Events in the Event 2014 | Indoor Exhibit "Liquid Identities"
Period: From June 28th to July 2nd
Curated by: Emiliano Galigani & production
The exhibit Liquid Identities showed some of the most important artist of contemporary paper art, with about 70 artworks.
Appreciated for the message that transmits about the changing society; for the complexity of the artworks all related to one media: paper.
The historical Real Collegio was the location that emphasized the aesthetic & uniqueness of the exposition. An international exhibit appreciated from all cultures and generations. The fascinating world of paper art will blow your senses, in a time where everything goes digital.
The works of Gianfranco Gentile are reproduced on simple cardboard. Cardboard, an industrial resource, is not a mere media anymore, but - by removing the surface – it becomes the artwork itself. The casual canvas, is now dignified and helps to define what it is represented in many ways. At the same time this media underlines the weakness and arrogance of a way of thinking that has lost its focus on the true aim of human creativity: not the wealth of the few but the harmonic development of the entire mankind. The main subject of Mr. Gentile's works are old industrial totem ruins, and their skeletons fragments, revisited and decontextualized to help us rethink the whole concept of development, to give a new meaning to the words "sustainable development" and find a sense to a future that cannot overlook the relationship between man and technology.
Li Hongjun's sensitive mastery and personal expressions of contemporary art languages enable what he has done to be a valuable personal case in the modern art practice in China. Nowadays Li Hongjun is one of the most striking artists of sculpture in Chinese mainland. In the early 90's he created installations for international exhibitions alongside artists such as Fang Lijun and Xu Bing. His works are mostly made by paper. His "Myself", "Expansion", "Drift Away" and other series used displaced paper, rotation and other methods to combine eastern and western methods of paper cutting, and expressed the distortion of man's values after encounters with the reality of modern society. Today, his many years of work have given him an outstanding reputation as an installation artist, and he has been called by CAFA's vice-president Xu Bing "an artist with Chinese folk wisdom".
The thought process behind this work stems from the occasional bump and at the experience of arranging poker cards. When installing the work, every lice of paper rotates on an axis. Each layer alters people's perceptions.
What are we? One or several identities? What is the liquid society demanding us? The artwork talks about us, how our identity is changing, belonging us to places where we are strangers one to another, sometimes even to ourselves. This condition will be a challenge or a misunderstanding?
Architect, set designer for cinema and TV. His works remind of utopian dreams and overwhelming scenery, and seems to derive from a peaceful relationship with the past. The artist faces the architect in an attempt to bend the rule to which this weak, light, transparent material is subjugated, and make it look like something stronger. The ancient manuscripts that lay the foundation of how we communicate, represent the eternal object, incorruptible, despite the fragile material their made of. They are the emblem of an ancient knowledge, passed from generation to generation. Natural elements seems to shape up from the slow and inevitable crumbling away of the page.
<<I've always been fascinated by printed-paper and the power of communication contained within it. It offers possibilities for re-interpretation, transforming unwanted material into meaningful new works with distinct stylistic features.
Printed-paper is a metaphor of every-day life, of all the contradictions of our society and of the chaos of our daily, frantic lives. The information overload, typical of our contemporary society, results in our inability to concentrate on the same subject for any length of time. This lack of concentration affects the way in which we absorb the information which then becomes fragmentary and superficial. The result is "non-information". In the same way, this excess of information distorts everything in a rapid succession of images, texts, faces, human figures. The images are continually transformed and they become readable in different ways.
In a world where everything is in a permanent state of flux, the images that are generated in my 3D collages are readable or very distorted, depending on your point of view. A closer look reveals thousands of fragments, words, faces and colours that create a complex abstract image; but by changing our point of view, a new, different and simple image is revealed.>>
Paper Sculptures is an exercise by artist Richard Sweeney that tests the limits of folded paper as a medium for the creation of spatial situations. Sweeney pursues a 'purely experimental' trajectory with this work, utilizing the manipulation of two-dimensional sheets of paper to arrive at three-dimensional creations.
Through a process of drawing, tracing, cutting, and folding, Sweeney is able to achieve incredibly complex sculptural forms. The artist begins with simple and methodical geometric manipulations that ultimately result in a complex array of abstracted polyhedral forms. Through the combination of repetitive geometries, curved lines, and modularity, Sweeney pushes paper into compelling quasi-architectural terrain, finding that paper, though flat and essentially limited to a two dimensional plane, can be articulated into a myriad of forms and functions.
For this projects Sweeney utilizes digital means, coupled with deliberate physical manipulations, to arrive at complex, iterative, and formally-compelling three dimensional shapes.
Sabina Feroci creates paper sculptures. She has an intimate relationship with paper, a profound harmony. From illustration to her first experiences with puppets, paper has driven her work and creative choices. The artwork skeleton is made by iron, its muscle by newsprint, while wood paste cover the artwork to create a smooth skin. Sabina gives the final touches to her work by "dressing" her characters, and by highlighting their features with the colored pages of the magazines.
Sabina Feroci creates human-like characters, puppets reborn in a new body, forever framed in a sculpture. These characters stems from the observation of the reality around us, handcrafted by the artist. They are the representation of how she sees the word.
Her background as an illustrator explains her attention to details, her sensibility to a mood summed-up by the irregularity of the shapes. Sabina goes right to the essential, she tells us about individuality, she narrates stories of alone characters, joined together by the awareness of their loneliness. Their look is neutral, their emotion various; the artist describe those emotion by shaping their pose. She underline their nature, their internal struggle, their emotion. What amaze is the spontaneity of the poses. Aware of the isolation they come from, Sabina's characters look out in a bigger world and they tackle it with their natural self-mocking disposition.
The major body of Valli Nomidou's artwork is paper. She's working on human figure. There is a question of gender and identity as well as a question about time frame and experience that interests her. Life size, lightness in weight and fragility are her main concerns. The paper recycling procedure that she uses, starts from the inner construction of each figure with a cardboard frame built within a vertical and horizontal grid which supports the outer layer of the paper skin. In several occasions this inner construction is coming out through open space and holes that are left to be seen on the top skin layers.
These coming out space shape create autonomous forms, a sort of inner explosions. The above constructs have a dual representation of the inside and the out side which may exists at the same time when you first see a figure. So in a way these female subjects balance between the soft and the blatant, between pain and serenity.
These frozen postures capture her struggle for the time which passes and the traumas that wounded her soul and body.
Valerie Buess has been working with paper for the last 20 years. The material is unmistakable even when it's torn, bent, cut, colored to create beautiful unreal organic sculptures that resembles submarine creatures. Seaweed, riff, algae and sea urchin receive the breath of life from old books that tell the stories and the mysteries of the deep blue sea.
Jorge Faundez Cornejo
As a South American immigrant in Spain Jorge Faundez Cornejo has extended his artistic research through characters sunk in a deep crisis of values plunging the world, taking it to extreme consequences. The road is the only scenario in which those identities are mixed.
It's a landscape that's alien and denied, giving space to human beings who strive to survive. Faundez Cornejo works using the fragility as a constitutive element of all his work. He relates mainly with waste materials, trying hard to develop an aesthetic of poverty.