Original Art for sale | NEW CREAM
“THE HIDDEN DIMENSION” curated by Ilaria Bignotti
THE HIDDEN DIMENSION
La quarta Collezione si concentra sull’immagine del paesaggio, naturale o urbanizzato, selezionando opere di artisti che indagano la dimensione dell’uomo in relazione all’altro, attraverso il tema della prossemica il cui principale studioso è stato Edward T. Hall, nel pioneristico “The Hidden Dimension”: un argomento che ho ampiamente trattato in occasione di una mostra collettiva tenutasi nel 2017 e che, oggi, rappresenta un argomento di assoluta attualità. Il concetto di prossemica infatti, inteso come analisi di come la distanza tra le cose e le persone influisca sulle relazioni e i comportamenti sociali nello spazio pubblico e privato, è stato completamente stravolto dagli avvenimenti legati alla pandemia dello scorso anno, e ha determinato una nuova modalità di approccio e interazione tra le persone che, attraverso le opere anche di questa Collezione, emerge con incredibile forza nelle diverse declinazioni artistiche. Basti osservare, da un lato, i luoghi svuotati, metafisici, dove l’uomo diventa misura della solitudine, di Fabio Adani, o i paesaggi distopici, onirici e surreali, visti attraverso uno sguardo stravolto, di Axel Straschnoy e di Martin Gut, quest’ultimo con una serie di fotografie dedicate proprio alle città allucinate durante le notti di lockdown. Altri artisti, invece, paiono riscoprire una dimensione naturale dove l’uomo quasi scompare, per lasciare posto alla fauna e alla flora, da Henri Hu a Jelena Lukovic. Nelle opere di Thomas Berra e Marco Casentini, la dimensione è quella del cielo e della montagna, un sublime nel quale si appuntano piccole presenze di umanità sperduta; altri artisti, da Liviu Bulea a Patrizia Posillipo, osservano le tracce, gli scrostamenti, le stratificazioni del tempo nella materia antropica e urbanizzata, con una attenzione malinconica che si ripercuote, anche, negli scenari immobili di Nicola Bertellotti, poeta fotografo dell’assenza e dell’attesa. Altre opere, che assurgono a una dimensione più installativa e sculturale, da Agnese Spolverini a Kouzo Takeuchi, infine, paiono offrire al nostro corpo piccole o ampie celle dove fermarci, protetti e distanti, raccolti e in solitudine: luoghi di meditazione e di ricongiunzione con noi stessi, nella prospettiva, vicina o lontana, di un nuovo incontro con l’altro.
THE HIDDEN DIMENSION The fourth collection focuses on the natural or urbanized image of the landscape, selecting works of artists that investigate the human dimension related to the other, through the theme of the proxemics whose leading scholar has been Edward T. Hall, in the pioneering “The Hidden Dimension”: a topic that I have widely discussed on the occasion of a collective exhibition held in 2017 and that, today, represents a topic of extreme actuality. The concept of proxemics indeed, intended as an analysis on how the distance between things and people affects relations and social behaviors in the public and the private space, has been completely twisted by events related to the last year’s pandemic and has determined a new mode of approach and interaction between people that, through the artworks of this collection, emerges with incredible strength in the different artistic declinations. Just observe, on a side, the empty, metaphysical Fabio Adani’s places where man becomes the measure of solitude, or the dystopian landscapes, dreamy and surreal, seen through an overturned view by Axel Straschnoy and Martin Gut, the latter with a series dedicated right to the hallucinated cities during lockdown’s nights. Other artists, instead, seem to rediscover a natural dimension where the man almost disappears to give way to flora and fauna, from Henri Hu to Jelena Lukovic. In Thomas Berra and Marco Casentini artworks, the dimension is the one between the sky and the mountain, a sublime in which small presences of lost humanity are pinned down; other artists from Liviu Bulea to Patrizia Posillipo, observe the traces, the peeling, the stratification of time in the anthropic and urbanized matter, with melancholic attention which is also reflected in the still scenarios of Nicola Bertellotti, photographer poet of absence and waiting. Finally, other artworks, rising to a more installative and sculptural dimension, from Agnese Spolverini to Kouzo Takeuchi, seem to offer to our body small or wide cells where to stop, protected and distant, together and in loneliness: places of meditation and reunification with ourselves in the near or far perspective of a new encounter with the other.
THE HIDDEN DIMENSION The fourth collection focuses on the natural or urbanized image of the landscape, selecting works of artists that investigate the human dimension related to the other, through the theme of the proxemics whose leading scholar has been Edward T. Hall, in the pioneering “The Hidden Dimension”: a topic that I have widely discussed on the occasion of a collective exhibition held in 2017 and that, today, represents a topic of extreme actuality. The concept of proxemics indeed, intended as an analysis on how the distance between things and people affects relations and social behaviors in the public and the private space, has been completely twisted by events related to the last year’s pandemic and has determined a new mode of approach and interaction between people that, through the artworks of this collection, emerges with incredible strength in the different artistic declinations. Just observe, on a side, the empty, metaphysical Fabio Adani’s places where man becomes the measure of solitude, or the dystopian landscapes, dreamy and surreal, seen through an overturned view by Axel Straschnoy and Martin Gut, the latter with a series dedicated right to the hallucinated cities during lockdown’s nights. Other artists, instead, seem to rediscover a natural dimension where the man almost disappears to give way to flora and fauna, from Henri Hu to Jelena Lukovic. In Thomas Berra and Marco Casentini artworks, the dimension is the one between the sky and the mountain, a sublime in which small presences of lost humanity are pinned down; other artists from Liviu Bulea to Patrizia Posillipo, observe the traces, the peeling, the stratification of time in the anthropic and urbanized matter, with melancholic attention which is also reflected in the still scenarios of Nicola Bertellotti, photographer poet of absence and waiting. Finally, other artworks, rising to a more installative and sculptural dimension, from Agnese Spolverini to Kouzo Takeuchi, seem to offer to our body small or wide cells where to stop, protected and distant, together and in loneliness: places of meditation and reunification with ourselves in the near or far perspective of a new encounter with the other.
The collection’s works