The sunshine is faint on the seaside at evening.
Starlight begins to light up the define of some buildings rising from the damp sand of this in any other case abandoned panorama. These shiny surfaces replicate the dim starlight on their enameled pores and skin, nonetheless damp from the waters of the ocean now we have but to fulfill.
Initially their nearly natural shapes had confused us. We weren’t positive if we had been dealing with some type of marine vegetation, or in entrance of parasite antennae, partly hid by the comfortable shoreline and the night darkness.
Nonetheless, their reflections invite our gaze to look extra intently, to find the small print, the bluish hues of their very own glazed dermis. Such phytomorphic apparitions are thus revealed as artifacts, in all probability made from pottery or clay, baked with artisanal instruments.
The low tide will need to have made them emerge from their hiding spots. And we now understand how their vertical sprouts are literally ends related to the identical round base, suggesting that such glazed crowns have previously topped our bodies that weren’t essentially human.
This thought can solely reinforce the query that has adopted us since our entrance. The place are we?

That is the primary panorama that greets guests contained in the solo present “bassa marea“ [low tide], curated by Davide Daninos to take viewers contained in the sculptural and dreamlike landscapes of Matteo Nasini (Rome, 1976).

As an artist, Nasini has all the time been enthusiastic about forming collaborations between disciplines and fields of information, between scientists, artisans, and musicians, between human and non-human brokers. His works come up from experiments, from the questions the artist asks himself with out having a preordained reply: What’s the form of desires? What the sound of stars? Can we ever encounter waves of sand?

To be able to discover solutions to such questions, the artist welcomes the assistance and volition of the supplies he comes into contact with, leaving the noticed topics free to hint their passage by means of matter, outdoors of his personal management.

On this method the electrochemical actions of sleeping brains handle to translate themselves into sculptural solids: the profiles of its 3D printed porcelain sculptures are the direct results of the form and length of desires, recorded by the artist by means of digital electroencephalograms (Glowing Matter, 2016-ongoing).

And the qualities of conventional sculpture, imagined as a stable, static, and imperishable object, are disrupted by the behaviors of sand invited by Nasini to inhabit the rooms of spazio contemporanea (Slowly, sandy, 2023).

Certainly, contained in the exhibition “bassa marea,” the artist phases a brand new aesthetic experiment to review the power of sand to tackle behaviors from different states of matter. From stable and granular, sand is certainly capable of behave as a non-Newtonian fluid, if activated accurately, with out having to undergo an actual change of state.

“As in a dream, or on one other planet, the legal guidelines of physics appear to behave in another way,” suggests curator Davide Daninos. “So ‘bassa marea’ needs to move the guests’ creativeness to completely different planets, the place dream exercise is ready to construct objects and structure. And its panorama is constantly modified by the completely different wishes and intuitions of the sand. Whose excessive and low tide all the time retains the entire exhibition area in movement.”

The exhibition was produced in collaboration with Clima, Milan.

at spazio contemporanea, Brescia
till February 17, 2024