CURA.

DARIO D’ARONCO
INTERNAL MODELS

Text by Magalie Meunier

Galleria Mario Iannelli, Rome
Through February 28, 2018A

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Positioned on the wall over painted backgrounds, three hollow 3D prints mix the artist’s features with other recognizable objects.
These portraits, that reveal a common reality, provide the image of everyday actions: telephoning, offering, drinking. Each one is made up of a part of D’Aronco’s body that has been laser scanned in 3D, then symmetrically doubled using software: the left cheek becomes the counterpart of the right cheek, the left hand that of the right. This self portrait is then associated with a 3D model that has been downloaded from an online database: fast food goblets intertwined on a face (“sipping head”, 2017), a hand holding a telephone (“the calling”, 2017), the same hand offering a fossil (“the gift (ammonite)”, 2017). The new model, having become autonomous, is thus repeated in an uncanny manner.
In another part of the gallery, a hypothalamus oating in midair. The sculpture is made out of a magnetic resonance of the brain of the artist, who could translate the data, got from the ultrasound scanning, in 3d model. The hypothalamus is an area of the brain where several endocrine glands are located, they regulate a number of physiological. functions of our body.
Recent research highlights the preprogrammed behaviour of our actions. It is now possible to measure and situate the exact moment when the decision to act becomes conscious. It intervenes, according to neurobiologist Libet, 345 milliseconds after the triggering of potential readiness. Thus it is the brain alone that decides when to act, independently of the subject’s will. Our actions are thus unconsciously controlled and regulated by an internal element of our own body. Constantly oscillating, the de nitions of the term “Internal Model” resonate throughout the exhibition as reverse images of one another. On one hand, the representation of reality through individual thought; on the other, the technology of automatic command, that has the goal of anticipating and correcting the future behaviour of a system.
Past is a notion that is just as speculative as the future. The ammonite (a pre human object) is one example. It was called snake-stone in the middle ages in Great Britain, where it was imagined to be curled up snake become stone.
Today it is understood to be a prehistoric animal. What meaning will it have in the future? The past is considered to be more concrete and more real than the future through a process of imagining what has already happened. Through conceptual speculation, information is assembled in a more or less conjectural fashion. Ammonite, like the goblet or the telephone has thus become the symbol of these speculations that can be applied to objects. In D’Aronco’s sculptures this timelessness is multiplied and compounded through the use of new technologies and techniques that have come to unsettle and upset the tradition of the self-portrait. The artworks seem to be seeking to defy time and avoid becoming inscribed in time: neither past, nor future, not even present.
The uncanny, along with the breath that seems to escape from it, subsists.

 

 

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OTHER TIPS
The exhibition War Games at Kunstmuseum Basel | Gegenwart features early and recent works by Martha Rosler and Hito Steyerl. Earlier as well as recent works appear in a dialogical arrangement conceived in collaboration with both artists. At Kunstmuseum, Basel
NICODIM, Bucharest
Galerie Emanuel Layr, Rome
Antoine Levi, Paris
Zeno X Gallery, Antwerp
C L E A R I N G, Brooklyn
Castiglioni Fine Art, Milan
Studioli, Rome