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rêves | dreams @ kips gallery NYC

kipsgallery

PRESS RELEASE

Artist:  Alessio Delfino

Title: Rêves

Date: June 20 – July 10, 2013

Gallery:  Kips Gallery, New York

Inauguration:   June 20, 6-8 PM

Hours:  Tuesday / Saturday 11 am – 6 pm (tel. gallery +1 (212) 242-4215 or +1 (646) 284-5008 to reserve a viewing)

Curator:                   Nicola Davide Angerame

For interviews:       Nicola Davide Angerame

Italian mobile +39 346 4711759 American mobile (from June 17 to July 17, 2013) +1 347 6574184 nicola.angerame@gmail.com alessio@alessiodelfino.com

 

Kips Gallery has the pleasure of announcing the inauguration, on June 20, 2013, from 6 to 8 pm, of Alessio Delfino’s third personal show in New York. The Italian artist and photographer will present some giant-sized works from his new photographic series entitled “Rêves”.

Alessio Delfino (1976) is a photographer who continues to garner success on the Italian and international scene thanks also to important exhibitions of his works in international collections (one of which, the VAF Stiftung, is now exhibited at the MART in Rovereto which includes some of his works), and in international exhibitions, including the 54th Biennale of Venice, where he was invited to the Italy Pavilion.          

In 2013, Alessio Delfino will hold a series of prestigious international personal exhibitions. Important art galleries in Paris, Brussels, New York and Berlin will exhibit his two latest series of works: Tarots and Rêves.

            Delfino’s works will also be exhibited at the second most important art fair in Korea, Art Fair Busan, that will open on June 4, 2013.

Delfino creates photography that exalts the female body as a key image for a broader debate of reality, dreams, human perception and the possibilities of the photographic medium.

After having presented Metamorphoseis and Tarots, Delfino will exhibit a new series in New York, at the Kips Gallery, in Manhattan’s prestigious Chelsea gallery district.

Presentation of the exhibition and profile of Alessio Delfino.

A highly esteemed photographer in Italy and on the international scene, Alessio Delfino (Savona, 1976) presents a new photographic series in New York entitled “Rêves”.

Delfino thus continues his experimentation of photography that is capable of describing the multiform identities of the female body without subjecting it to thematization as an “erotic object” but instead using it as a metaphor or symbol of ethic-aesthetic (as in the Metamorphoseis series), esoteric (like in the Tarots series) or formal and psychological discussions (as in this last series entitled Rêves).

Delfino creates scenes in which the “dancing” bodies of the models are used as metaphors of the mental processes involved in dreams and in memories. The artist thus obtains compositions that are the result of an organic fusion of different yet homogeneous instants. This series of works dialogues with the noble fathers of sequential photography, such as Eadweard Muybridge, but also with the cubo-futurism painting of Picasso and Balla and Duchamp’s “Nude descending a staircase”.

Another aspect that makes this work so distinctive is that each photographic image is a “unique composition”, similar to what occurs in painting.

As stated by the artist with regard to his latest series of works: “Dreams sometimes create in us the most remote desires, they are the synthesis of an emotional path, the key to improving our understanding of ourselves. The boundary between dreams and desires is often blurred, merging into a dance that is frequently incomprehensible but also irresistible at the same time”.

As written by the critic and curator, Nicola Davide Angerame, in the introduction of the catalogue for the New York exhibition: “The photography expressed by Alessio Delfino in Rêves dives into a blend of different moments in time and space, using the body as a viaticum, as a guiding image that leads him into a multidimensionality in which it is possible to demolish the rigidness of reality in order to carry out the alchemical undertaking of synthesizing not reality but its conditions of possibility: those “pure forms a priori of sensitivity” that the German philosopher Immanuel Kant describes as the conditions of the possibility of perception. Space and time”.

As stated by the philosopher Alessandro Bertinetto: “With his Rêves, Delfino leads us into a world in which the natural forms evoked by the great German biologist and philosopher Ernst Haeckel open toward the universe. In fact, they open themselves into the human universe, and the female one in particular. Bodies bloom like flowers, tangle like ivy, and fit together like the legs of fascinating arachnids. Silent and auratic examples of a fantastic and mythical morphology, Delfino’s works yearn to continue the work of a natura naturans that never stops to create new forms and to surprise us”.

Multiplicity in Rêves by Alessio Delfino

by Nicola Davide Angerame

Going beyond photography while remaining in it. Concentrating multiple moments in time and space within a single frame. Tackling the multiplication of bodies with a “frontier” spirit. That’s how Eadweard Muybridge in his experiments involving dynamic photography at the end of the 1800s paved the way toward a new dimension, that would then be developed by cubists and futurists in the attempt to fully render, in the bidimensionality of the pictorial (and photographic) image, space and time within their dynamic and three-dimensional nature.

These avant-garde intuitions are contemporary with the origins of cinema, meaning the art of the moving image (sound and body). But cinema is something that flows: it reproduces that truth seen by the eye that flows over worldly things, tracking shots, enlarging, cutting and editing with sound. Instead, the avant-gardists want to capture this dynamism in the static nature of the picture, forcing the body to become fragmented, to reproduce, and to reiterate in the sense of being equal to and yet different from itself. Thus, they attempt an alchemy, an “impossible” synthesis of different moments, based on their seriality. They want to create an improbable “contemporaneousness”, bringing time to a standstill and refracting space into multidimensionality. These artists are alchemists and magicians of painting: from Balla to Picasso, and from Boccioni to Braque. Even Marcel Duchamp, at the beginning of his conceptual career that coincides with his demise as a painter, painted his renowned Nu descendant un escalier (Nude descending a staircase) in 1912. In this work, the father of ready made will realise how the synthesis of time, space and body is “impossible” and will choose the conceptual path, i.e. an approach to art and to perception that remains naturalistic and that will lead him to transfer real objects to the unchangeable timeframe of the museum.

