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Development of Franco Nardi

Franco Nardi

from 7 to 21 May 2016

City Art

Via Dolomiti 11 Milano

After a long absence Franco Nardi is back in Milan, The occasion is the exhibitionDevelopment: a hit and run with a return ticket to his staff elsewhere. goodbyes, the train platforms and smoking rooms at airports if it is loaded in the backpack and returned to Milan but this is a journey that began long ago, a research trip, a Grand toursoul began to Corridonia via Florence, Macerata, then Milan and finally London. A run continues but Nardi is a true romantic and just to be himself in the right place devours the soles of his shoes and grinds his teeth as in a typical history ofuprooted provincial, people forced to live away from his native country and will never fit into the new habitat. Then London is fierce, and how can you be an artist when you spend half of your day to peel vegetables and to fry in the kitchen of a bakery and the other half between paperwork, banks and Western Union? To ask what you are voted become a mirage, a dream because of time there is none. However, We do not give up and look for alternatives and maybe make the dream, REM, the creative workshop and think, think and hope to have the way and the time, one day, to make concrete and virtual reality: this is Development, an exhibition curated by a different artist "visionary", Piero 1 / 2botta.

Nardi has decided that this will be an essential exhibition: away the superfluous, decorum, unnecessary and that atmosphere bobo that makes it seem all the same exhibitions. This press release is timely, empty, almost severe and gallerist like mica. It was just that! Imagine then that the opening day Franco stage the showcase with white sheets; not to mention the critical text of Mezzabotta, true scarring critical acumen. Unacceptable!

Invitation

The exhibition, three days to think, realize it and set it up, It is composed of two site-specific and a third fruit work instead of a reflection of London. The sound dei Sunn O))) It vibrates the walls but the works favorably and hanging on the right wall you see a huge arabesque composedhula hoop dismounted, united and remodeled. The design is reminiscent of Fontana but the idea of ​​starting Nardi is different well. By the way, "We know where we start but not where you get" and Franco has arrived in Milan with an idea / theme but morphogenesis has emerged on the spot, miraculously. This sculpture is revealed to us as a non-directional structure composed of open and, as the Möbius band or straps of the combine transmission, It has neither beginning nor end, if anything, a double, his shadow. These particular forms were studied by the mathematician and philosopher René Thom explained in Catastrophe Theory: In short, he discovered that the instability points of the forms are not subject to chaotic configurations but in topological forms, or, forms that do not vary when a deformation is carried out.

Converses with this sculpture, on the opposite wall, a multiplied drawing for ten. Made with quick strokes on the mobile screen, is a cube within which they move crazy string of colored matter crazy, bouncing off the walls, They collide with each other and continue to move, creating a constant flow. This work continues with the speech linked to reflection on 'in and out: forbidden to enter, prohibited quit. The colored chips are forced to move restlessly, serialization of design reaffirms and strengthens the mechanisms of segregation and exclusivity of the cube (reflecting the dynamics of society and art) in which the green can not get back on the leaves and the blue in the sky and so on

The second one site-specific It is the one that best corresponds to the idea of ​​sculpture Nardi: build because of deprivations. So Franco pulls the carpet of the exhibition space (to the delight of the gallery that was to replace) the compact, the press and the model up to the form: closed. From the fabric strands sprouting, hair, wigs, always at ease in the folds of the carpet. The traces of the absence of the latter and the work of detachment are the pieces of double-sided adhesive tape remained on the floor and that the artist colors of orange, creating a random signs but emotional, as memory and memory.

A few hours after the opening of the exhibition Franco leaves the country: the seed has been sown but the creep of reality and everyday life are more stringent forces and work, the true one, he calls him…. Good Night, and Good Luck.

Text from https://famessite.wordpress.com/

 

FRANCO NARDI E LO “SVILUPPO” DELLE COSE

Michael Rotondi

Che bello andare alle mostre il sabato pomeriggio !!!

A Milano sembra una prassi, si inaugura sempre il martedì e il giovedì, certo niente di male, But. Sarò l’ultimo dei nerd, ma il sabato pomeriggio per me se ti fai una passeggiata, e ti vedi una mostra, non c’è niente di più sano e genuino.

Franco Nardi lo intravedevo in giro ai vernissage milanesi, ci avevano presentati, ma ultimamente sono smemorato, sarà l’età, la troppa gente, le cose da fare, ma non ricordavo più se me l’ero sognato oppure Piero Mezzabotta aveva fatto da tramite. Comunque, Franco vive a Londra, nel quartiere di Schoreditch (che meraviglia), e da tempo insieme a Mezzabotta avevano deciso di fare un progetto a quattro mani dove un artista curava il lavoro dell’altro con un intervento.

Così è stato ed è nata Development, concepita sulla teoria della forma in genere; struttura che può comprendere altri automatismi raramente invertibili. Mezzabotta ha curato l’installazione di Nardi con un testo che si presenta così:

Invitation

Il “blablabla” copre l’introduzione al testo I pittori dell’Italia Centrale presente nel libro di Bernard Berenson, I pittori italiani del Rinascimento, Hoepli, Milano, 1936.

<< Berenson fu uno dei pionieri della storia dell’arte. Per analogia ho scelto questo brano corrispondente agli artisti marchigiani, così come lo è Franco >> e come lo è anche Piero Mezzabotta, che con questa frase mi illumina sul suo intervento “curatoriale”. Ironizza sugli eventi mondani dell’arte, come una semplice vernice, dove si parla di niente e mai di arte.

Il “Blablabla” che mai si consuma di Mezzabotta ha, alla sua base, uno schermo – illusorio – alla critica d’arte, che racchiude contenuti generati dalle radici storiche dell’arte.

All’interno dello spazio espositivo di CityArt, sulla destra, un condotto attorcigliato, prodotto da dieci hula op scomposti e ri-assemblati sulla parete, genera un segno continuo nello spazio. La moquette, al centro, diventa scultura cambiando la sua funzione. L’artista la stacca e la ri-assembla, inserisce elementi del suo vissuto, evidenzia, con la pittura, lo scotch che la teneva ferma al pavimento dando origine ad un tracciato, come una nuova planimetria contenitiva.

Dieci foto, sulla parete di sinistra, della misura del suo cellulare: un cubo, una forma rigida contenete filamenti colorati che continuano a “dimenarsi” nell’ambiente che li trattiene.
La materia ed il suo movimento è la regola che, concettualmente, si può ripetere come gli elettroni all’interno dell’atomo. Anche se c’è l’azione, sembrerebbe difficile percepire un movimento ed uscire dall’impianto principale.

Nardi non dà titoli alle sue opere, ne misure, ne tecniche, dice: << si chiama arte visiva, perchè si vede>>. Amen.

Text taken from http://formeuniche.org/2016/05/14/franco-nardi-e-lo-sviluppo-delle-cose/

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