STANZE XI edizione - Rooms XI edition

DAILY UTOPIAS
Project of Wanda Nazzari
By Rita Pamela Ladogana

Alessandro Biggio, Attilio Della Maria, Zaza Calzia
Stefano Grassi
, Angelo Liberati, Wanda Nazzari

Community Centre of Art and Culture Castle of San Michele - Cagliari
From October 9 to November 14 2010

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Daily utopias is a complex theme chosen for XI edition of the Rooms. Term “utopia” lets a lot of space for the interpretative freedom. During the centuries, this word assumed different meanings like hope, dream, aspiration, like a limiting value, as an unfeasible project and unreachable goal, and also like positive meaning of renewal, original idea and,therefore, alternative propose.

There are six artists invited this year to realize their works for the Rooms, multimedia project created by Wanda Nazzari, which this year reaches it’s eleventh edition. There are “historic” artists like Attilio Della Maria who proposes reflection about alienation and loss of identity of contemporary human and who finds an escape route in utopian universe which works by mechanisms of dreams. Angelo Liberati presents a complex network of relationships that unites memories and present emotions, in the positive way standing out against false cohesion of motion of images that overcomes us in our daily life. For Wanda Nazzari daily utopia turns into deep introspection, which celebrates a cathartic way of spiritual drama that burns from life and in daily experience burns down into the life. Propose of Stefano Grassi has strong visual and emotional impact, seems that he finds a solution for internal discomfort only when manages to take refuge in the dream of return into this safe place, where we live protected before coming into this world. Alessandro Biggio, the youngest of this group, tries to hide fears and doubts which insinuate us in every moment of daily life, with a concrete transposition of the abstract concept of rational control. Opposed Zaza Calzia, with more years of life and experience, removes every fear arriving at dimension dominated by exuberant fantasy that leads every her creative act, managing to manipulate daily life

 

Rita Pamela Ladogana

Artists


stanze_21Wood, plexiglass, ash, painted paper, scraps obtained from panels of wood fiber, gres and carbon are materials collected by Alessandro Biggio in abstract compositions dominated by order and formal clarity. Sculptural projects, as their rhythmical- dynamic disposition in the space, respond mainly to demands of inner feelings; concrete transposition of the abstract concept of rational control. A control that can be avoided. Casualness isn’t sacrificed through and through on the altar of rigid calculation. A gesture, that rules a hand of the artist to draw disorderly signs, which carve plexiglass, is spontaneous and immediate; direction of lines designed with carbon creating circular movements is totally free; also contours of splashes of color which invade paper supports are visibly irregular. Uncertain borders of irregular forms of sculptures realized with ash, material used by Biggio already several times in the past. Fragile sculptures, because fragility characterizes the material they are made of. Works is susceptible to have symbolic senses, are strictly tied to the nature of the material. Ash as a metaphor of fragility of any material form and, thus a motivating force for a reflection about a transience of life.  All installation is a metaphor of light and transient border between cold rationality and passion, but also between known and obscure.
This mysterious is evoked by the title Hic sunt leones, expression used to indicate unexplored territories beyond known borders, plausible illusion of fear and confusion that insinuate us in every moment of daily life.


stanze_17The relation between Zaza Calzia and collage is forty years long story. A research of balanced and gentle geometric plot seems to be the primary objective. Balance and lightness are the dominant motions of the creative universe of Zaza Calzia.
Letters cutted from magazines, called also “le lettres découpées”, establish predominant motive around of which turn her researches of sense of movement and color. Deconceptualized and reassembled letters. Alphabetical signs that lose any value and are first of all iconic signs in their obvious concreteness. Do not have any connection with literary field, referable to experience of Visual Poetry, but live as autonomous signs not involved in the organization of language. Rhythm and balance only apparently order casual composition. Sculptures of collage maintain their vertical rush composing a tricky puzzle; they follow numerous directions, like a sticks of Shanghai in ancient Chinese game, hanging in the air before falling down, before some movement can step in to disrupt a balance. It is an Espirit de finesse of Pascal to complete l’ Espirit de geometrie, as says a title of the opera.
As well as installation in the exhibition are exposed also five collage on the canvas, where memories of Russian suprematism mingle with echo of production of Kandinskij during the years of Bauhaus, also if Zaza Calzia avoids any rigid schematization, she is in favor of oscillating rhythm that responds better to her creative urges. Without doubts, a dimension, that artist wanted in her run away from everyday life, is a fantasy.


