Rolando Anselmi, Berlin

March 28 – April 24, 2018



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A three-artists-show program in the Berlin gallery, introducing works by Luca Vitone, Georgia Dickie and David Jablonowski. For this exhibition, Luca Vitone presents works from the series “Ich, Rosa Luxemburg Platz (Rosa Luxemburg Strasse)”. These works, realised by displaying canvas in an outdoor environment, appear as a votive offer to the city, its weather, its seasons and any happening in a certain moment and an actual place: precisely in Berlin, Rosa Luxemburg Platz in 2008. The factual image of these canvas has been shaped by absorbing dust, light, water, smog and whichever occurrence they had ltered. The connection between these works and the artist’s biography can drive us to de ne this series as Vitone’s self-portraits, a Berlin diary arranged by the artist and printed by the city: a snap-shot collection which combines time marks, the description of a territory, and Vitone’s personal epopee. Georgia Dickie work addresses the complexities of contemporary object-based practice and is characterised by a deep interest in found materials and their inherent limitations.


By an empirical process of accumulation, discovering possible joints and combinations between parts, Dickie’s work claims an additional life for any found object she is selecting to be part of a new one. The instinctiveness with which the components of works like “Smile” and “JJ Horns” are assembled, seems to merge singular identities generating unprecedented new ones. Following a similar approach, the collages “Bad Seed” and “14” display a process in which images and their possible meanings are built up and expanded by including outward fragments or happenings. David Jablonowski proposes a different investigation around sculpture and its perception. In his work “Public Hybrid, New Infrastructures 2 (Titanium Cairns)” a complex set-up of elements displayed over and around a leading black Sahara marble slab give birth to an intricate visual path which blends architecture, technology and machinery. The dialogue between central and peripheral elements, various materials and dynamics, brings the viewer to wander between an open overview and an analytic gaze. Unlike maps, the three mixed-media works (“New Infrastructures (Mapping) 4”, “New Infrastructures (Mapping) 6”, “New Infrastructures (Mapping) 7”), offer us a legible and compressed representation of the artist’s aesthetic territory.


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