STRATEGIES OF BEING AND SEING
The artistic expression considered as a tool that allows at the same time an inner analysis and an investigation on the existing around us, which falls under our senses, at the center of our perceptive processes.
These two elements are brought together by a metalinguistic process, which means that while the artist develops the genesis of his creative process, he questions himself about the meaning of making art and the structural principles of his own poetics.
This typology of reflections mediated by the various expressive instruments is characteristic of the so-called post-media age.
After more than twenty years of conceptual domination and over a decade of "return to order" dictated by the manual and figurative operations of the 1980s, passing through neo-conceptualism in the 1990s, in this first twenty years of the Zero we are witnessing a particular phenomenon.
Overcoming the widespread solipsism dictated by the digital culture and the ever-on-internet, artists return to appreciate the relational dynamics and above all return to relate to the existing in an innovative way.
This new form of relationship is based on a syncretism that holds together the principles of reflection and elaboration typical of the conceptual and the procedures underlying the more traditional pictorial and sculptural expression.
The artists involved carry out an ethical approach that aims at the construction of “new” images from a perceptive and iconographic point of view, undertaking a struggle against the pervasive rain of images without a significant foundation, characteristics of the media universe.
The artists involved were selected as representatives of the various declinations of the phenomenon and of the various strategies of analysis of reality and vision.
In fact, the perception of both the production and the spectator is the protagonist of their poetics and their expressive forms.
The proposed artists are also united by the attempt to force viewers to construct new and subjective perceptive paths and sensorial maps, which will free themselves from the usual fruitive dynamics.
To this is added on the part of all the bestowal to the expressive tools of a "philosophical" value, of production of reflection and thought elaboration (in every age philosophy grants the baton to another discipline), which unites according to the aforementioned process metalinguistic, the sense of creative operations, the role of the artist in society and the construction of original perceptive processes.
From the landscape declinations as a function of perceptive stimulation to those in which painting is the translation of relational and architectural codes into a geometric form, passing through the photography used in the various expressive potentials and the small-sized sculptural dimension to be read in an installation key.
All the works exhibited are therefore the synthesis of a reflection on the interior dimension of the artist and of his observation and reflection on reality.
The exhibition to be read as the meeting of a complex of strategies of seeing and being.