“Lonely Daters” merges a team of sculptures and spatial interventions into an emotive ecosystem, layering surfaces and probable readings of objects via their positioning in room. The refusal of a simple figuration, of object-equals-which means, offers a distinctive likely means of comprehension, opening the sculptures to currently being scrutinised from their surfaces via to their cores, from expertise and that means to reference, thereby detangling the conjectured approach of “signification.”
We start from the floor. Protected with slate tiles, it is unsettled with each individual action. Harmony, shingles slipping away from under your toes. Mats designed of felted human hair evoke the feeling of viewing clumps of one’s very own hair in the shower drain. Hourglass-formed hand blown glass sculptures mirror the room and the viewer, mirror and Vanitas. No sand runs via them—it is as if the auxiliary function of the set up is to make obvious how our sensual apparatus is now up and jogging, doing work the right way, continuously associating. The surfaces of the several objects hanging from the walls of the gallery have been taken care of, dealt with, scratched, and uncovered to sunlight, invoking the brush as the agent of existence—I, you, a thing was below.
If the glass vitrines now on display at “Fall” at Istituto Svizzero, Milan, are enclosing Marie Matusz’s sculptures thereby lowering their visibility, then this exhibition performs a reverse workout. Here, surfaces are exposed, frame and framed switching destinations. The encased objects at Istituto Svizzero operate as potentials—an item of household furniture, a phase, a resource. On the other hand, the will work right here show what may possibly have been the moment there, and what has due to the fact long gone missing—a potential ex-negativo, an emptied space. (I realized in which you experienced still left it until eventually I went looking for it.)
Carrying out this emptying out the working experience of the exhibition could possibly give way to a much more affective layer of perception: as “meaning is,” according to Franco Bifo Beradi, “not a existence, but an experience”—ideally a single shared, the outdoors on the lookout in and the inside looking out, like going for walks in anyone else’s footwear.
at Clima, Milan
right up until November 15, 2022