The Superficial Essence of a Deep Appearance (Milan)

16 Jan - 16 Feb 2013, Artra Gallery, Milan (Italy)

“Contemporaries rightly tend to thin out excessive punctuation. But they are also willing to abolish it completely, at times in an excess of refinement, at times due to manifest ignorance.”
Francesco Flora)

 “The Artist must have the ability to experience. He or she must be able to live within forms. That is, on the basis of forms, the Artist must be capable of organizing himself inwardly in an entirely new way”.
So states Joseph Beuys in his historic conversation with Michael Ende in 1985 on renewal of society and the arts, as he reiterates his willingness to give explanations, but never to offer an interpretation.

In “THE SUPERFICIAL ESSENCE OF A DEEP APPEARANCE”, the Blue and Joy puppet shapes, establish themselves not only (as usual) as their own alter ego, but also by facing away from the door, thus becoming spectators of themselves and of their exhibit.

They supervise and monitor their new adventure, in this experience which is to visit an exhibition where fragments of linguistic discourse focus solely on punctuation. A form that expresses the entire dynamics of written language and that from its collocation produces deep logical clarity.

The graphic signs of punctuation which sustain a tone, indicate pauses, regulate the articulateness and architecture of thought, offering expression to the texts, manifest through their symbolic function all that a viewer can take away from a work of art: bewilderment, inquiry, doubt, reticence, admiration, awe, hesitation, suggestiveness, disapproval, suspended thoughts which are seeking words to express states of mind in a direct, immediate and instantaneous way.

And thus, the exclamation mark, the question mark, three ellipses (which in chat rooms and text messaging stand for silence due to confusion and/or disagreement), all become the subject of the painting.

Punctuation and spacing, as well as margins and frames, are part of the realm of typography and graphics, and as argued by French structuralism and most notably by Jacques Derrida, these elements have made images and texts readable. Punctuation, in its logical/syntactic construction, becomes the phrase, the pause, the emotion and thus, in addition to sustaining “the architecture of thought”, now becomes the synthetic and direct exhibit message.

The very large Masonite paintings (XXL) are made with an innovative mosaic. No longer golden and Byzantine mosaics but rather bas-reliefs made up of thousands of emptied, resinated fiberglass-like pills. The capsules, in their pharmaceutical single-dose form, appear as a hyper contemporary matter which in their linguistic definition, in their extensive social use, and through Hirst’s famous stylistic distinctiveness, live this life as pictorial material. Assembled and sprinkled on the floor, the pills become a large carpet, and directly in front of the triptych, demonstrate their high potential as an installation. A chromatic carpet that defines and directs the view, monochromatic backgrounds that fade away in a wide palette that directly envelops the viewer. We can certainly define them as Extra, hyper contemporary mosaics.

The Tribute to Alighiero e Boetti  (Omaggio a Alighiero e Boetti) and more specifically to his Aerei (1977), is an installation made of their aluminum paper planes that by virtue of their vertical landing, now take on the form of darts of a target which is the wall itself. Similarly, the paintings (together with the small airplanes) abandon their verticality, are detached from the wall, and explore their horizontal dimension: the floor.

Each piece aims to disorient space, has different trajectories as a goal, but using no special effects, wanting to connect and revolutionize space: from the wall to the floor, an idea that offers the viewer different perceptions to reaffirm THE SUPERFICIAL ESSENCE OF A DEEP APPEARANCE and wishes to reactivate the signs of punctuation, thus making them active and “obvious”.

Chiara Guidi