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Ilaria Beretta Migrazioni

OLYMPUS DIGITAL CAMERA

MIGRATION

staff ILARIA BERETTA,

is the second of four solo exhibitions of the project:

MATERPOLIS

edited by Eleonora Fiorani.

from 12 to 29 April 2012

Looks the same in the belly of the metropolis, on her skin, about his experiences, This is what it means to be MaterPolis, a single project that weaves fli invention of four artists who, with different looks, wonder and work in the territory and refer to the radical change of values, investing the metropolis and the very idea of ​​society or culture, and which must be continuously compared to the inner of the subjectivity of which are part of the visual perceptions, olfactory, tactile, hearing. And the implementation of knowledge, ways and technologies with which the metropolitan territory is spoken and acted. And many appearances and meetings and clashes with otherness that cross. "

In Ilaria Beretta is an aesthetic of the fragment and otherness designing forms and spaces arising from the probable identification of an electron in an atomic orbital and the corners of the mathematical theory of René Thom catastrof: forms are free from the constraints typological, fuide like clouds, and dynamic spaces, without limitation, then indefnibili with quality fxed, spaces that change in relation to what happens in them, spaces from new and changing characteristics over time where the rules can modifcarsi through what happens in them. It 'a way of working and thinking about art that seems to go to the roots of many of the current projects of biotettonica, that seem to recall the Ville surrealist Marcel Jean, a city not Euclidean with its biomorphic shapes and mathematical, edifci made of folded like tissues, bridges that lead nowhere, expressways that become edifci, Libraries in the shape of the female nude kneeling. Greg Lynn talks about new species of forms, forms of "proto geometric", "An-exact", "Indistinct", "Ductile", “viscose”. Perfect to say the uncertain where human life unfolds in the vision that Heidegger Ilaria Beretta makes his picks as the refection of Deleuze on the crease to read the Baroque upstream of the unfolding of matter and of the neo-baroque in which we live.

It is coming a complex work they interact installations and multimedia works of video art to form a narrative that weaves leather, skin, iron, sheets, steel cable, flo fishing, linen rough, paper, Tombs, ink, tempera, Blood, video projections, earth, semi, the idea that dialogue and unity between science and art are traceable maps and ways in which we orient mutation and impossible to forecast the future in a globalized world.

Telling the conical shape of tattooed skins and paper hanging with steel cables, mail, in the center that represents the area of ​​probable identification of an electron in an atomic orbital. To which are added two stone sculptures representing 2 of 7 mathematical curves of the theory of René Thom catastrof, the cusp and navel. On the walls drawings on paper and pieces of leather and engraved on metal sheet. A video projection inside the cone of skins causes, passing near the video, the sequence of images of the city will stop and they experience bursts of frames taken from video of denunciation of Pasolini, so that the presence of the users becomes a component of the work. On the floor, land and seeds become mobile recording impressions of visitors.

They are all views of systems, that despite being deterministic behave pparentemente random. Sensitive systems infuenzabili from even minor events, enrolled in a deterministic chaos characteristic of creative processes in evolution. So that the chaos becomes order detectable in diferent models, that the theory of catastrof Thom, which focuses on the interest of Ilaria Beretta in his artistic career, explores, providing new mathematical models, universe of forms that arise, die and change, a universe of small mutations that induce continuous becoming.

So the work of Ilaria Beretta goes beyond the visible reality, to make visible the invisible art also doing something that is no longer to contemplate, to belong to the experience of touch, of being next to the things, one with them. It 'also in the art of opening new scenarios that are new ways of thinking about art and interact with it, as linking the materiality fsica sculptures and images with the invisible world of particles trying to make it accessible and intuitively through sight and touch, and with it to our awareness of the mutation of the forms and of life itself. And though our eyes recognize the stems from something old and familiar with the forms and writings conjure, arises from the suggestions of the voices from the fact that the skin is the quintessential ipersuperfcie, is the tactile part of the body, not just something to look at. Arises from the plurality of languages ​​and the invisible links that connect language and geographer, feelings and landscapes, lights, Color sounds, small nuances in the manner of walking, smile, to cry, to live and die evoked by the projection of images of different cities where all the photographers are the work of several people who wanted to participate in the operation.

A game created in stages from the fantasies of the workshop participants that in three dimensions (sculpture) or two-dimensional (picture) each one will realize one of the stages which will form the path that competitors will find themselves unexpectedly runs (live); from here you start a story that other players will continue to develop.

Sponsored by the City of Milan, Area Council 2

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