Andrea Nacciarriti presents, for the 13th edition of ArtVerona, a site-specific installation that he made for the space of Renata Fabbri. An original project, dominated by the concept of transformation and mutation, that focuses on the meaning and renewal of the work of art and the artist’s figure.
“Eraclito, greek philosopher of 500 a.C, began to give us the first insight on observation and the concept of change, through the unstable flow, to make us learn to live moments of uninterrupted change, characterized by elements of precarious order. Long afterward Crozier and Friedberg, in 1978, will place the subject at the center of the process of change, revealing the “subjective nature”of change.
The term Still Life is referred to the pictorial art and to photography and in both cases is made of two words: “still” and “life”. The word “still” as an adjective means “motionless”, while as an adverb means “continuing”, so it brings in itself a contradiction. Still Life literally means “motionless life”, but life is, by definition, never still, so the contradiction is reinforced. “Motionless life” is associated to “continuing life”, in complete contradiction with the death of nature. This terminological “speculation” affirms a vision of incomplete death, and in a very specialistic language finds another interpretation as “life as images”.
Still life has traveled half a century in photography, until its installative abstraction, where the composition of the form rises from the necessity of reproduction, multiplying itself in a motionless vision of its own image. A crossing from the natural element to the un-natural object and viceversa. Giorgio Morandi managed to wriggle from a canonical representation of the pictorial composition, before arriving to an abstraction that became the basis of contemporary formalization.
The project for ArtVerona starts from the concept of transformation and change, seen as a process open to the acquisition of techniques drawn from linguistic games of the phrase “still life”, overturning the symbolic and iconographic order of the work of art and the artist’s identity.
I’m a still life is a neon sign on a box of galvanized sheet metal, an analysis on the formalization of the work of art, that influences the contemporary artistic scene where the artist analyzes and disassembles in essential elements the comprehension of this phenomenon, making linguistic-iconographic paralleles with today’s paradoxes. The black figure is waiting for the white is a back-lighted dashboard which includes a manifesto that addresses its condolences and gratitude to the photographer Mario Giacomelli from the residents of Senigallia. The backlighting marks the stratification of other manifestos through the ink that is fading. The artist Mario Giacomelli always considered nature as the only way to narrate the man’s gaze, that he couldn’t seize properly through photography. Ever changing nature, that Giacomelli always modified, accompanied by the fear of time, the fear of interruption, intervening on the signs left by farmers. It is not only a tribute but also a way to find a continuity for the series about still life. NATURA MORTA – dimensions variable #0004 is the stratification of paper on a plastic pallet generally used for food, that presents its maceration and return to the shapeless. Trademark is a commercial box for toners, hanging on the wall, that lets some black ink drops drop, resembling the artist that marks his unpredictable route.