Beginning on 24th June 2009 to 17th July 2009, Infantellina Contemporary, the first and only Berlin gallery featuring 100% Italian art, will present the exhibition "Strange Things" by 14 emerging Italian talents: Giulio Adobati, Beatrice Apicella, Cesare Bedognè, Ester Crocetta, Mauro Di Giorgio, Domino, Matteo Farkas, Raffaele Fiorella, Bruno Giordano, Viola Kunst, Mirko La Monaca, Mauro Martin, Nicolò Piana, Emanuele Saracino.
Special Guest: Willi Bambach (Germany).
Online PR News – 28-June-2009 – – At the beginning of the 20th Century the artistic avant-garde ushered the “strange” art. Classic forms and the centuries-long dominating aesthetic ideals were forgotten and the artwork became a playground for extreme experimentation. Time passing by art was turned into a factory of provocations aiming to shock the observer. But the human mind absorbs fast and gets used to almost everything. And what was new and strange then, today is taken for granted or already seen when not even banal. If the world itself becomes strange, and the artwork mirrors it, suddenly everything is normal again. Strange things are not strange any more, but peculiar: It´s the uniqueness of everyone that makes everything common and different at the same time.
Giulio Adobati’s technical skill conceals an infinite love towards art. An artistic passion which can be
understood from the pictorial interpretations by the artist which transmits decided embroidery of a 20th century kind witnessing a possible harmony existing between modern fruitive needs and representative themes of European tradition. An immediate painting shown off by a scenic effect which tends to reveal the importance of togetherness, as also the positively exasperated searching for descriptive of particulars.
Beatrice Apicella analyses through her photographs different themes, from nudism to fashion, in the interpretation of a free consciousness of the places, and in the sweet craziness of the artistic enthusiasm touching the Dionysian Abysses as well as the weaves of the inquietude. She plays with the logic of the analogies that move between skin and soul, light and darkness, while her flash enlights enticements, interferences, and the borders of the bodies.
Cesare Bedognè's photographies are a journey whose destination is a dilation of perception: the strange moment when interior and exterior, the seer and the sight, seem to dissolve one in another. Then there may be one shot only, the necessary shot. The photography is what remains: crystallization of psychic interior, precipitated into gelatine silver.
Ester Crocetta's works reflect an innate predisposition to the interpretation of nocturnal and daytime dreams, like flashes that for a moment give a reading of reality. The proposed personality places her juvenile vigour to the service of an icon that gives joy to her for a form of catharsis interior, and suggests the public the matter of reflections about theoretical and practical guidance to be achieved before the changes imposed to humans and nature by civilizations consumption.
Mauro Di Giorgio's graphic artwork presents two overlapping levels that, rather than merging, interact on a semantic and aesthetic level. Mauro's artwork is characterized by two singular and complementary elements of his vision: the background reveals the prismatic brightness of the watercolours while the surface is invested with the incisive strength of the black graphic sign. The absence of depth in the canvass is compensated by a modulation of colours that remind one of infinite spaces.
Domino's endeavours after the use of unusual materials which she elaborates into a conceptual message, in which the ambivalence of appearance and reality is always present. The concept is never only a one-way, ironic game, but her aim is to involve the observer into the interpretation process, which is never static or one-dimensional, but leads to the sensation of reality’s complexity. (de_Dominos Bestreben ist es vor allem mit außergewöhnlichen Materialien zu experimentieren, die schließlich zu einer konzeptuellen Aussage führen, in der die Ambivalenz zwischen Erscheinung und Realität thematisiert ist. Das vordergründig als ironisches Spiel verstandene Objekt hat einen doppelten Boden, da es dem Betrachter abverlangt, gewohnte Betrachtungs- und Erklärungsmuster aufzugeben. Im aktiven Anschauungsprozess wird deutlich, dass alle Eindeutigkeit nur Illusion bleibt, sowie es in der Realität nie nur eine Wahrheit gibt.)
Matteo C. Farkas presents a series of 5 sculptures, realized with the technique of the Shielded Metal Arc Welding. An Army of creatures resembling for half humans and for the other half robots, to represent the concept of interaction between man and machine, something more and more necessary to the Human Being.
Raffaele Fiorella presents his latest works: puppets with a childish allure. Taking inspiration from children’s drawings, he patiently cuts, sews and stuffs his characters, to create soft fetishes that appear ingenious and joyful. Underneath the obvious playfulness, however, the joyous figures reveal a disturbing aspect. Hung up on the wall their deformed bodies could stand for generic struggle and the anonymity of the individual in the metropolis. His puppets could be mutants, a result of genetic experimentation, they could be images of the most hidden human psychosis or aliens ready for invasion.
Bruno Giordano 's creative process is grounded in a mixture of conscious and unconscious actions driven by influences of every day life. His work is centered in the dialogue between dream and reality, his intention is exploring himself and everything around him. He enjoys to be inspired from a lot of different sources and brings them together like a collage of things.
Viola Kunst's canvasses are portraits in which the bodies dissolve into colorful vibrations of flesh, in which nuances play across the surface of the skin. The proximity of the portrayed women is charged with personality and erotic undertones. Her art leads to a exploration (not an exploitation) of the feminine body, and to an undisguised, feminine look at the feminine itself.
Mirko La Monaca presents some photos of the series "Synthesizing Berlin" : Conceptually he takes his photographs and makes them dfferent by cutting their original structure, changing their atmosphere. He eliminates the original colours, creating new tones, and giving the works new parameters. He seems to remind and to consacrate this imaginary Berlin to the memory of the past.
The silent objects of Mauro Martin's photographs line up like on a stage, creating a representation ruled by complex geometrical and prospectical relations. He thinks that photography is not only a composition of forms, but also a painting of light. Light creates with grace a metaphisical effect, where the sentimental projections of the artist are not perceived like the obsession of a nightmare, but rather like the evocations (sometimes smiling sometimes suffering) of a memory.
Nicolò Piana met street art when he was a kid and he has been strongly attracted by all the suburban cultures. He works on the relationship between space, people and time, trying different ways: photograpy, architectural projectation and illustration, driven by the will to documentate the spirit of the City through its micro-symbolic signscapes.
Emanuele Saracino's interest in the analysis is implemented in an attempt to "construct meaning" through the painting, that is trying to drive the creative inspiration to achievements already declared meanings, even before the judgments arising from the receipt from the public.
Willi Bambach´s artworks are pointing to the basic questions of human live: Who am I? Where do I come from? Where will I go to? To transform those questions into art he often uses the philosophic concept of human dualism in his paintings as well as in his sculptures – but almost always leaving a little space for a smile or a blink. So, the spectator of his artworks often is taken on a journey into feelings of uncertainty and suspense - even combined with humor - in which symbolic characters or motives of nature are used to arouse and strenghten the viewers curiosity.
Opening starts at 6 p.m.
Taubenstraße 20 – 22 (am Gendarmenmarkt)
Di-Sa 14-20 Uhr und n.V
Tu-Sa 2-8 p.m. and by Appointment
Infantellina Contemporary [I-C] is the first address, in Berlin, for all collectors loving italian contemporary and emerging art.
Infantellina Contemporary [I-C] ist die erste und einzige berliner Galerie die 100% italienische Gegenwartskunst präsentiert. Mit Infantellina Contemporary eröffnete im Oktober 2008 die erste Galerie für italienische zeitgenössische Kunst in Berlin. Auf den ersten Blick ein rauschendes Fest des Pop, offenbart sich auf den zweiten Blick unter den zumeist farb-intensiven und sinnlich-ästhetischen Oberflächen der doppelte Boden.