venerdì 30 ottobre 2009

Contemporary Art Gallery in Salerno

VITTORIO SANNA, ENRICO PISANI, Tiziana di Caro Gallery, Salerno, 2006.
(the works shown are paintings by artist Nicolas Pallavicini )

giovedì 29 ottobre 2009

Yemen Drawings, Winter 2005-2006

VITTORIO SANNA, Yemen Drawings, Winter 2005-2006.

Turkey Drawings, Summer 2007

VITTORIO SANNA, Turkey Drawings, Summer 2007.

Thailand Drawings, Summer 2008

VITTORIO SANNA, Thailand Drawings, Summer 2008.

Tanzania Drawings, Winter 2005-2006

VITTORIO SANNA, Tanzania Drawings, Winter 2005-2006.

Rome Drawings, 2007

VITTORIO SANNA, Rome Drawings, 2007.

Mexico Drawings, Winter 2008-2009

VITTORIO SANNA, Mexico Drawings, Winter 2008-2009.

Sendai Drawings, Dec 2006.

VITTORIO SANNA, Sendai Drawings, Dec 2006.

Italian Drawings, 2007

VITTORIO SANNA, Italian Drawings, 2007.

India Drawings, Winter 2006-2007

VITTORIO SANNA, India Drawings, Winter 2006-2007.

Greece Drawings, 2006

VITTORIO SANNA, Greece Drawings, Summer 2006.

Hong Kong Drawings 2006

VITTORIO SANNA, Hong Kong Drawings, Feb 2006.

mercoledì 28 ottobre 2009

KATJA LOHER. Video-Planets


The works of Katja Loher question the possibility of a planetary identity. She works in different cultural grounds, like Europe, America and Asia, and tries to spot a common sense out of the diversities. In her video-sculpures, she plays with the contradiction between refining a global image of a planet (a recognizable shape like a sculpture) and the ever changing dynamics of its reality (shapeless like a video). The video-sculptures are more than installations of video and sculptures. They include also literature (the questions shown on the videos) and dance (the choreography of dancers that compose the questions). The planets sculptures hide, cut with a 3D CAD/CAM production system that make them look seemingly natural, several round-shape screens showing videos. These latter collect a number of dance performances that compose questions mainly about location: “Where is the centre of the sea?”, or “Is there no more spring?”. They also refer to bio-climatic issues like: “Who can convince the sea to be reasonable while its temperature rises?”. The message is about locating a new identity in space and time, as if the artist burden was to depict a temporary definition of an altered global image, and reproduce, in a model, an hastily moving planet to understand its changes and directions. One of the keys of interpretation of her work is the synthesis she achieves in melting these means of expression. The holistic approach to a ‘planet’ does not in fact compromise the clarity and impact of the installations or the sculptures. Literature, dance, sculpture and video, sum to a homogeneous piece of work which reveals its heterogeneity after a first look, just like the observation of a planet in our universe shows. The artist, as a conceptual star finder, seeks for new discoveries, and once the apparently simple object is found , there begin the infinite findings. Whoever discovers the work of Katja Loher finds himself involved in the same process: going to the curiosity of a rather simple object (a sphere-like sculpture) to the findings of its hidden sides. So the initial perfection of a planet, shaped by a cyclical movement, is contaminated by interior holes and voids that host insoluble questions. The videos are round shaped, recalling again the circularity of the design concept. So the planetary identity is simple at its approach and becomes more and more complex as you observe. The artist tries ironically to fit the universal laws in a model, in a process of conceptual compression that has something in common with the scientific observation. At the same time she plays with scale, putting the infinite bigness of astronomy in the infinite smallness of biology. The video-planets, as atoms, compose the universe of an artist who crosses the conceptual disciplines and physical continents with a rather surprisingly confidence. Been an inhabitant of a global system, Katja Loher well represents a generation of artists who are managing to work with an immense set of inputs and materials the contemporary life offers, and represent it in a reliable artistic syncretism.