CURA.

ALFREDO ACETO
Sequoia 07

Istituto Svizzero, Milan

Feb 7 – March 16, 2019

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Art, for the artist, is a pop game, and each work is thought of as a generic object, equivalent a priori, to any other. Bearing this in mind, the exhibition is thought of as a collage which connects these objects temporarily, transforming them into a game of memory and desire.

The exhibition’s title itself toys with this collage concept. Aceto combines the recollection of a memory from his childhood, that of his grandmother telling him a story of some teenagers escorted by a woman riding a white horse through a tunnel of trees with Sequoia: his favourite 2007 Toyota car model.

The automobile is the artist’s (Turin born) frequent dream and a pop pattern par excellence. Its control panel is a recurring subject of his drawings; the many mechanical features of these objects are source of inspiration for his sculptures. The elements are fragments of a living contemporary dream, in which all already belongs to history. Time and space transform these objects into ones with decorative value.

What may appear as an obsessive game, is rather Aceto’s desire to seek the lowest common denominator for an object to be a sculpture. On the one hand, he carefully picks the objects he is interested in and treats them with care and reproduces them, on the other, he deletes and suppresses their qualities by stripping them of all meaning. Anti-heroic by definition, these objects remind us of the evanescence of details, loving them while saddened of their transient state. Each sculpture resembles what can be glimpsed quickly from the window of a train: extremely fast moving but very accurate.

If it is indeed a matter of creating a collage effect, there is nothing better than finding a common starting point, which “Sequoia 07” seemingly does with the purposefully identical diameters of all the objects, thus making them relatively associable. Losing their original appearance as gargoyles, mufflers or enlarged jewellery, they are now fragments of distant but fascinating glances: a bright coloured postcard of a huge American car driving under a redwood tree.

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CREDITS
Courtesy the artist and Istituto Svizzero, Milan
Photos by Giulio Boem

OTHER TIPS
Here, in the building where Georges Bizet wrote his masterpiece Carmen in 1875, Matt Copson premieres a bildungsroman opera in three laser-projected parts: Age of Coming, Coming of Age and Of Coming Age. His opera tells the story of a baby at odds with a vengeful god, who tries to convince him that life is miserable and cruel, and nothing more. On view High Art, Paris
Sørlandets Kunstmuseum, Kristiansand
Der Tank of the Art Institute, Basel
Lafayette Anticipations, Paris
Kunsthalle Lissabon, Lisbon
JTT, New York
Édouard Montassut, Paris
Avant-Garde Institute, Warsaw