A small compartment, cavity, or bounded area. CELL. A one-room dwelling in a convent or a jail. CELL. A fundamental unit of a corporation or motion. CELL. A organic entity consisting of protoplasm bounded by a semi-permeable membrane. CELL. A receptacle containing electrodes and an electrolyte. CELL. A unit in a statistical array. CELL. A portion of the ambiance that behaves as a unit (climate). CELL. A piece of a geographic space of a mobile community system. CELL.

The cell in its simplest and fundamental type is a spatial compartment having the ability to render the basic distinction between inside and outdoors, empty and full, thus acts as a operate by way of defending and isolating. Davide Allieri’s works envision spatial environments during which linear temporality begins to falter. Cells, pods, capsules, zones or related spatial configurations which transport the observer into post-apocalyptic, post-human landscapes. A situation which very a lot concurs with the well-known dictum—that we will reasonably think about the tip of the world than the tip of capitalism. The remnants of our hyper capitalist Technosphere outlived us, it stays unclear whether or not they transmit an limitless hum of their circuits or if these deserted constructions of know-how develop a momentum of their very own. Allieri’s multi-faceted apply—entailing drawing, sculpture and set up—delineates a sure space, which verberates the order of issues—one may say Allieri’s works had been cells of temporal and purposeful indeterminacy.

Handmade fiberglass frames or reasonably containers resembling protecting circumstances maintain delicate drawings on clear tracing paper. Every of them depicts apocalyptic visions, science fiction eventualities, brutalist architectures, bunkers, protecting or defensive constructions. These exact drawings are lined by a community of dense but superb coloured pencil strokes, as in the event that they had been to translate the fibrous construction of the fiberglass into the drawing itself. A dystopian luminescence lays over these abandoned landscapes. It stays unclear whether or not these drawings are blueprints (tracing paper as a particular technique of architectural plans would recommend) for protecting architectures and environments, or current paperwork of an apocalyptic, decaying world.

Whereas Allieri’s drawings present a sure narrational setting, his sculptures hover on the border of sculpture and system: nonetheless sculpture, not but in operate/use. This well timed logic of indeterminacy rewrites the logic of the relic in turning it in the direction of the long run—the system turns into the alternative of the relic—remnants of a misplaced future. It dwells within the liminal area of previous and future, doc and prediction, purposelessness and performance or relic and system, science and fiction:

“Lifeless Structure. Large, with worn out plastic options. Name it purposeful to be good.”
(Blade Runner 2049)

Whereas artwork in Davide Allieri’s case is now not a matter of irritation, however of disaster, he attributes it an enhancing school to transcend area and time and picture a future despite the fact that it might sound intrinsically misplaced.

at Galerie Hubert Winter, Vienna
till January 13, 2024