stanze_4In front of the opera of Attilio Della Maria you feel a sense of respectful distance and the same time of the interpretative anxiety. Seems that the most suitable metaphors to express immediate impression are those of silence and immobility.
Separation between the parts does not mean any disjunction on the narrative level. Interrelation explicates clearly in the profile looks of the lateral figures which intersect inside the large central compartment: complex universe of figures and symbols; refined combination of forms and colors. Every single element enters in rigid logic of the perspective construction. The perspective has its sense of spatial organization of the Renaissance. The intersection of the diagonals in the center coincides rigorously with a dominant figure: symbolic icon, something between mannequin of De Chirico without a face and identity and physiognomic distortions of Alberto Savinio. Anthropomorphic idol and in the same time obscure and unfathomable presence.
Are noteworthy also expressive power of the color, complementary contrasts and intensity of yellow which covers protrusion.


stanze_2Come back dreamer come back- with an emphatic repetition of the verb, is a title that without doubts helps us in the interpretative reading of the photographic work of Stefano Grassi. The scene is dominated by two naked bodies gathered in the fetal position, only seemingly bodies are “double”, in reality these are two different shots. Representation seems to be covered with the real time and space. The only information is in the game of curves and swellings that are a background of the figures, creating an effect of wet substance: plausible allusion to the consistence of amniotic liquid of the inside of maternal uterus. Artist draws himself in the situation of extreme fragility, calling for a necessity of defence that he finds only in the dream of return to primordial environment. Utopia for Stefano Grassi is a necessity of escape, getaway, landing in some illusory dimension that derives from a demand of complex internal research. Complex analysis that is an accomplice of a choice of self-portrait, expression of internal unease.


stanze_15There are four works realized by Angelo Liberati for The Rooms. Four separated places populated by images, colors, writings and materials, for a which borders of frames does not create a limit that isolate and force a field of representation. Places dialogue between them.
Angelo Liberati through his works demonstrates a necessity to narrate. A complex network of relations that is originated from the desire to fight with a false cohesion of the rush of images that we see around us every day. Past and present. Memories that crowd our memory, continuous citations from the past, from the spirit of juvenile years passed in Rome, before transferring in Sardinia, all this coexist with a freshness of real emotions. There are faces of Jean Seberg and Brigitte Bardot, tribute to Michelangelo Antonioni and memories about Bobby Kennedy. And also between fragments of images and texts there is a reference to historic roman library “Al Ferro di Cavallo”, symbol of cultural artistic and literary tempests of avant-garde of Rome between the end of fifties and the beginning of sixties.

stanze_3For sure, emotional impact is particularly strong. In front of installation of Wanda Nazzari you go through a polisensorial experience that as well as eyesight involves also olfaction, because of intense and pervasive smell of ground, and hearing, because of atmosphere wrapped in the refined silence. Sculptural elements emerge from an expanse of soil scattered on the floor that surrounds and partly covers them, in the same time conserving their plastic evidence. The installation becomes a map where you can follow ways relarded of inner drama, emotional instincts that from a life procreates and in the same life, in everyday experiences, pines. Form and nature establish dominant couple, develop complex and intriguing exchange of energies: ground, natural element that breaks into its truth in a context able to exalt physical specificity, that coexists with wooden sculptures drop-forged of industriousness and talent of artist.
In the sculptural forms of Nazzari, a central fulcrum of installation, an issue becomes more complex: material is entirely about to receive a color, overthrowing every limit between sculpture and painting. Intense color and light sprinkle incisions alluding to existing of a source of energy that lives in the center of inert substance. Metaphor of the soul that resurrects immediately recalled of the presence of the ground generator of life. Symbol of the soul that purifying raises.

 
 

Gallery




Project is supported by: Presidency of Autonomous Region of Sardinia, Department of Culture of the city of Cagliari, Fondation Banco di Sardegna; with collaboration with: Department of Culture of the city of Cagliari, Camù Centers of Art and Museums, Sirai Cooperative, Community Center of Art and Culture “Castle of San Michele”, University of Cagliari- Department of Archaeological and Historical-Artistic Sciences.

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Event organized in occasion of Contemporary Day

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Patronized by AMACI

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