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Group show: Segni di luce (over)

18 March 2004 until 6 May 2004
  Segni di luce
Michel Verjux
 
  A arte Invernizzi

A arte Invernizzi
Via Domenico Scarlatti 12
20124 Milan
Italy (city map)

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tel +39 02 29 40 28 55
www.aarteinvernizzi.it


CURATOR: Giorgio Verzotti

EXHIBITION DATES: 18 March - 6 May 2004

CATALOGUE AVAILABLE

HOURS: Monday to Friday 10-13 15-19

GALLERY: A arte Studio Invernizzi
Via D. Scarlatti 12 20124 Milano Italy Tel. Fax 0039 02 29402855
info@aarteinvernizzi.it
www.aarteinvernizzi.it

On Thursday 18 March 2004 A arte Studio Invernizzi presented the exhibition "Segni di luce", curated by di Giorgio Verzotti.

This exhibition, based on artificial light as a way of artistical expression, suggests a retrospective interpretation of some artists who stimulate a reflection about changes into continuity: continuity of linguistical choices, changes in what they imply.

The sensory adventure of which we discuss has in the neon light the most suitable expressive medium, medium that will be adopted by many artists, belonging to different artistical tendencies.
Trying to make the viewer a witness of the birth of the work of art, and to make the work of art itself a dynamic process in act, artists as Gianni Colombo and François Morellet used advanced technological instruments: Morellet's neon light became a distinguishing mark, while Colombo developed a research on enviromental dimension where, many years before any "interactive" research, the viewer's contribution is essential.

Dan Flavin's neon light completely coincides with an industrial product: his connection to the world of non-artistical production is a laical turning point in the spiritualism of abstract pictorial tendencies founded on the symbolic-emotional dimension of pure colour.

Keith Sonnier's lightning object becomes a lightning sign in which emotional values of the colour-light combine with phenomenologies of a matter that is nearly always extra-artistic.

Sylvie Fleury's inscription "Pleasure" recalls the neon inscription of the Conceptual Art, but to create its parody.

Mattew McCaslin's lamps and cables belong to everyday's life and, therefore, strictly border to it, both when they appear as curious, tangled, lightning bas-reliefs, and when they invade the enviroment.

Michel Verjux's spotlights cast their lightning circles in the enviroment, on walls, stairs, ceilings, where they purpose as an immaterial mark but, anyway, different in comparison with the dominating one.

Tatsuo Miyajima's leds present an unceising proliferation of arithmetical sequences, wholes of numbers that follow one another in different times. Lightning and silent, these works can be interpreted by the viewer who can seize in them the irremediably flowing of time or, instead, a reflection about the cognitive potential of mathematic.

On the occasion of the exhibition, a bilingual catalogue has been published, including an introductory essay by Giorgio Verzotti, the images of the works installed in the gallery, a poem by Carlo Invernizzi and a biographical notes.

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