MIART 2016 | Milan, April 8 - 10, 2016

  • Installation view, work in progress, Miart, Milan 2016

MIART 2016
BOCCANERA, Trento + AMT, Bratislava

(for the english version, please scroll down)

Saremo presenti a MIART, Milano 2016
Fiera Internazionale d’Arte Moderna e Contemporanea
8 - 10 aprile 2016 
Sezione: Established, Contemporaneo, Pad. 3, Stand D12
Artisti: Nebojša Despotović, Petra Feriancová, Richard Loskot, Vlad Nanca
Progetto espositivo: "The Corporeality of an Image"
Ingresso: viale Scarampo, gate 5
Per ulteriori informazioni: MIART

(english version)

We will be present at MIART, Milan 2016
International Modern and Contemporary Art Fair
April 8 - 10, 2016
Section: Established, Contemporaneo, Pav. 3, Booth D12
Artists: Nebojša Despotović, Petra Feriancová, Richard Loskot, Vlad Nanca
Project: "The Corporeality of an Image"
Entrance: viale Scarampo, gate 5
For more informations: MIART

The Corporeality of an Image.

An image is a two-dimensional entity proper to an ideal space. It is possible to reproduce it without any sort of loss. Its space is neutral most of the time – a white wall, a white paper, a white wall once again, a white screen. But when one reproduces an object he or she is never completely able to simulate the identical space in the same way that one is able to perceive any kind of a wall as the one and the same wall every time. An image tends to cast the attention onto itself, onto what is within it; not where, on what or how it is positioned. Its role as an object is secondary to its quality of forming an image. But once we hang it, it becomes material and thus vulnerable. Its core, the image itself ceases to exist, it exists as matter, a body or an object. Hence images are only those that exist, even though they cannot be seen. That, which we see is an index, an internet, a reproduction. My images are wrapped, hidden away, rolled up – there are many and they are a mere reflection, a memory of them. Perhaps I can dig up the first contact print. Only a few traces from the first decade of this millennium remain; or rather they are mere arbitrary relics.
Richard Loskot works with fiction about the material essence of an image that can be perceived only within a certain circumstance. His spaces thematize the presence – absence, in which we cease to be able to distinguish actual corporeality of a staged circumstance; whether it is a reflection or a projection. Everything becomes real. His work with photographic technologies and blue printing is interesting, if a little antagonistic.
Petra Feriancová contemplates themes of existence, living and relicts in her work with the archive, found imagery and its subsequent resuscitation and appropriation of a corporeality.
Nebojsa Despotovic works with the medium of painting – he predominantly objectifies in the two-dimensional space. He installs his canvases without framing them – the paintings are deprived of the conventions of margins and become, as if, flatter, but nonetheless much more objects that can be folded, assembled, layered or rolled up.
Vlad Nanca presents a minimalist sculpture inspired by the projects of Superstudio; the work on display at Miart is seen as a reversal of the gallery as a white cube, basically the gallery turned inside out, the whole (art) world turned inside out. It is also a totemic piece, an homage to the heroes of the grid in the art and architecture history (Malevich [...] Klee [...] Mondriaan [...] Sol LeWitt [...] Donald Judd [...] Richard Serra [...] Superstudio [...] Enzo Mari [...] )