First ever project of the artist in an Italian institution, Martin Soto Climent exhibition at Pietro Canonica museum in Rome marks the start to a new series of exhibitions titled Fortezzuola. Conceived and curated by Pier Paolo Pancotto, the exhibition aims to stimulate a reflection on the relationship between the protagonists of today’s international art scene and Italy, and offers to the public the opportunity to engage for the first time with works by artists that are not properly represented in the Italian contemporary art context. Nowadays, many foreign practitioners confront themselves with the Italian cultural and historical heritage, leading to a renewal and reinterpretation of the Italian tradition, of its canons and modalities of production. Each artist is invited to realise an original intervention, designed and produced site-specifically in relation to the historical and structural characteristics of the museum’s galleries. Following the guidelines of Fortezzuola, and taking advantage from his several stays in Rome, Martin Soto Climent has designed a project that finds its main source of inspiration in the historical and cultural context of Pietro Canonica museum. Unfolding itself through all the museum’s galleries, the project consists of a much more monumental and complex articulation of the elements that usually nurture Soto Climent practice. This may be described as a visual reflection upon the problematics inherent to today’s society, with the artist taking advantage of the symbolic manifestations produced by this society, and that he embodies in his work through the use of different materials (canvas, paper, paint, ink, reproductions) and techniques (painting, drawing, photography…). This way of working leads to complex installations, that are always open to many different interpretations. On this occasion, Martin Soto Climent gets inspired by the work of Pietro Canonica, that according to him perfectly epitomizes Canonica’s cultural and social context: the same context Martin Soto Climent wants to confront with in this project. Specifically, the artist focuses on Canonica’s oeuvre as a sculptor, and on the all-embracing semantic articulation that animates this oeuvre -its historical, symbolic, conceptual and political value. Hence, Soto Climents creates an installation whose site-specificity seems to come after a specific, performative attitude (the artist working day by day within the museum’s walls, and getting lost in front of the evocative power of these). The result of such methodology will be evident only at the end of its realisation.
Martin Soto Climent
Museo Pietro Canonica in Villa Borghese
Curated by Pier Paolo Pancotto
26 January – 28 February 2016
Courtesy of the Artist and T293.
Photo credit: Roberto Apa.