Guglielmo Castelli “Improving Songs for Anxious Children” at Fondazione Bevilacqua la Masa, Venice

By Last Updated: May 30, 2024Views: 32

“Bettering Songs for Anxious Youngsters,” curated by Milovan Farronato, brings collectively a brand new sequence of work, maquettes, textiles and knitted sculptures which, taken collectively, study the skinny boundary between fragility and violence.

Guglielmo Castelli’s distinctive iconographic universe attracts from the worlds of literature, theatre and scenography. The exhibition title, “Bettering Songs for Anxious Youngsters,” is drawn from a youngsters’s e book printed on the flip of the 20th century which warns towards carelessness, distraction, mendacity and different apparently immoral behaviours in youngsters. Discovered within the New York Public Library, the e book impressed Castelli to contemplate “the age that was as soon as widespread to everybody; of first instances, of makes an attempt, of data of oneself and others . . . of inexorable failures and scraped knees.”

Castelli’s sense of worldbuilding, drawn from an agglomeration of European literary and theatre references and accented by autobiography, informs a sequence of inside settings which reflect and reproduce the self. His therapy of house is liquid: figures bend to and are restricted by their confines. Distorted perspective and a way of enclosure binds the figures with their environment, synonymous with a toddler’s expertise of rising and recomposing themselves, forming inside and round their atmosphere.

Castelli imagines the inside lifetime of a hypothetical “baby left at residence” by means of works which characteristic recurring motifs: the underside of a kitchen desk, splotches of apple that seem like Rorschach inkblots, the peeled layers of an onion. Castelli remarks that these “give ethical accents and behaviours of their representations that at the moment are out of trend, out of time, in a contemporaneity that goes too quick.” Incorporating delicate and breakable supplies—glass, ceramics, and lace—and sometimes glazed in inexperienced hues, the highly effective visible language of Castelli’s works tackle a shadowy neurosis that’s Kafkaesque, and a ghoulish and theatrical metaphysicality that remembers de Chirico. Home objects like glasses, scissors, tables, footwear and thread recur in tones that conjure a sure passing of time: rust, soil, senescent leaves and copper oxide.

Milovan Farronato says: “Guglielmo Castelli is a Turin painter whose critically acclaimed work contains a stylistic signature characterised by liquid and osmotic portray. Pure and hypnotic abstractions foreground figurations with distorted and contorted views that work together with their escaping shadows. His pictorial language has its roots and references in literature and theatre, each as a field of analysis and as a need to characterize narrated photos, exhibiting tones which might be usually melancholic, which frequently sees dominance within the color inexperienced and its many declensions. For the Fondazione Bevilacqua La Masa, the artist intends to create a brand new sequence of work of assorted sizes—it’s his apply to work in each small codecs and canvases composed of a number of panels and divided into giant dimensions. Conceived specifically for the partitions and rooms of Palazzetto Tito, they turn out to be liquid reflections of the water propagated from the frosted glass of the home windows overlooking the canal, enveloping new and historic narratives set in Venice. The work can be within the firm of combined media sculptures, works on paper and a number of other embroideries, purqua pas?”

The exhibition is supported by Mendes Wooden DM, São Paulo, Brussels, Paris, New York; and Rodeo, London, Piraeus.

at Fondazione Bevilacqua la Masa, Venice
till July 7, 2024

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