The show invited artists whose work reconsiders the notion of territory in a time when the obsolescence of concepts such as the nation state and borders coincides with new forms of nationalism and a corollary desire to affirm the individuality of a community or to protect their privileges with the construction of new physical demarcations
Sassolino’s works have danger, mechanical tension, darkness and make the spectator vaguely uneasy (“Is this going to break? Will i be hurt? Shouldn’t it take one step back?”) In fact, the artist also explained that the beams vibrate but they hold the pressure. The system actually gets in motion when a visitor gets closer to the work. And that’s when, as the artist puts it, a kind of Sadomasochistic moment emerges: the visitor would like to see some dramatic collapse of the wooden structure but doesn’t dare to get too close to it
Does the American dream still exist? What is its future in an era in which the promise of happiness and economic prosperity seems to clash with an increasingly complex and difficult scenario?
For Z33, design collective Numen / For Use left the gaffer tape in Vienna and Zagreb and used nets to turn the whole exhibition space into a giant playground that can be explored horizontally as well as vertically. The idea might look incredibly simple but the result evokes floating architecture and flexible “landscape” as much as jungle gym
The exhibition presents works and installations by international artists designed to trigger a reflection on the political, social and cultural implications – but also on the impact on personal life – of the new relationship between man and technology under the guise of the “virtual identity” with which we increasingly confront reality, at times without even realizing it.
The exhibition analyses the most recent developments in Italian contemporary art through a selection of works by the 16 artists nominated to the 2011 Emerging Talents award. Good surprises await the visitor
The piece currently on view in Florence is directly inspired by early prototypes of sound weapons. As the artist explained: I found a series of very suggestive images of some real “sound armies” set up by the Japanese army during the Second World War. They were like guns pointing to the sky, conceived for shooting down planes by using particular airwaves. Unlike current acoustic weapons, which are real weapons, those first prototypes have never been activated. Those images fascinated me a lot. This work probably still recalls these suggestions. It is a structure that juts out a lot from the wall, overhanging and conveying a sort of dangerousness. It produces a deep guttural sound and can be “exhibited” in every sense, both from a spatial and a sound viewpoint