Today, in an era in which the cinema has embraced the third dimension and has begun to discover 5 dimensions (involving the additional senses of smell and touch), photography is still relegated to the gilded cage of bidimensionality. Famous schools, like those of Düsseldorf, ensure that photography has its own potential documentary and an inexorable force acquired thanks to its reproduction of reality as it is/appears: pure, simple, frontal. This alleged objectivity imperceptibly slips instead toward the status of an icon. Today, we celebrate a cooling tower by the Beckers, or a view of a supermarket by Andreas Gursky, as if they were not only images taken from a reality placed inside specific a space and time, but as if they were everlasting visions capable of synthesizing the meaning of an era or of a civilisation. These images are not only a document of our living qui e ora but are icons of a world: they are “the part for everything” that attempts to summarise a bountiful and complex life as it flows, often spilling over its own embankments. Photography attempts to construct these banks, deciding what we should see, in what moment and in what place.

Alessio Delfino’s photography, that in the artist’s latest series of works is teeming with all the previously mentioned issues, intuits, with a last minute aesthetic change free from conceptual or conformist concerns, that time and space of photography can be much more than that which the simple definition of the medium, as a reproducer of reality, makes it possible to obtain.

And so he dives into a blend of different moments in time and space, using the body as a viaticum, as a guiding image that leads him into a multidimensionality in which it is possible to demolish the rigidness of reality in order to carry out the alchemical undertaking of synthesising not reality but its conditions of possibility: those “pure forms a priori of sensitivity” that the German philosopher Immanuel Kant describes as the conditions of the possibility of perception. Space and time.

In his principal work The critique of pure reason, Kant dedicates many pages to these pure intuitions of the internal sense (time) and external sense (space). All our knowledge can only start from them and their “continuity” is the specific form within which we perceive all things, while also guaranteeing that something can be accomplished.

Delfino’s simultaneous, bent, layered and merged photography opts instead to exfoliate the temporal and spatial planes, thus creating impossible images of bodies. His construction of an unreality is not a simple overlapping but a blending of time and space, hence of different movements, positions and morphologies of the body analysed as if under a magnifying lens by a magician or an alchemist seeking a philosopher’s stone capable not of transforming pewter into gold but of synthesising the flow of time and the unidimensionality of space into an incandescent image that can tear down our common sense founded on a priori forms of our perception.

Present-day quantum physics is proving, through the theory of strings and superstrings, the existence of parallel universes and that the same subatomic particle could easily have two or more positions “at the same time”. And this is something incomprehensible for us, used as we are to the “exactness” of time and space.

Its superiority (in this case of photography) is the prerogative of being able to give “body, image and figure” to something that strictly speaking is for us “incomprehensible”.

Our access to the world of imagination becomes a way to represent the inconceivable. The chaotic bodies constructed by Delfino are like those recent “photographs” of the Higgs boson. A theoretical image that attempts to give a visible body (in the common sense like in quantum terms) to a reality of which we have no direct perception but that must almost be indispensable to be able to conceive of its existence.

With this series of works, Delfino poses another theme at the centre of his multi-year reflections of the feminine body that, from a traditional view, is understood as a canon of beauty, harmony and, with respect to the other series of works prior to Rêves, as the symbol of fertility, divinity, fate and destiny. This theme focuses on the plurality of the body.

Is one body also a single body? Perhaps not, if we accept the hypothesis according to which our own identity is, in reality, a stratification and blending of different Selves, that are situated in a subjective environment, such as inside a photograph by Delfino or inside a quantum framework. We are ourselves to the extent to which we reflect first one and then another of our natures. Often the coexistence of different Selves is problematic. The stratified structure of the Id, Ego and Super-Ego is an initial decoding of this ubiquity of the Self, which constantly shifts between its own drives, the moral imperatives introjected with education and taboos and the decisions that must be constantly made while in the waking state. Also in this case art lends a hand by giving a body to this paradoxical situation of dynamic stasis. Like the subjects portrayed by Delfino, even our interiority is constantly shifting. Calmness is not part of our Ego, since its multiple nature rests only in very few situations which, moreover, are never definitive. And the body, that first thrives and then decays, offers us a refuge that is forced to share our destiny. Perhaps the body itself is our destiny.

While philosophy mortified the body, treating it as a waste product of spiritual and intellectual life, art has celebrated it as something divine (just think of the portrayal of the body of Christ over the centuries). In the twentieth century, body art put it in the spotlight once again as a work of art tout court. There’s nothing but the photography of bodies: the condemnation and the delight of photography. Delfino’s photography is that of the body to the nth power, of a body that extends beyond its own confines and demonstrates to itself its own power: for which each body is plural. An assembly of organs, a symphony of functions, a sum total of expressions.

Bodies that look like rocks, divinities and trees. Bodies that Delfino’s photography cools off after the volcanic explosion of movement. Defigured bodies without their natural profiles and redesigned according to the typical polysemy of Delfino’s poetic system of beliefs. Photography offers refuge to the value of a proposal that plays with space, time and the body like a juggler or a prestidigitator. Like an alchemist or a magician: to tell us that the Ego is an Us dancing in perpetuity. And, perhaps, in different dimensions.

 

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