Katalog: European sculpture - Difference & Diversity

Mediadaten 2017

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sculpture network & Martini Arte Internazionale (Hrsg.)

European sculpture - Difference & Diversity
sculpture network & Martini Arte Internazionale (Hrsg.)

Through a selection of artists this exhibition intends to illustrate the current position of European contemporary sculpture, by no means claiming to be exhaustive, but aiming to present a realistic panorama of “making sculpture” in Europe over recent years. The exhibition is partly tied to the important inheritance of the late Twentieth Century and partly directed towards the search for a new creative dimension. A map of experiences representing the different countries of the invited artists that, as curator of the exhibition, led me not to impose a theme, since it would certainly have constrained the artists, or worse, would have prevented some of them from participating.

“Difference and Diversity”: this subheading is the key to understanding the criteria that led to this selection of 30 sculptors from all over Europe. Difference and diversity in sculptural technique, in materials used, in compositional approach, in creative conception: all variables that characterise this extraordinary selection of 150 works, exhibited in Italy for the first time. Protean and personal visions of contemporary sculpture, fruit of fantasy, inventiveness, creativity and imagination.

Fantasy is perhaps the most free of our intellectual faculties, it does not take into account the feasibility or functionality of an object, it can permit itself to be incredible and impossible. I believe fantasy itself is the common denominator of contemporary sculpture and the distinctive mark of this exhibition.

No longer linked to the real and free from the yoke of mimesis and figuration, sculpture nowadays becomes a test bench for different and unusual materials or for innovative interpretations of traditional materials. New perceptive and spatial factors gain importance, academic affectation is by now a distant memory that has given way to the search for innermost essence, energy beyond form. The subject reclaims complete autonomy; it feeds off the creative force of the sculptor and gains value through its imagination. The language of a sculpture anchored in the past had already been declared dead by Arturo Martini in the Forties, in so far as it no longer served the functions for which it had been created and he instead praised sculpture that was born from clay simply being squeezed in the sculptor’s hands.

If from a conceptual point of view the artist is now free to render the fruit of their imagination concrete and visible through sculpture, from a practical point of view they must confront the subject, herein lies their ability. The total liberty of thought that distinguishes the creative moment vanishes in the instant that the work is created, when the constraints imposed by the means, the materials and the numerous factors that limit creation present themselves. This obstacle is overcome thanks to the artist’s ability to interrelate what they know and that which pushes them to discover new means or materials that permit them to invent new technical solutions and to reach new communicative goals.

The conceptual passage from statue to sculpture, from Marcel Duchamp onwards, made way for the idea that every material or every completed object is suitable for making sculpture, considering it above all a subject. The incessant experimental process is therefore inevitable, the constantly renewed search for different means and materials to sculpt with. Today the level of experimentation and the manifold expressive possibilities of new materials are necessary for artists who are called to frenetic productivity, expression of a rapid and ever changing reality. This is not devoid of consequences. Ever more attracted by plastic compounds, or even by perishable materials, to the detriment of materials like bronze or marble for example, which are longer lasting and more suited for leaving a mark on time, the result sometimes leads to extraordinary works but whose temporary nature renders them provisional and precarious.

At the same time, thanks to the infinite creative opportunities allowed by new materials, contemporary sculpture is defined by its perceptual multidimensionality and free gestural expressiveness capable of arousing emotions and stimulating our imagination.

Patrizia Botallo
Curator martin - Martini Arte Internazionale, Turin (IT)

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Sprache: Englisch/ Italienisch
Erscheinungsjahr: 2010
Soft-Cover: 95 Seiten
Format: ca. 33 x 23 x 1 cm
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