Exhibitions, Italy, Venezia, 04 June 2009
1st Floor literally denotes a place: it is a space where artists who are engaged on different conceptual fronts have placed themselves in relation with one another, indicating autonomous creative paths within the context of contemporary artistic production via different linguistic modes, including painting, sculptural installation and audio-video works. [.....]
In Andrea Morucchio’s works, the reasons of form interweave with and are inseparably balanced by the concepts, these being of a spiritual, cultural or sociopolitical nature. Tension - the dynamic relationship between opposites - is one of the fundamental aspects of his sculptures, which are a necessary intermingling of materials and forces: crystal and inner tubes, glass and iron. They are works that generate themselves through constriction (Accumolo) or through openings and breakthroughs (Enlightenments). Connections between different times, links between history and contemporaneity, emerge in the production of a series of sculptures in frosted glass, cast off an exact replica of a fourteenth century celata.
A formation of black helmets with archaic and indecipherable smiles reveal the eternal return, the continuous renewal of ancient dimensions of power between dominator and dominated, subject and subjected. Their dense black colour seems to absorb all - history and time, past and present - while perhaps representing a tragic point of saturation. Could that enigmatic expression, seemingly unfathomable, become the sign of an awareness, of a resistance, or of an imminent breaking of the ranks? B[e]d Time is connected to this same reflexive dimension. It is a bed/sculpture which, through the ironic impossibility of action, becomes a metaphoric couch of torture of thought. - Laura Poletto
In Andrea Morucchio’s works, the reasons of form interweave with and are inseparably balanced by the concepts, these being of a spiritual, cultural or sociopolitical nature. Tension - the dynamic relationship between opposites - is one of the fundamental aspects of his sculptures, which are a necessary intermingling of materials and forces: crystal and inner tubes, glass and iron. They are works that generate themselves through constriction (Accumolo) or through openings and breakthroughs (Enlightenments). Connections between different times, links between history and contemporaneity, emerge in the production of a series of sculptures in frosted glass, cast off an exact replica of a fourteenth century celata.
A formation of black helmets with archaic and indecipherable smiles reveal the eternal return, the continuous renewal of ancient dimensions of power between dominator and dominated, subject and subjected. Their dense black colour seems to absorb all - history and time, past and present - while perhaps representing a tragic point of saturation. Could that enigmatic expression, seemingly unfathomable, become the sign of an awareness, of a resistance, or of an imminent breaking of the ranks? B[e]d Time is connected to this same reflexive dimension. It is a bed/sculpture which, through the ironic impossibility of action, becomes a metaphoric couch of torture of thought. - Laura Poletto
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