“Beyond the Object” and “Love at Last Sight” at Brand New Gallery, Milan
The term Anti Form, formulated by Robert Morris at the end of the ‘60’s marks the abandonment of the traditional concept of artistic production: a radical challenge that has catalyzed the attention towards new aesthetic models. Materials become the prominent elements of the artwork’s compositional process, prevailing on the necessity, essential in Minimalism, to plan and arrange beforehand.
The progressive ideas divulged through the Anti Form Manifesto, once considered subversive, are translated, today, in the theories that identify an increasingly globalized art structure.
Brand New Gallery departs from these assumptions to present Beyond the Object, a group show appositely conceived to combine works by artists with disparate backgrounds and from different generations, inevitably forced to confront themselves with production, exploring the interaction between composition and form which radically becomes an archetype endowed with its own language.
The artists employ a post-minimalist lexicon, occasionally pictorial, at times closer to installation and assemblage of daily materials, to underline the experiential role of art as a tool to generate new perceptive possibilities in the disoriented spectator. The act of creation coincides with the process of production. The relationship between the real space into which the spectator moves and the physical presence of the piece gains more and more importance for these artists who invite the public to interact with their works in a physical dialogue which allows an empirical recognition of the object.
Aaron Aujla, Gabriele Beveridge, Andy Boot, Sophie Bueno-Boutellier, Sarah Crowner, Robert Davis, Michael DeLucia, Tomas Downes, Ed Fornieles, Raphael Hefti, Julian Hoeber, Parker Ito, Sachin Kaeley, Wyatt Kahn, Barbara Kasten, Sean Kennedy, Jason Kraus, James Krone, Daniel Lefcourt, Tony Lewis, Lloyd Corporation, Andrea Longacre-White, Marie Lund, Dave McDermott, Matthew Metzger, Carter Mull, David Ostrowski, Virginia Overton, Michael Part, Hayal Pozanti, Noam Rappaport, Davina Semo, Lucien Smith, Chris Succo, Mika Tajima, Artie Vierkant, Oscar Tuazon, Emily Wardill.
until 9 March 2013
“Beyond the Object”, installation views at Brand New Gallery, Milan, 2013
Nazafarin Lotfi, “Love at Last Sight”
Love at last sight is Nazafarin Lotfi’s first Italian solo exhibition.
On show a selection of inedited works, appositely tailored for the Milanese space, that investigate on the relationship between the artist and her production. Nazafarin Lotfi imposes an overwhelming distance between herself and her works; she moves away from the origins of conception up to an extreme point of no return so that the remaining void can be filled in by the presence of the spectator. In spite of this attempt of detachment, an intimate relationship between the artist and her works is inevitably established. The creative act thus becomes an occasion to manifest her thoughts, instinctively expressed, without being restricted by pre-determined hierarchical orders.
The works verge towards monochromy and the color palette is reduced to an absolute minimum. The dark surfaces devour light, denying any form of visibility and concealing misleading heterogeneous elements, withdrawn from their daily use. The artist’s interest towards empty spaces and interruptions descends from her architectural academic background and represents an invitation towards the unknown: this position is emphasized by the transitivity of the adopted materials and by the selected processes of production whose functions overlap and boundaries are blurred.
If previously this process was employed for a narrative purpose, now Nazafarin Lotfi implements the inverse procedure, pushing her works to spontaneously release a story. In her new series the artist explores every trace reported on the canvas. The layers are positioned and contemporaneously rejected, leaving behind one and only ephemeral mark. The sculptures, like the paintings, are created through a mechanism of destruction and removal. In this process the composition can never be considered complete and obsessively becomes the starting point for a successive production. The image thus represents the presence of the artist’s ultimate action on the canvas.
until 9 March 2013
Nazafarin Lotfi, “Love at Last Sight”, installation views at Brand New Gallery, Milan, 2013
Courtesy of Brand New Gallery. Photos: Pietro Scapin.