CURA.

JANA SCHRÖDER, EDOARDO CAIMI

T293, Rome 

June 8 – August 3, 2019 

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JANA SCHRÖDER
Kadlites RS6-17

Jana Schröder returns to the gallery with a series of new monochrome paintings, a continuation of the Kadlites series.

In these new works the pictorial surface is reduced in order to give a greater importance to the content, and it turns into a space for contamination of repeated and layered lines, that confer density, rhythm and harmony.

Schröder presents conceptual painting in its multiplicity of action, in which the constant gestural practice is both meditative and performative. These ‘energy signs’ are repeatedly marked by the graphite pencil and the brush, mixing the turpentine with lead powder. By erasing some traits by means of a rubber or another painting, Schröder then multiplies the previously traced signs, which cross over into new directions.

Repetition is “inverted memory”, according to Kierkegaard, a production of something new, and not merely a reproduction of what already exists. The works of Schröder act in the substratum of abstraction: gestural signs form layers of levels and become actual experimentations. These temporal and spatial traces represent a record of the artist’s pictorial experience. The marks invite you to get closer to the canvas, to study the lines and their progressions more closely. They become a perceptive challenge for the viewers, who find themselves in front of an idea that is being energetically translated into painting.

The boundaries between drawing, writing and painting appear to be already overcome. What the artist is interested in is the process, the repetition of the gesture, the study of the possibilities of the becoming of the work, as well as of the overcoming of its limits. The sign language expands on the surface of the canvas, in which the centre doesn’t exist anymore, and goes beyond the limits of the space.

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Jana Schröder 
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Jana Schröder 
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Jana Schröder 
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Edoardo Caimi 
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Edoardo Caimi 

EDOARDO CAIMI
B.L.I.S.S.

T293 will exhibit for the first time works by Edoardo Caimi, introducing his practice focused on the contrast between the modern and the primitive, the technological and the tribal, the consumerist society and nature, that creates an imaginary based on the short circuit between these two worlds.

The exhibition presents some installations consisting of tires which are marked with colored tags. These islands of found objects take the form of a barricade.
The gallery space turns into a safe habitat where the elements are transformed into new “graffiti”, traces of the passage of a human presence. These sculptures undergo a process of deterritorialization and reterritorialization, they become “monuments of the elsewhere”, and they bring along with them the characteristics of the place and its variation along with time and climate.

Caimi started his research when he was young. Exploring the nature around him became the mean through which he was confronting with life. He treasured the found objects by collecting them, and this aspect never left his practice. Simultaneously with the discovery of graffiti, the natural environment he was used to explore gradually left space to industrial spaces such as abandoned factories, or abandoned farmhouse in the countryside. His approach has always gone beyond the classic rules: at the beginning he was used to highlight stains on walls left by the attempt to erase other previous graffiti. By doing this his tags turned into abstract shapes. Later on, these outlines were transferred to found objects found in the place, so that the attention towards them became much more significant. The iconography of ruin, in the postmodern era, brings with it the signs of its past, by defining a stratification of time. It is an expression of the tensions between nature and structure.

Embracing the ‘survivalist’ theories, the buildings thus become a refuge from dystopian and post-apocalyptic scenarios, while the elements of the place are composed together to become barricades, improvised walls, and a shelter from these possible dangers.

 

CREDITS
Courtesy of T293, Rome
Photo by Roberto Apa

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