Extraspazio, Rome, 2010
Extraspazio, Rome, 2010

Extraspazio, Rome, 2010

(group exhibition)
'aggetti - progettazioni - proiezioni - prominenze - protuberanze - sporgenze'
13th december 2010 | 12th february 2011

Allsopp & Weir, Alighiero Boetti, Carola Bonfili, Natasha Bowdoin, Joe Duggan, Masashi Echigo, Laurent Grasso, Pieter Hugo, Lorenzo Lupano, Mike Pratt

Allsopp & Weir (London 2003) state a demanding ambition to see all of Time collapse in the present moment and ask their collaborator Michael Taylor to visualise this intention with ritual, systematic and obsessive drawings of whirling triangles. Grotesque apparitions flank these sort of mandalas, with the intention of distracting evil spirits (or unbelievers?) from their rites.

Almost as if wanting to paraphrase the title of his 1979 work, Alighiero Boetti (Turin, 1940 - Rome, 1994) "killed time" one day in the early nineties by building a paper aeroplane painted in watercolour.

Sinusoidal forms rise like flames from the axonometric drawings of Carola Bonfili (Rome, 1981). Lit fireplaces or sacred hearts? The titles keep the passion under control: Hypocaloric; Hypochondriac; Hypometric.

Natasha Bowdoin (West Kennebunk, USA, 1981) is fascinated by the figure of the "trickster" which she discovered through stories by native Americans: a being who has the ability to transform himself, assuming various physical shapes and thus becoming a metaphor of artistic creativity. In the collage Flock, he takes the form of a flock of paper fragments.

It's a turkey's leg sticking from the bag in this morgue shot by Joe Duggan (Limerick, Ireland, 1973). Duggan suggests going without the bird this crisis-ridden Christmas and making do with his photograph.

Empty spaces as shadows, silhouettes in the artist's mind: these sculptures by Masashi Echigo (Toyama, Japan, 1982) were created from disused archive furniture which he reduced to volumes of pure "immanence" (hence the title) for his recent installation at the Galleria Nazionale d'Arte Moderna in Rome.

The outline of the neon cloud with the word "Projection" is by Laurent Grasso (Mulhouse, France, 1972). It recalls the form of a brain while the word refers to the system of projecting mental images that constitute the foundation of real experience and consciousness. The possible translations of the word projection led us to the title of the exhibition.

The photo of a cardboard bed by Pieter Hugo (Johannesburg, 1976) was taken in 2006 in Musina and reflects the situation in this northern town of South Africa, on the border with Zimbabwe: as in every community that is going through a dramatic phase of transition, it becomes a symbol of the ability to plan even in precariousness.

* In Beyond Good and Evil (Chapter Two - The Free Spirit) Friedrich Nietzsche maintains that "every profound spirit needs a mask: and further, around each profound spirit a mask grows continually, thanks to the constantly false, meaning superficial, interpretation of his every word, step and sign of life."
Behold Lorenzo Lupano (Rome, 1970) proposes to dress up as a turnip head (Raphanus sativum).

Whereas the understatement masks employed by Mike Pratt (Sunderland, Great Britain, 1987) are the writings that often appear in his large format pictures, for example I'm With Stupid. In his studies on paper in the show, Reclining Figure 1, 2 and 3, the subjects seem not so much reclining as ready to leap forth like pop-ups.

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