CURA.

YANYAN HUANG
EX SILENTIO

BASEMENT ROMA
January 28 – March 25

Share on:
Facebook
Twitter

“For a moment maybe a flicker of happiness, and the next moment, again the same despair and the same race for more.”

Produced across time zones and geographical borders, a chaotic growth of hypnotic gestures highlight the constant shift between identity and dissolution, fullness and emptiness, memory and impulses.

Yanyan Huang is no stranger to fatalistic shifts of fortune: born in China (in 1988 in Sichuan, China), she grew up in America and is perpetually split between places, cultures, and languages. Similarly, her work and presence map out a meandering quandary of geographies, models, identities, relational opportunities.

Unexpected impulses, intentions and chance, traditions and references, emptiness and acceleration, fate and desire, opposite trajectories are mixed in a process of accumulation and subtraction, appropriation and renunciation, pause and thrust, slowness and frenzy.

As it would be a fool’s errand to try to find distinct points or boundaries, one can only look silently for patterns and attempt to decode themes.

One must make an argument based on absence rather than presence.

Infinite gestures run to a single irreplaceable and non-erasable sign which the artist reads as that of an apple by Cézanne: “It might have taken one minute to draw an apple, but I had to draw a thousand apples in order to draw this one.”

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
 

OTHER BASEMENT
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.”
The Caesar salad starts its history as an unlikely amalgam of disparate ingredients, but has since become a deeper cultural institution, persisting or preserved as a melange of different parts.