Mitographs by Gianluigi Colin at Marconi Foundation
Monica Silva photographed Gianluigi Colin in his studio during the creation of some of this masterpieces which were published in two Books “Mitografie” ed. by Skira for Madre Museum in Naples and “Mitografias” ed. by the IVAM in Valencia, Spain. The new exhibition will be open to the public until May 17th 2012 at Marconi Foundation http://www.fondazionemarconi.org
The artist works in a “world made of paper” using an elaborate technique: he browses through newspapers, choosing revealing images. He crumples these pages, and then photographs the wrinkled sheets of paper, which are then to be printed on magazine paper, and glued onto a layer made of newspapers. Finally he intervenes impetuously with his hands on this material, forming new creases. An effort to protect those images and those words from the unavoidable destiny of newspapers: the 24 hours lasting.
Gillo Dorfles writes: “ Colin – avenger and “decontextualizer” of an art that is elaborated and sublimated “by his own hand” – ends up reaching a mythical vision of our time, as well as an admonitory vision of future events. Yet he also, it must be emphasized, brings back a sculptural and figurative vision (without resorting to brushes or the ab ex-type gestural work that so often betray a work’s authenticity). Colin’s vision and his
“I wanted to meditate on a tyranny that is subtle, yet deeply persuasive on our consciences. I felt I had to work on the dictators of the souls. That’s where I started from.” Gianluigi Colin images reflect the newest developments in Italian creativity. Such work has no need for labels like “art” or “news”. There is only one truly appropriate way to comment upon these works – they are an “aesthetic mytography”.
Barbara Rose, who curated the last exhibition at the Museo Madre in Neaples, writes: “Colin thinks that today reality is seen as a peculiar mosaic made with overlapping fragments of photographic images. He is one of those artists who wants to be a witness of history like Goya, Rauschenberg and Warhol. Colin does not reproduce just a photographic image but he alter it, wrinkling and deforming the page on which is printed the file, then he takes photos of it.”
Vincenzo Trione, who curated Colin’s exhibition at IVAM, writes: “Colin makes postmodern frescos, where centrality is destroyed. He is committed in going beyond the usual rules of the story, he pulls out fragments without an origin, that he joins in unconventional almanac, with an audacious post-realism. It’s like attending a seductive shipwreck. The work gives itself as a crumpled material, an arsenal of frayed memories, like a rough sea, an exercise with an unexpected plastic and poetic consistency”.
On the occasion will be published the Quaderno della Fondazione n. 7 an issue that collects images of the works exhibited, photos and essays by Gillo Dorfles, Umberto Galimberti, Giorgio Marconi, Arturo Pèrez- Reverte, Arturo Carlo Quintavalle, Barbara Rose and Vincenzo Trione.