Intervallo di Confidenza at Galleria Comunale d’Arte Contemporanea di Monfalcone

The Galleria Comunale d’Arte Contemporanea di Monfalcone is delighted to present Intervallo di confidenza, an exhibition of the works of Fabrizio Prevedello, Kristian Sturi and Michele Tajariol curated by Daniele Capra.  Running from 25 March to 1 May, the exhibition brings together thirty works by three of the most significant artists working in the field of sculpture in Italy today. It is an investigation of the approaches each of the artists uses to develop their poetics; approaches which employ complex strategies and processes characterised by a continuous alternation of the perception of risk and self belief. Intervallo di confidenza is envisioned as a conversation seeking to give the viewer a polyphony of interpretative keys in relationship to the artist’s research. This research attempts to develop a personal grammar, where repeated actions and constantly renewed expressive approaches co-exist. The exhibition is accompanied by a bilingual publication with images of the works installed in the gallery, texts by the curator and critical essays by Davide Daninos, Marco Tagliafierro and Alice Ginaldi.

Intervallo di confidenza analyzes the operational space in which the artist moves, the area where the starting hypothesis – in terms of personal poetics, materials and compositional syntax – can be foreseen and verified to some degree. Alongside this awareness we also see centrifugal forces which lead them to go beyond the limits of that which is known, pressures which it is important to embrace without letting them overwhelm. We might consider that the artwork can be interpreted as a deliberate psychological act, characterised by the concentration of energy and a conceptual, spatial, temporal or emotive intensity. As such, in the moment of greatest effort, the artist is forced to develop executive approaches where the systematic doubt of that which is not known is moderated through the trust of their own abilities and the possibility of falling down without hurting themselves too much. The artist must therefore develop certain abilities which will make it possible to play it by ear, often for considerable periods, since they do not have access to instruments that could measure and evaluate the consequences of every possible action. This is the dichotomy that the artist must have the courage to face, if they do not wish to be limited to being a repetitive proponent of previously explored equilibriums or well-trodden approaches. Inevitably the evolution of the work is the fruit of many attempts, risk taking and the courage to take a leap of faith over the hurdles of the present day.

The artistic research of Fabrizio Prevedello (Padua, 1972) is characterised by the use of classic sculptural materials, such as stone, cement, plaster and glass. Prevedello sees sculpture as construction, an architectural, three-dimensional phenomenon which drives the equilibrium of statics imposed by physical laws towards a higher visual level. His artworks often operate by activating and renewing the semantics of the environmental context in which they are located.

Whilst touched by the lessons of modernism, his work is nonetheless also animated by a sensitivity that, in many ways, has a romantic view of nature and landscape. As Davide Daninos writes in the catalogue, these aspects “return to take the upper hand over the results of the industrial revolutions of the past.” In this way the shadowy colours and the metallic oxidisations “paint a mountain landscape at the end of winter, when the sky is gloomy and the rain darkens the face of the mountains, the leaves of the trees and the land that surrounds them.”

A constant changing of materials and style, and a tireless investigation of two and three dimensions are at the heart of Kristian Sturi’s practice (Gorizia, 1983). The artist loves to mix totally diverse approaches and processes in a way that is surprising and deliberately incoherent, so much so that the hand behind the artwork is not immediately obvious. Sturi operates through a happy and playful anarchy, where classical works on canvas can be innervated with objet trouvé or precious golden supports that transform or manipulate the meaning. In a similar way, the viewer perceives the phallic-shaped ceramics as both colourful and attractive sex toys and objects that could cause an injury.

As Marco Tagliafierro writes about the artist “Sturi constructs linguistic systems which are founded on constantly moving metaphorical agglomerates and on oxymorons. This allows him to keep the contradictions present at the same time, without them neutralising each other.”

The work of Michele Tajariol (Pordenone, 1985) originates from an empathic interest in the spaces, objects and remnants that the artist re-appropriates, impressing their forms and history onto his own body, and developing architectures or a range of powerfully tactile masks with them. Their weight, physicality, softness and colour are the properties he draws on, in an irrational act of free re-combination and successive disassembly. As such, the artwork becomes an artefact in which the characteristics, or each element or psychological act of manipulation, is stratified without limit. This is characterised by dedication and the need to take care of the form, volume and material.

As Alice Ginaldi writes in the catalogue, that which Tajariol creates are spaces of protection, “an architecture that is never completely closed, somewhat wary of the outside world. A compassionate and moving emotional content.”

 

Fabrizio Prevedello, Untitled (142), 2015
Stone, rub, metal, wood, 26x30x24 cm
Courtesy of the artist and Cardelli & Fontana, Sarzana

 

Kristian Sturi, Gods and Fruits, show view, Nam project, Milan 2014

 

Michele Tajariol, Bagaglio, 2013
installation, print on paper pattern, objects
Courtesy of the artist

 

GC.AC – Galleria Comunale d’Arte Contemporanea – Piazza Cavour, 44 34074 Monfalcone (Go)
Opening 24 March 2016, 6pm
Thursday 24 March – 1 May 2016