Capriccio 2000

Marsèlleria, Milan

Oct 11 – 9 Nov, 2018

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The title refers to Capriccio,a painting style simultaneously developing with Vedutism, becoming appreciated in Italy at the end of the 17th century, particularly through the landscape painters coming from the Veneto aerea. The paintings attributable to this genre are real mash-ups of imaginary architectures, ruins and illusory perspectives, often mixed with elements coming from real life.
With Capriccio 2000, Andrea De Stefani expands the horizon traced by the fundamental assumptions of the ancient Vedute Ideate, creating an environment where ordinary shapes, freely drawn from the present urban fabric, are remixed, recomposed, sublimed.

Andrea De Stefanis attention is directed to the observation and analysis of the elements roughing out the anthropic dimension in urban and industrial landscapes. His practice is mainly triggered by the physical crossing of spaces clearly expressing cultural evolution: every landscape hit by human presence is indeed peppered by an organic set of intelligible signs, subtending in turn different levels of information about social characteristics, which are always strongly tied to the territory where they exist. 

Identifying and learning to understand that signs, while strolling and looking around, is for Andrea De Stefani a way to interpret ongoing cultural transformations and to imagine future drifts. This empirical investigation method is also a will expression, a resistance act wanting to reduce the distance between us and our own habitat or, at least, a try not to passively withstand its conditions.
Landscape crossing and the attempt to physically and intellectually understand its shapes and meanings is then for De Stefani an exploratory and redeeming practice, strengthen through a second step thanks to the design and development of new formal and environmental configurations, directly influenced by the traces found along the itineraries covered by the artist. Every single work produced by De Stefani along the years can be connected to a wider aesthetic and narrative universe, scattered by formal, cultural and material hybridizations; so, every element is a knot in a personal ongoing map, built up through interchangeable, superimposable, expandable images.


Photos by Sara Scanderebech


Arsenic, Performing Arts Center, Lausanne
In the labyrinthine walk across the space, plaster masks and faces appear, intertwined ceramic tongues talk to one another, fragments of texts poured into plaster balls are suspended at eye level. The exhibition unfolds then almost as a declaration of love to existence and to the body beyond the tangible. Galerie Chantal Crousel, Paris
In the beginning was the wall. Before geo-politics, Pink Floyd or wall-drawing was the structure itself: a divider between us and the rest of the world, it builds on the promise of all civilization, of protection and enclosure, of distinguishing that which we have claimed as ours from that which is not. Gladstone Gallery, New York
Modern Art, London
Rosa Santos, Valencia
SpazioA, Pistoia