“The Image of Time. Anatomies of the Immaterial”, curated by Gino Pisapia is a collective dialogue, the show offers a reflection on the concept of time and on the forms that are generated from it and in it, through the work of Emanuele Becheri, Diego Caglioni, Elia Cantori, Cristian Chironi and Giovanni Oberti.
Since time is an immaterial, impalpable element, on which however humans base their social activity, having conferred upon it conventional values established be criteria of universally accepted and legalized measurement, it is fascinating to attempt to draw out and extract from it an “icon”, its possible image or representation. The exhibition presents a series of works very different from one another, realized at various times by five artists who over the years have touched upon and in some cases experimented directly with the theme of time and its consequences.
The show begins with the work Nothing, 2013, by Christian Chironi, which is made up of a computer that through a program of data recovery (R-Studio) scans the external hard disk and its partial “twin” which contain the artist’s entire archive from 1998 to 2013, now corrupt and hence unusable. Technically these HD memories condense Chironi’s entire artistic production and through the algorithm elaborated by the program it is possible to visualize on the computer’s monitor a graphic of the time and the elements being scanned; it will be the duration of that analysis that determines the length of the exhibition. While in this work we have a cohabitation of condensed time and time in progress, in the photograph taken from the series “DK”, 2009, Chironi has taken his own portrait – through a “clandestine” performance – dressed as a contemporary Diabolik, in front of Antonia Canova’s sculpture of Maria Louise of Hapsburg, housed in the National Gallery of Parma, suspended and immobile in time, with the intention of “stealing” the aura of the work of art.
The series of images “60 Watt-12.97 Feet”, 2010, comes together in the same time-space setting, in which Elia Cantori shows the act of light that imprinting itself geometrically on six paper airplanes thrown in the darkness of the studio and illuminated for a few seconds by a 60-watt bulb. The result is thus the fruit of a unique photographic process that acts in time and with its effect crystallizes the form of the image on the photosensitive surface of the paper.
Of a different nature is Public Messages, 2009, by Diego Caglioni, which, with an old typewriter on a sheet of paper 9 meters, prints out the “mood messages” of his Skype contacts and friends, collected over a period of two years. Out of this subjective dimension the artists makes public a condition that is “private” and utterly removed from any narrative context, thereby creating a fictitious temporal simultaneousness that refers over to the photograph Infinite, 2012, directly linked to the artist’s everyday life. The photograph is a picture of Caglioni’s personal agenda set on a work table, greenscreen, which becomes a miniature film set arranged to be “pierced” using the information from the green pixels replaceable with any other element. Such an operation amplifies time, dividing the perception of it and at the same time moving its spatial coordinated by means of the fiction. Moving up to the second floor of the gallery space the theme of the exhibition—in the works Senza Titolo (Archi di dama), 2013, by Giovanni Oberti—is translated into elegant crystal glasses whose insides are, accidentally, marked by evident calcium-ringed stains that are the result of the slow evaporation of water which leaves behind the mineral deposit. Where the wine glasses have collect the calcium residue, the line that defines the slender profile of the silvery hourglass, Senza Titolo (Clessidra), 2012, has become a litmus paper of time, recording the darkening of its alloy caused by its exposure to the air.
Completing the show is a double temporal register, the first being Impressione #11, 2010, by Emanuele Becheri, a work that on adhesive paper “captures”—immobilizing it on its surface—spider webs taken from the artist’s studio, producing a singular image removed and abstracted from the daily biological existence of the spider, taking on the aspect of time and its image. The second register will instead be constituted by the performance Impression 25.09.2014, that at 8 PM on 25 September, which Becheri realized with Grünewald; together they will produce live a sequence of sounds on moving images that the performers will see for the first time along with the public, sharing the temporal experience of “acoustic vision”. On the occasion of the show “The Image of Time. Anatomies of the Immaterial”, the gallery Artopia renews its editorial project with a new series of publications designed in conjunction with the exhibitions scheduled. In every catalogue a critical text and a selection illustrate and examine the various aspects of the exhibition projects.
until 14 November 2014
Emanuele Becheri, Impression 25.09.2014, 2014
“The Image of Time. Anatomies of the Immaterial” installation views at Artopia, Milan, 2014
Courtesy: Artopia, Milan