Jimmie Durham
Peter Bartoš
Henrik Håkansson

Fondazione Morra Greco, Naples

June 29 – September 7, 2019

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The founding position of the art of Jimmie Durham, a Cherokee artist and therefore a native American, is nomadism, the continuous shift towards one’s own boundary, towards the inevitable fracture of every balance of language. And this happens through the difference of the work, which refuses to homologate to the other works and lives the solitary condition of its own superb discontinuity.
The rapacious time, by Hölderlin, robs things in its vortex and scatters them at the foot of the angel of history, stunned by so much rubble. Only art can stop such collapses, only the angel of art can resist shattering and create a mould, a wedge insinuating between fragments and founding a persistence, a resistance and an armistice. But this does not mean paralysis or concealment, it does not mean balsam or phàrmakon, but rather responding to the dusty and anonymous dissolution of the everyday with an even more striking acceleration.
The movement of art is that of catastrophe, exaltation and intensification of simple time, accompanying daily reality towards its own demise. Because only for art death exists, for the everyday a thousand deaths exist, always different and never exemplary. Exemplarity is constitutive of the language of art and of its nature. It disposes and it is disposed in such a way as to welcome the burden of time inside and above itself, containing it truly by virtue of its own exemplarity and succeeding at the same time in preserving its essence.
The glimmering moment of exemplarity, the incontrovertible and irreducible moment of the glaring presence of art, is certainly not programmable or predictable. Instead, it is a stumble that helps the artist to fall and better crash to the floor. Language contains within its own skin the thickness of a total time, that of birth, development and death, which does not live apart but compactly inhabits the work in the continuity of a flagrant and instantaneous presence.

Text by Achille Bonito Oliva

Jimmie Durham. Installation View at Fondazione Morra Greco, Napoli 
Jimmie Durham. Something… Perhaps a Fugue or an Elegy, 2005  
Peter Bartoš. Environmental Aesthetics. Installation Views at Fondazione Morra Greco, Napoli 
Peter Bartoš. Environmental Aesthetics. Installation Views at Fondazione Morra Greco, Napoli 
Henrik Håkansson. JULY.20,2004 (pieris napi), 2005 

Although Slovak neo avant-garde artist Peter Bartoš (1938) is a radical figure of the Slovak art scene, his work has still been only partially documented. His background as a painter has always been an important origin of his work and frequent part of discussions about it. Although his works are strongly bound to the ontological meanings, at the same time they are based on the conceptual analysis of the medium of painting and its innate structure. The form creation (Primetouch) he conceived as a gesture, or as an action. As he did not want to stay at a symbolic level of the art, he examined abstraction in nature, which, as an aprioral need of life, originates or generates, so to speak, from itself. Thus, he wanted to extend the possibilities of painting and create work that would be absorbed by nature and further permanently transformed and recycled in it. He performed several processual experiments with ephemeral natural materials such as snow, and others. Following his previous reflections, in his Physico-optical Manifesto (1969) he formulated three situations of A) concentration, B) accumulation and C) diffusion. His conceptual model of the triad (with ABC constants in yellow, red and blue) he understands, contrary to the conflicting binary opposition (AB), as a pluralistic scheme. The documentation of these works includes photoserial-paintings, re-drawings, photocopies (cyclostyles, xerox or zinc xerox in 1970s) or montages, and imprints, paintings with finger or while walking, anyhow.

Text by Mira Keratová

“In a natural world – that we are part of but we prefer to refer as Nature – there are so many realities, and so many questions, and it is perhaps very human to want to try and understand what is going on. If we weren’t amazed, maybe there would be no science. But perhaps my interest, in the end, comes back to looking at human interaction, our interaction with different ways of life, different creatures. How do we communicate, and how do we develop our cultural beliefs in relation to our social instincts? And what is the interation, the daily interaction, of our culture with what we call the natural world.”

Henrik Håkansson in dialogue with Will Bradley

Courtesy Fondazione Morra Greco, Napoli
© Maurizio Esposito

As a child, Puppies Puppies saw both of her parents donate blood. She wanted to do the same when she got older, but has not been able to under the eligibility criteria established by the U.S. Food and Drug Administration. Remai Modern, Saskatoon
Cac Passerelle, Brest
Sprovieri Gallery, London
T293, Rome
JTT, New York
Ermes-Ermes, Cologne
Gió Marconi, Milano
Institute of Contemporary Arts, London