The title of the show, Commonplace, can refer to an important text, a chosen passage within a book; to a topic or common place; and finally to a commonplace in the sense of its dullness or banality. Moreover, the word common refers to ambients (common room) in which the members of a community have common and shared access.
The language of modern and contemporary painting became a commonplace when artists decided to abandon its frames, and when the American modernism (Alfred Barr) enclosed and protected it within the white cube. Parisi’s painting reflects this movement, both as a stratified presentation of the image as well as a living project for a space. A space of common sharing.
Diego Perrone avoids the “etiquette” of easy consumption. He follows and experiments an idea of original and poetical art. The artist superimposes images of persons, places, animals and things in order to draw (to make seem) surprising and original relations and aspects by using different materials and techniques (video, photography, painting and sculpture).
Another element that marks the work of Diego Perrone, and in a way establishes his connection with the great tradition of Modernism in the 20th century history, is in his capacity to show the opus and the process of its realization contemporaneously.
Archives, memory, loss and the sense of history are the general subjects of the works of Christian Andersson, which have wide-ranging and fascinating applications in all the works present inside the Fondazione’s exhibition spaces. Through a number of fragments (Sigmund Freud would have defined them “mnemic traces”), Andersson reconstructs, without renouncing a theatrical or even a docudrama taste, the stage of history. The theory of evolution, together with a reference to the evolutionary scale, at the Rockefeller Centre, that precisely in the 1930s saw its construction, become elements of a complex system of associations for which it is possible to see again and re-read western history. Inside the immense warehouse of the Fondazione, subdivided into three spaces for the show, there are two works that condense this intentional manipulation of the observer’s viewpoint very well.
The work of Seb Koberstädt is based generally upon change, often with strong ironic accents, of the perception of the things which surrounds us. His sculptures and his original architectural space modifies the order and appearance of things, hiding, changing proportions and rapports. Therefore, at first site looks like a personal setting of the scenes and of the objects of daily life, it reveals to be a complex and careful analysis of our visual landscape. Another scene in which the effects determine the causes.
This sort of retroactive causality – is the modified architecture of Koberstädt to determine the architecture of the “real” objects – becomes even more evident, and of great form, in different areas of the Foundation.
Michael Beutler is the first artist to show in the cycle of the Fortino1 exhibitions.
For Beutler, the given exhibition space is always the departure point for the elaboration of his artistic project. The artist analyses forms, functions and materials that make up the show space to then create architectural details that involve the viewer until making him a player in the process of reconversion. In this very real process of transforming a place, the artist at times also uses “machines” (which he makes himself) with the twofold function of work of art and art makers, elevating in such a way the sculpture not only to object but also a tool for making art works.