Group show

WORKS by Bill Balaskas, Nicola Baldazzi and Veronica Lanconelli, Patrizia Giambi, Luca Scarabelli and Rosario Vicidomini

marmo – libreria d’arte contemporanea

8 October 2018 – 7 November 2018


From Monday 8th of October 2018 marmo- libreria d’arte contemporanea, a new shop and exhibition space in Forlì town centre, hosts a show named after its self. marmo is composed by works by Bill Balaskas, Nicola Baldazzi and Veronica Lanconelli, Patrizia Giambi, Luca Scarabelli and Rosario Vicidomini, and it visually describes the word “marmo” (marble), its materiality, conceptual ductility, history and artistic versatility.  

The space is divided into two rooms communicating via a lower arched passage; the first room hosts 360 Gradi, Milano 1995, a photographic installation by Patrizia Giambi, a Forlì-born and internationally acclaimed artist, with a maverick eccentricity, who likes to constantly experiment. 

Her work here documents the 8th January 1995 performance at Galleria Viafarini, Milan, which is a measure-based survey, where dimensions are intended as communication-allowing codes, but also rules to play with, challenge, transform and question their same authority. The male individuals stretching the elastics recall the athletes carved by Greek and Roman sculptors. 

360 Gradi, Milano 1995 dialogues with Untitled by Nicola Baldazzi and Veronica Lanconelli, a couple working on photographic languages and their non-linearity. The piece represents a real statue of a woman, found amongst many other half busts in a Cordoba garden and it is part of He didn’t believe me, a photographic work and a printed book by Osservatorio Fotografico. The square print is an example of the visual-linguistic-conceptual short circuit often used by Baldazzi and Lanconelli. The couple is interested in the photographic meta-reflective quid: here as elsewhere, the photographed subject, though not alive, seems to reflect on its own physicality (and essence). 

In the niche between the first and the second room it has been placed Parthenon Rising by Bill Balaskas, Greek England-based artist who moved to the UK to study at the Royal College of Art and now teaching Visual Communication at the Nottingham University. The silent looped 4-minute video is shown on a TV screen and it focuses on an angle of Athens’ Parthenon, at first nearly in a total obscurity situation – and thus not clearly recognizable – and then progressively illuminated, to reach a quasi-spectral light due to tourists’ camera flashes. Parthenon Rising questions, not only, how past dwells in the present time and, doing so, the relation between marble’s possible archeology and actuality. 

Finally, the second room hosts a wall-hanged sculpture and a painting: the former is a work by Luca Scarabelli, a small black marble ball where the artist placed a toothpick falsely digging the noble material’s impenetrable surface. The irony and the erotic antithesis between the two materials hint at what could happen when classical, pop and arte povera meet together, and conceptually describes marble as a trans-temporal and trans-spatial material, summing up many moments and times. Luca Scarabelli, eclectic artist working with visual art, music, and printed publications, often deploys marble and uses it in many yet essential ways. 

The painter Rosario Vicidomini presents clr50c-3, a work whose visual sense stands between the tryptic with its “non-better identified objects” and the apparent monochrome background. Yet, the one-colour illusion tricks only a non-trained or virtuality-addicted eye, which cannot easily recognize the background’s numerous shades of colours. Of the three “objects”, only the one in the middle is represented entirely, whilst the lateral two extend themselves beyond the canvas. 

These objects could be, as they could be not, stones, perhaps a marble stones, with their same solemnity, weight, shining shades, details-driven extraordinary elegance. Marble here stands for an openly-interpreted object, a work in progress without an a-priori definition; similarly, marmo-libreria d’arte contemporanea would like to be known as a non-functional place promoting an un-interested yet involved aesthetics, to share and to identify, disagree with and endlessly re-define.