Immateria

28 August - 6 October 2019

'Immateria' by Antonio Sarnari

Ilde BARONE Maria BUEMI Simone GERACI Federica GISANA Corrado IOZZIA Stefania ORRÙ Ettore PINELLI Cetty PREVITERA Francesco RINZIVILLO Federico SEVERINO Valerio VALINO Giovanni VIOLA Veronica ZAMBELLI
Quam Scicli 28 August - 6 October 2019
Mixed Technical Organization

Partner Avv. Riccardo Schininà
Sponsor Gaetano Spoto

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The thin line that separates the idea from the finished work is sometimes a complex and incomprehensible world. The critics are concerned each time in the study of the passages that lead the author to define his work as art, and even more in linking it to the words that the author uses to speak about it. It is given that an artist is not always able to explain his research, as well as critic, many times, falls in aesthetic narration, when it is not able to go to the bottom, and understand the translation languages.

Understanding the new relationships that a work proposes, or understanding the innovation of a language, is difficult, precisely because one must be able, like the artist, to abandon safe ports and go into the indefinite, to draw references and abstract references, to then read the consequences.

Alongside his work, Valerio Valino has brought on display a beautiful phrase by Alan Wilson Watts: "What at a given level appears to be conflict, on a higher level is harmony". It is interesting to note how a philosopher, who speculates relations at work, has such a clear concept that in art, modern and contemporary included, is not shared across the board.

When observing a 'scene' from a greater distance, including neighboring areas that had been neglected, this shows higher-order relationships, affinities and diversity than a 'larger world'. Sometimes the solutions to a problem, one that is theoretically unsolvable, are just over the border; the same in which we confined ourselves, generally to protect ourselves from problems, paradoxically. Francesco Rinzivillo also comes to my support, who wrote down a phrase by Frank Stella next to his work: "What yuo see is what you see". After all, even if in a slightly ideological way, Stella focuses attention on the ability to see, even before the ability to discern, because without the first one there is not enough data for the analysis. So a border turns into a lack of vision, therefore less information to understand. And therefore the higher the point of view, the greater the probability that the relationship discovered is universal, in space and time. This is why the word 'synthesis' is often used in art criticism, which is why we should speak more often about 'relationships'; and for this the 'research' for an artist is fundamental to proceed beyond the border. "Research", when it comes to relevant discoveries, means "innovation" or simply "novelty", which is another frequent word in talking about works of art. It should not be understood as novelty in the sense of unpublished, unseen, but "of new order". Only a "new order relationship" can be considered a 'novelty' relevant in art. So much so that even the painting itself, just after being 'new', becomes history, an old boundary and a field of research for those who make 'storytelling' and not 'art'. "I am interested in painting what could give it a different meaning" says Victor Man, chosen by Federica Gisana for this project.

It can also be said that the work is nothing more than a testimony of the discovery made by the author, just as the map testifies the adventure of a great navigator, or a cut on the canvas testifies to an intuition, unique and unrepeatable. Unrepeatable if not to give space to the desires of possession, of a fragment of work, or perhaps to certify one's support for a great adventurer. Possessed even in the vain hope of buying a place in that story, or to deceive friends about their ability to understand the work and the discovery behind it. "Painting serves only to prolong, for others, the abstract pictorial 'moment' in a visible and tangible way" says Yves Klein, chosen by Ilde Barone. "Abstract pictorial moment" means a hermeneutic act of synthesis, not a visual narrative message, as many leaflets sound at the entrance of pseudo events of contemporary art; as if the word 'contemporary' justifies suggestion instead of an emotion, qualifies language as a simple message, authorizes an ideologue to define himself as an artist. Many are tempted by narration, which is much easier to share, even more in an increasingly ignorant and consumerist world, and end up communicating an intention.

“I am not an illustration of an idea,” says Anselm Kiefer, the reference in the exhibition for Corrado Iozzia, “but on the contrary it was their realization, in retrospect, that revealed the concept to me", as if to say that the author of a research is a tool of attempts and temptations, which only after the journey can try to define what has been tried and possibly discovered. It is therefore not a production process that of the true artist, but of 'experimentation', another frequent word in the dictionary of the art critic

"Immaterial" is an investigation project, as often happens at Quam, in which we try to draw higher-order lines, that is, between different languages and between alternative searches. Let's try to see new relationships, because these could be a logical language, let's try to do it by putting works, authors, words in the same 'together'. If nothing of a higher order is discovered, it will still be a useful experiment for the observer, to understand what and how the author already sees.

- Antonio Sarnari