impurities, to be perfected before its "implementation".

Discarding means leaving unnecessary things behind. What happens if we re-evaluate the wastage as a form of active resistance to the ontological realness of the work of art?

The waste is part of the work and retains traces of its generative path.

Matter that detaches itself from the work or that which is left behind after a path of artistic materialization can find a new voice, take on the work in a phantasmatic way when it is unable to survive and perpetuate itself over time.

 

 

The project, divided into three acts, aims to mix the skills of each participant to extrapolate from their practices what has been removed, but which is still part of the work from which it derives. Each artist will present what is in his path between the residue and the work of art, between what is about to be forgotten and what should be preserved forever.

The aim of the exhibition is to reflect on the nature of the waste, on what is left behind after a process of polishing the work of art.

Inside the space, the artists will present a fragment, part of a process, reflecting on what remains of a physical or mental action that characterizes their artistic path, constantly evolving.

Each act is an exhibition in itself. A moment in which the residues mix and create new connections. In each event new contents and new works have been added, which will come into contact with the pre-existing dialogues.

Coordinated and curated by Andrea Barbagallo

Participant artists: Myvanwy Gibson, Andrea Barbagallo, Giulia Peretto, Alessandra Draghi, Lorenzo Brivio, Stefano Castello

 PRESS

 

Formeuniche

Andrea Barbagallo: Astergere, 2019. Three aluminium embossed patterned sheets 100x40cm each, two polaroid each, 

 hydraulic couplings. ph: Alessandra Draghi

Lorenzo Brivio: Astergere, 2019. Wood platform, painted degraded paper, collages. Variable dimensions.

ph: Alessandra Draghi

During the three exhibitions the artist authorized visitors to get on the platform, interact with it and leave scraps produced during the vernissage.

Over time the platform has been filled with beer bottles and handkerchiefs, making the work a pastiche of scraps of everyday life and scraps of artistic life.

Si ricorda del nostro unico incontro?

 

 

L’altra sera, nel piccolo locale poco illuminato delle vie del centro eravamo a due tavolini di distanza e mangiavamo lo stesso gelato al pistacchio.

Io la coppetta e lei il cono. 

Stavamo cenando con il gelato e ce lo siamo confessate poco dopo ridendo.

Si è avvicinata dicendomi che coltivava le rose nella casa di montagna della sua infanzia. Ha tirato fuori dal taschino, della sua bella giacca colorata, una foto stropicciata e consumata di una delle sue rose preferite. Si è seduta accanto me e ha iniziato, con enfasi, a raccontarmi quante variegature sono nascoste in questi affascinanti fiori.

Proprio come gli esseri umani, ogni colore, ogni striatura, ogni gambo e ogni spina dei fiori sono diversi e hanno una loro storia.

Devo ammettere di non essere una grande esperta in materia e quindi l’ho ascoltata con attenzione. Ho notato che, mentre analizzava i petali, la sua mente viaggiava con essi, ricomponendo ogni tassello dei suoi tempi passati.  

Mi ha descritto di come fino ai ventisei anni ha vissuto in mezzo alle montagne.

Mi ha raccontato di come i suoi genitori si sono spenti e si è raccontata, forse per rimarcare la realtà, di come pochi mesi fa è mancato suo marito. Ha parlato di case da sistemare e di carte da firmare. Non sapeva bene quali ricordi chiudere in soffitta.

Avrei voluto dirle che ci sono più possibilità di sopravvivere meglio se si riesce a sopportare bene la sconfitta non diventando cinici. 

La nostra memoria conserva solo quello che ritiene più degno da ricordare e sa di noi più di quanto immaginiamo. 

Potevo dirle tutte queste cose, invece le ho solo detto che secondo me la luce delle rose non si spegne neanche d’inverno. Mi ha guardata, mi ha sorriso e si è presa un altro gelato al pistacchio.

Giulia Peretto: La signora Delle rose, Purificare, 2019. 

Two texts have been included in purificare: one hanging on one of the walls. The other was inserted instead of the press release, so that people could take away a dialogue, a conversation, part of the artist's production.

In purifying new works have been added and consequently their location has changed. New waste, new dialogues

Myvanwy Gibson, Captivitas: Purificare, 2018. Dead plant, lcd screen.

ph: Alessandra Draghi

Detergere, the last exhibition of the project, sees the collaboration of all participants, under the artistic direction of the artist Alessandra Draghi, in order to create a fanzine that would collect textual and visual residues of each. The fanzine is the message, the only remnant of a path aimed at exploring the nature of the work from the point of view of waste, the ghostly objects belonging to the finished work of art. In addition to the texts and images, a visual work created by the curator Stefano Castelli, underlining the importance of mixing the roles of the individual participants and giving everyone a different voice in the spaces dedicated to art.

Stefano Castelli, Lo scarto e il residuo come forma di disobbedienza civile, 2019.