CURA.

ANDREA SALA AT FEDERICA SCHIAVO GALLERY, MILAN

Share on:
Facebook
Twitter

Building hammers to cast iron. Drawing tools’ shapes for a precise purpose, strictly related to the physical effort involved in their use; heavy tools and flat sides to hit with maximum strength, small rounded heads to hit in repetition curved metallic bits still incandescent. Andrea Sala is imagining the history of the objects that began with the same tools used to construct these objects. “Any constructed form will never be beautiful if the tool used to forge it is not as beautiful”. Sala is fascinated by forms and the domino-like nature of the production chain where it’s almost impossible to guess the beginning: to closely observe a tool, built and modelled so that it can be used to forge something else again used to assemble another object and yet another, without possibly seeing the end of the process. […] The shape of hammers and anvils – place of ancient sounds, movements, stokes and bangs – it is the artisanal mould of countless objects, the origin of thousands of geometries.

1/12
 
2/12
 
3/12
 
4/12
 
5/12
 
6/12
 
7/12
 
8/12
 
9/12
 
10/12
 
11/12
 
12/12
 

Andrea Sala (Como, 1976) – has worked between Milan and Montreal – investigates the world of manufactured goods, the world of architecture and the true nature of materials in such a manner only a true sculptor could do. At Federica Schiavo Gallery with a new series of work and in bookstores with a new artist-book "Tachipirina", RAWRAW editions, curated by Davide Giannella, the Italian artist meticulously dissects the world of objects. His hands moulding details, splinters of reality or hidden corners that, in Sala’s story summarize in a small fragment the more extended tale of a scene. […] When looked at closely, explored as it develops, the construction process of an object is a tale on its own, made of parts to be joined, both enigmatic and self-evident, obvious like the history of our materialistic culture. Intimate, mechanical and handcrafted, Sala’s work comes to life from a gigantic, limitless canvas. Surrounded by the metallic sound of hand-made hammers. –– Francesco Garutti

The Phantom of the Anvil by Andrea Sala
Federica Schiavo Gallery, Milan
Through May 11

OTHER TIPS
“Fantastic gardens, hybrid creatures, bouquets of epiphytic stories, synthetic fragrances and mythological machines, but also colours, crystals, songs and infrasounds which could be intended for us humans as much as for our contemporaries: plants, animals, minerals, breaths and chemistries, waves and bacteria, are just some of the ingredients that make up the porous landscapes of this 15th Lyon Biennale.
The artist takes into consideration some well-known artists of the last decades, insinuating doubt into certain dominant narratives, forcing us to look differently at or adjust our focus on existing works. At Istituto Svizzero, Milan
In the 19th and early 20th centuries, artists like Cézanne and Matisse took up this motif to express evolving notions about the body, changing ideas about pleasure, one’s relationship to nature, and how the longing for the new (in art) potentially renews a broader and more inclusive understanding of what it means to live with or against societal changes. Greene Naftali, New York
Antoine Levi, Paris
Galerie Perrotin, Paris
Peres Projects, Berlin
C L E A R I N G, New York
HangarBicocca, Milan