Giuseppe De Mattia “Produzione Propria” at OPR gallery, Milan

By Last Updated: October 28, 2022Views: 618

Many artists produce on their very own at a time when the classical ideas of possession and authorship are invested by the logic of profile, anonymity and neighborhood. From this consciously uncomfortable place, one can categorical oneself freely, vulgarly. 

Ladri di piastrelle

Within the set up and efficiency work Nunca fui turista em Lisboa! Giuseppe De Mattia interprets the unlawful commerce in azulejos, glazed ceramics of Arab origin that adorn the partitions of many Iberian cities, composing figurative, summary and geometric motifs right into a gallery house. Azulejos thieves secretly take away the tiles to promote them to vacationers as souvenirs, making a black market that helps complete households by exfoliating their cities. Likewise, the 300 tiles put in on the partitions of OPR Gallery are destined to be eliminated after which bought individually by the exhibition viewers for the modest value of a memento. The De Mattia’s tiles are a specific interpretation of the most well-liked sq. form. All collectively they make up an ornamental floral sample. However taken one after the other they reveal the stylisation of a male member. The parallelism between black market and gallery reveals how the artist showcases the mechanisms of artwork to seek advice from broader financial and social narratives corresponding to the actual property hypothesis that plagues some locations and the position of individuality within the administration of widespread items. The false testimony of a thief of azulejos, which Giuseppe De Mattia presents in audio kind, is in reality centred on the self-legitimisation of the delinquent who, like several good artist, finds inside himself the explanations for his actions. On the finish of the operations, it’s subsequently necessary to not be fooled by the keenness of the exchanges. Take an excellent take a look at what stays in every particular person’s arms. 

Ingegno di Mola 

This isn’t the primary time that De Mattia has used practices and gadgets typical of avenue buying and selling, additionally making irony out of the artist’s have to promote in an effort to make a residing. In Ingenuity and Independence (That’s It, MAMbo, Bologna, 2018) he collects 7 performances centered on clandestine exchanges. In Esposizione di frutta e verdura (Materia, Rome, 2019. Curated by Vasco Forconi) he transforms the exhibition house into a store by utilizing a big show for actual and pretend vegetables and fruit. Ingegno di Mola collection can also be alongside these strains, which reworks the unlawful apply, widespread within the South, of establishing a chair close to the entrance door with examples of merchandise on the market within the personal dwelling. For the black and white silver salts photographic collection, Giuseppe De Mattia shoots on location, portraying actual chairs/shows from the village of Noha, in Salento. A backdrop sketched with a white material, nonetheless, pretends a studio replica, abstracting the item from the city cloth and giving the illustration an idealised worth. Within the sculpture, then again, the artists substitutes the Salento chair for one constructed following the directions dictated within the Nineteen Seventies by the designer Enzo Mari, who noticed in self-design an escape route from the logic of capitalism. On this historicised chair, nonetheless, meals has turn out to be pretend and the dear yellow gold, oil, is mediated by a black and white {photograph}. 

Piccola storia ignobile che gli tocca raccontare

De Mattia makes use of historic and conventional languages and gadgets in an surprising approach. Within the formality of the basic, he drops the story of negligible or marginal episodes, circumventing the narrative area of most techniques to denounce underhand economies and moralities of a unique form. An inventory of values and behavior, typically sweetened by the inventive narrative of the current, calls for criticism and a spotlight. Gimmicks, thievery, petty malfeasance, deceit and subterfuge describe historic connivances between man, picture and panorama. The illustration of artwork as a metaphorical, social and anthropological object is the worth round which the complete Giuseppe De Mattia universe finds its raison d’être. The terracotta whistling masks Testa di Gianni, Fischia! tells of the time when De Mattia paid his artist good friend Gianni D’Urso to whistle on command and paperwork the acceptance. The work evokes the Apulian custom of translating costume scenes and actual characters right into a terracotta whistle. The sound that goes by means of Gianni’s head makes the reminiscence ever current and related. All the exhibition merges right into a single style scene, from Bari to Lisbon, traversed by a breath of vitality that calls the viewers to take part within the feast (or slaughter) of the worldimage. Mustard all’ancienne “Those that haven’t identified the Ancien régime can by no means know what the sweetness of life was”. PrinceDuke Talleyrand, one of many biggest exponents of political chameleonism, thus fed the reactionary cravings of the French, manipulating the previous within the type of a memorable misplaced paradise. Just like the mighty Talleyrand, De Mattia presents a picture of the artist self that’s appropriate for all seasons. On the one hand, he’s able to pandering to the retro-refined tastes of the aesthetic (a greenback blackens the pupils on the clap of the money register). On the opposite it’s nimble in transferring, candidly, within the poor undergrowths of the unbiased scenes. To be an artist, one would possibly say, one should have the ability to invent not less than one (of artists). And to deliver it to the stage. Giuseppe De Mattia is a chic, anti-magic and tragicomically reasonable one. A man who, with the order and methodology of an archivist of folklore, builds symbolic credibility in an effort to reveal its falsehood, sowing doubt on the real beliefs of white hetero cisgender Westerners and discovering their worry of taking it or, even worse, of not with the ability to put it on. 

Gabriele Tosi

at OPR gallery, Milan
till November 15, 2022


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