Magazzino is pleased to open its new season with the third solo show of Alessandro Piangiamore. The title of the exhibition, Quaranta, refers directly not only to the number of works exhibited, but also, in a less explicit way, to a recurrence and so a ritual, a constant feature in the process of the Sicilian artist.
The corpus of the exhibition is constitued by works from the Ikebana series, based on the harvesting procedure related to the everyday and to the contingent: flowers found among the markets wastes or along the daily routes taken by the artist, collected and then printed on plates made by buildings materials. The lightness of flowers, which refer to the traditional idea of beauty and fragility, stand in opposition to the hardness of the material and its structure. Thus, the celebration of the print left by something ephemeral gives the works a character that ranges from a vital beauty to the echo of a twilight zone: what we see is, in fact, just the outline, a memory, a vestige that, although eternal, is a witness of a disappearance. The reference to the past – already clear in the crearive process – becomes crucial in the titles, in which is the date of realization is reported and is preceded by the word yesterday since, materially, the result of the work is visible only the following day.
The term Ikebana refers to the Japanise art of flower arrangement, that the artist applies to its works without, however, surrendering to the virtuosity and, most of all, without aiming to the aesthetical armony and the truthfullness of shapes, which are, instead, the purpose of the Asian technique. As always in its work, once having laid the foundations for its accomplishment, Piangiamore vuluntarily renounces to the control of the latter part of the creative process: the concrete is pured in negative and the result of its action on the flowers is not visible until it is no longer possible to change the result.
The exhibition ends with a series of sculptures in galvanized iron, conceived by the artist as objects intended for lifting works, metaphorically, therefore, to their elevation through physical exertion. These “levers” are thought of as tools, whose functionality is only hypothetical and unverifiable; therefore, they remain poised between being “operational” objects and the impracticability of the purpose for which they were conceived. Their appearance is at the same time, industrial, light, magical and menacing. They belong, in essence, to the system that Alessandro Piangiamore has built along the years during his search: a system, ordered on objects and real figures whch exist only thanks to the possibilities of the imagination. And, as Borges said: “We easily accept reality, perhaps because we sense that nothing is real.”
Quaranta by Alessandro Piangiamore
Magazzino Arte Moderna, Rome
Through October 31
1-5 Ph. Roberto Apa; 6-7 Ph. Giorgio Benni