Nicola Samorì “La Pittura è cosa mortale” at Palazzo Chiericati, Vicenza
Is the pictorial art by the artist Nicola Samorì to compete for first, until June 22nd, 2014, with the evocative Palladian underground into the fifteenth century Palazzo Chiericati in Vicenza, ushering in major projects promoted by the City Council and dedicated to contemporary languages ??that will affect the Museum in the future.
“The innovative nature of the proposal, which opens such a prestigious venue to contemporary – says the Deputy Mayor and Councillor for Growth Bulgarini Jacopo d’Elci – focuses in bringing closer to art a cross public, aiming to transform this new subterranean location into a creative place, where a short circuit between past and present will be activated and that will certainly be interesting to discover”.
A project sponsored by the City and the Province of Vicenza, supported by Vignato Foundation for the Arts in collaboration with AmC – Collection Coppola and Mazzoli Gallery in Modena, who worked with the artist to give shape to an exhibition that will allow visitors to appreciate the strength and depth of a painting that Achille Bonito Oliva, in the text written for the exhibition catalog, defines as aiming to reveal the truth through the capacity to reveal by covering: the artist uses “painting as a procedure to establish a difficulty of seeing. Overlapping planes, signs, image and color that produce a particular experience of the gaze. This last, indeed, takes the philosophical decision to tell the problematic relationship between man and the surrounding reality”.
In front of Samorì’s work, the observer can not but be seduced and be in checkmate, forced to suspend the spontaneous fascination towards his painting to divert his gaze to a path that breaks the image surface. As Alberto Zanchetta shows in the tabs of the catalog, “Samorì declares a proximity and a promiscuity that feed themselves – without end, without respite, without rest – of memories and images of demons and analogies that allow the viewer to peer into the depths of the integument of each tabula picta”. It is for this reason that Bonito Oliva fits Samorì among those artists who put ” hands-on “, fully immersing himself in the difficult work of those who – as authors and poets – revive in painting that figure that is the result of a chain of mediated associations between their own inner gaze and outer art one. A “curved look”, which allows us to bypass the impassable frontality of things.
“La Pittura è cosa mortale” is the largest and most comprehensive exhibition of paintings held by the artist in Italy and includes forty five works, made from 2008 to 2014. In the eight reserved rooms, exposure will alternate monumental paintings to very small paintings, oil on copper, wood and linen that measure them with the genres of Western culture, rewriting and shaking those stable forms that can be seen on the upper floors of the Palazzo Chiericati. In this way, architecture draws a physical and mental entrance in the bowels of art.
In order to record the project, a bilingual catalog has been published, which will be distributed free of charge to every visitor, and which contains, in addition to the essay by Achille Bonito Oliva a didactic apparatus edited by Alberto Zanchetta, artistic director of the Museum of Contemporary Art in Lissone, and in the second edition a text by Adam Budak, artistic director of Hirshhorn Museum & Sculpture Garden in Washington.
until 22 June 2014
Above – Monk, 2011
About africans (gli occhi nel petto), 2013
La vita umana, 2010
Nicola Samorì, “La Pittura è cosa mortale” installation views at Palazzo Chiericati, Vicenza, 2014