A single space for 4 artists who dialogue with each other on the concepts of waste, process and gesture. The first being Andrea Bocca, presenting his colorful paneling with industrial milling: if the boiserie canonically hides the detail that aesthetically creates annoyance, Bocca reproposes that metaphorical waste element putting it in the foreground and recognizing its fundamental function in an industrialized world.
On the same concept of scrap, but physical, dialogues Alessandro Agudio with an assemblage that celebrates the myth of Umberto Borile’s handicraft: “Ciao Umberto, ho riguardato le foto della moto. Al momento sembra troppo finita, fermerei qui l’assemblaggio. Lasciala senza catena e cambiamo il pignone, montiamo i fari originali”. According to a contract signed with Borile, the assemblage is meant to recall the idea of a motorcycle lacking fundamental elements to its operation such as the electrical panel and the seat. By emancipating the object from its physical function, the motorcycle becomes a sign of the idea, the real driving force that propels the artist on his path of creation.
Following the same logic is significant Silvia Mariotti’s work, who exhibits a work in two phases: on the ground floor the beginning of the creative process with 5 photos of cyanotypes of natural elements typical of Mariotti’s poetics. On the lower floor the final phase with “Drowning Lights”: a synthesis of the forms obtained from the cyanotypes that combine in an underwater dance.
Also on the lower floor are two sculptures by Gianni Caravaggio that tell us about predestination: “Il tempo mi scorre tra le dita” is made by a white bronze palm tree that embraces its earthly and real version in the classic binomial ‘Morieris,’ suggesting what its fate will be. “Un polpo e un calamaro si allontanano per incontrarsi dall’altra parte del globo” also talks about predestination but in a comfortable perspective, in which the two marine creatures are aware that by walking in a straight line on a sphere they will be destined to meet again. The concept of gesture becomes the mark of the artist, who is obliged to change the real palm every few days, precisely because his fate is sealed. And the hands through which time flows are perhaps then those of Caravaggio himself, who imagines a future in which the act of changing the living part of the work will be delegated to those who will be custodians of the work, testifying once again how art has a living spirit that is embodied as it goes, of which we can only be spectators.
Cremona Contemporanea | Art Week stems from the need to reaffirm in Italy and abroad the value of Cremona through a dialogue between its places and contemporary artists; the installations intends to open a dialogue between the local historical and artistic heritage and international contemporary art, transforming Cremona for a week into a place of experimentation, knowledge and discovery. Cremona Contemporanea | Art Week is a project promoted by the Culture Department of the City of Cremona, curated by art critic, curator and journalist Rossella Farinotti.
