CURA.

NICOLAS DESHAYES
Lupa

BASEMENT ROMA

April 18 — June 30, 2018

Share on:
Facebook
Twitter

BASEMENT ROMA is pleased to present Lupa, the new exhibition by Nicolas Deshayes.

Scientists do not know how life began on Earth. As a matter of fact we cannot know for sure what happened four billion years ago. It is largely accepted that life formed in a primordial hot soup of organic chemicals and that a bacterium is the common ancestor of all life. Mammals only appeared 200 million years ago. Our planet then offered an inhospitable, chaotic and hot environment. Heat, is an essential element for the formation of life itself.

When descending into the spaces at BASEMENT ROMA heat starts vamping, slowly, in waves. Venturing even deeper, we are overwhelmed by it. It is a little bit like stepping inside a body, a humid stomach perhaps. A circuit of low thin pipes connects the entirety of the gallery perimeter. There are no discontinuities, everything is connected.

The heat is generated via a boiler, which like a heart, pumps and regulates the temperature. The pipes enter three separate sculptures that define each of the exhibition rooms. One is larger than the other two, and looks like a separate trail, similar to an alternative infinite symbol or a worm eating its tail. Like organs or intestines, the sculptures are perfused with hot water, therefore also functioning as radiators.

The three works installed are the latest in a series of heated sculptures that the French-born, UK-based artist Nicolas Deshayes initiated in 2015 on the occasion of his first solo exhibition in Glasgow, Scotland.

The sculptures are made of expanding polyurethane foam that Deshayes mixes and pours on his studio floor to create amorphous organic shapes. The selected forms are later sent to an industrial foundry in Birmingham to be sand-moulded and cast with molten aluminium. Previous iterations of the sculptures were made in solid Jesmonite or cast iron.

The installation suggests a certain intimacy, an attachment even, and a sense of life running through the conduits. Although all the elements in the exhibition recall a living, perhaps even amorous creature, there is a strong industrial constituent in every work. It is a landscape of the uncanny: familiar yet distant, awkward yet caring.

1/14
 
2/14
 
3/14
 
4/14
 
5/14
 
6/14
 
7/14
 
8/14
 
9/14
 
10/14
 
11/14
 
12/14
 
13/14
 
14/14
 

One of motherhood par excellence. La Lupa is a She-wolf who nursed and sheltered the twin brother Romulus and Remus after they were abandoned in the wild and cast into the Tiber River. Romulus would later become the founder and first king of Rome. In the famous bronze sculpture known as the Capitoline Wolf, the two infants are drinking the milk from the eight generous breasts of the legendary creature. Deshayes homages this powerful moment with the work Lupa, a sculpture made of eight aluminium parts bolted together to create a totemic circuit board that is suspended in-between the rough, the engineered, the organic and the mellifluous.
We find ourselves inside the fictional animate creature with its warm milk that travels down ducts and feeds through the nipple while the hot water in the pipes, like blood, brings nutrients to the organs. The temperature in the rooms is in fact set to the normal temperature of a wolf’s body, at 38.3C.

Heat is a form of energy that can be transferred from one object to another (it can also be created at the expense of the loss of another form of energy). In February 2007 researchers have successfully generated electricity from heat by trapping organic molecules between metal nanoparticles, an achievement that could pave the way toward the development of a brand new source for energy. Heat also accelerates certain processes, such as corrosion, ageing and decomposition. Deshayes seems to acutely remind us that life happens in uncomfortable places.”

(text by Nicoletta Lambertucci)

 

SUPPORTED BY
Fondazione Nuovi Mecenati

THANKS TO
Stuart Shave/Modern Art
Pegler Yorkshire
Untitled Association

Credits:
Courtesy the artist and Stuart Shave/Modern Art
Ph. Roberto Apa

NICOLAS DESHAYES (1983 Nancy, France) Lives and works in the UK. Selected solo and group exhibitions include: Thames Water, Stuart Shave/Modern Art, London (2016); Battaglia Foundry Sculpture Prize Exhibition, Fonderia Artistica Battaglia, Milan (2016); Darling, Gutter., Glasgow Sculpture Studios, Glasgow (2015); Images Moving Out Onto Space, Tate St Ives, UK (2015); Production Show, Eastside Projects, Birmingham (2016-2018); Neither, Mendes Wood DM, Brussels, (2017) and Inhuman, Fridericianum, Kassel (2015). He is currently included in Le Paradoxe de L’Iceberg, Frac Ile de France, Chateau de Rentilly, France and forthcoming solo exhibitions will be held at Pump House Gallery, London (2018) and Stuart Shave/Modern Art, London (2018).

OTHER BASEMENT
For the artist, Where is Luna? becomes the stage of a theater of the absurd, where, as an acute observer of other people’s lives, he places at the center of his research, finding a specific context, the people who dwell in it and the habits that regulate it, in a renewed orchestration of the banal daily life of a tiny pet salon. Basement Roma.
Nico Vascellari takes over the Roman underground spaces from February, 21 to March, 21 for a series of five evening events. The first four dates are limited to 33 participants by invitotion or booking only, while the last night will be a special event, yet to be revealed.
In the frame of Secondo Stile – the nomadic canvas-based artist-run exhibition space, conceived and founded by Paolo Chiasera in 2013 – Anagramma is a group exhibition, curated by CURA.
For La Ligne Claire, Comte introduces new meaning to Formalism, sourcing original uses for geometric and organic forms which continuously challenge the limits of abstraction.
Mythologies are dead, they have always been. But even as corpses, they’ve been used as political strategies to manipulate fiction and facts. Fictional narratives have defined culture, its historicity, its legacy. Drama. Goosebumps visible in our skin.
Papadopoulos creates environments that could be home to a dream-like, hedonistic cast of characters who are celebrating being alive every second but who cannot help but relish in the larger, darker and more complex meanings of life.
In Truth Table the gallery is converted into the provider of an experience: a new VR product that allows the viewer to occupy a changing host of bodies as they engage in a chain of sexual interactions.
MM is the image of the acronym for Mundus Muliebris, which in Latin can be translated as ‘ornaments.’ When googling the word ornament the first definition that comes up reads: “A thing used or serving to make something look more attractive but usually having no practical purpose.”