Marcello Gobbi . Renascence by IAGA Contemporary Art

RENASCENCE MARCELLO GOBBI

in collaboration with

under the patronage of

November 13 - December 3, 2015 IAGA-Contemporary Art

Curated by Walter Bonomi & Ilaria Bignotti

From Romanticism onwards the artist will no longer have only he task of creating a world, or to enhance the beauty for herself, but also to define an attitude. The artist then becomes the model, it is proposed, for example; art is its moral. A. Camus

The exhibition dedicated to Marcello Gobbi, Italian sculptor who trained at the Academy of Fine Arts of Brera, consists of two sections: one at the Museum of Art in Cluj, one at the Galleria IAGA. In this second location have been set up fourteen works and a video installation, a project specially designed, developed and set up for the space of the gallery itself, in close dialogue with the works exhibited at the Museum, built between 2010 and 2014 and representing a punctual path in recent creative story of Gobbi, that is directed towards figuration with particular attention to the dichotomy between male and female, asceticism and fall, goodness and madness: eternal spiritual values for a research into the materials, in a coherent project that develops over the years with untiring and subtle formal diversification. The works of Gobbi, often in real size or size slightly smaller than the true, show over the years human subjects in a state of tension, or even of quiet, but always concentrated in complex choice, suffered in the etymological sense of the term, between good and evil, the elevation of the spirit and the fall.

The path would then ideally start as suggested in the section of works exhibited at the museum, from “Res Cogitans”, female figure, naked and without frills, that thoughtfully goes out from a bin industrial, expressing the desire to get out from a hidden place, metaphor for individuality unable to say and act. In this case, the woman, without veils and traits, becomes an image and symbol in the status of women, in a tense desire for declaring itself through the choice to be there. A term that, as the quote at the beginning of the text suggests, inevitably comes from existential philosophy and phenom nology, with particular reference to the centrality of Albert Camus. He, in the climate of redefinition humanistic, in the second half of the 50 wrote: “The revolt is to love a man who does not yet exist” because “Man is the only creature that refuses to be what it is.” This is the ultimate meaning with which we have to receive the combative attitude and positive, even in the drama and conflict of choice, the works of Marcello Gobbi, so that from the titles we recognize this inevitable tension of being and acting. So is also in “Presenze” (Presences), where a man and a woman with no identity, because all sum up and embrace, sitting, in a waiting position, pull over the boundaries the tissues that surround them, extending the faces, arms and legs in fabrics who are a metaphor of the impasse that precedes action. Even in the four sculptural bodies entitled “Vizi” (Vizi), in the 8

second room of the museum, the man is in a state of tension inactive, in a conflict between watching the ground, the roots, the origins, and stretch its arms that are still folded and fixed. “Freedom” and “Ascesi” (Ascension) are two sculptures in the adjacent room, wrapped by tissues, that are looking up and down, respectively, in a concentration of intents. The “Homme révolté” of Gobbi is expressed finally in the “Odysseus” that stands in the last room, slender alter ego of the artist that breaks the chains and extends itself toward an elsewhere that the artist knows, as shown by the myth of Ulysses, through virtue and knowledge, man’s ability to find new ways to talk about, move around, get in touch. If this is the symbolic and narrative path that is presented at the Museum of Art in Cluj , from a technical standpoint is immediately remarkable the choice of Gobbi: using the technique of molding or sculpting, he covers more or less entirely the sculptures with silicone, a poor material and industrial, usually used for technical and practical reasons. Placing it drop by drop on his sculptures, Gobbi ennobles it, calling it to be like a second skin. The choice of material is in line with the artist’s poetry, from the “redemption” of a material “poor” and simple such as silicone, raising it to become a true second skin that protects and at the same time it is limit to be overcome, metaphor for the continuous osmosis between of the choice and the non-choice of modern man.

The feelings that the skins of silicone by Gobbi infuse the public are different: from the meaning of frost and freezing, to the desire to touch and to confront them, til the emotion of the transient and temporary, the image eternal and spiritual. An union and a conflict of different sensations and feelings even conflicting. From that comes the title “Renascence” of the exhibition, that from the spaces of the Museum continues with works created especially for the exhibition, dated between 2014 and 2015, in the halls of the Gallery IAGA. “Renascence” is a significant term for European culture to which belongs Marcello Gobbi: connected to the concept of rebirth and renewal, it suggests a close relationship with the potential of sculpture as a medium for a real renaissance, combining tradition and transformation, memory and modernity. The exhibition is thus also a story of spiritual and artistic specific path by Marcello Gobbi, a kind of storytelling inside-outside of his works, reflecting on the need for “change” the skin, without denying the past, but always looking for a new future creative. In gallery the path starts from small heads titled REM emerging along the walls of the gallery, faces out-enter into the architectural space, realized by casts from life on the identities of friends artists selected by Gobbi. Faces that are in a state of rest, quietness, reflection not passive, but active. Faces who are in a state of awakening and unveiling, 10

becoming aware of no longer being only heads, but thinking souls, viewers of other works, in a theater in constant evolution. As chrysalises sleeping, the faces of Gobbi dialogue ideally with two sculptures in gallery size slightly below true. One, titled “Chrysalis” of them is squatting, he looked directly down, the hand and arm tend the burgundy fabric, while the entire epidermis is still covered with drops of silicone, still tense from releasing, in a metamorphosis that takes the guise of liberation: liberation from the creative process that the artist has used until now, and now is open to change, aware that art, if true, is constantly changing, like life. We see in fact on the body of another sculpture, “Metamorphosis”, sculptures of reduced size compared to those in real size, to which we have to come soon, the hair as wet, almost it had emerged from a liquid originating and regenerating, from a primordial womb, words in part legible and in part not decipherable. Words that overlap and mix in a Babel of hopes, succession of messages that are promises and expectations: the words on his bust are those of Chrysalis, Metamorphosis, Freedom and Rebirth, translated into all the romance languages and also in those Eastern.

After this sculpture is the second work slightly smaller than the real, suspended in a nest brundy color, titled “Cocoon”, bearing the body covered with thousands of drops of silicone: a chrysalis in fact, a body that is immortalized by the artist’s sensibility, created in the act of wake up and of give himself to the world and to us that welcome him. A man and a woman, respectively covered and revealed by fabrics white and orange, showing smooth skin, without silicone. Have serene faces, discovered by stripping colored veil that surrounds them, showing the signs-written on their skin, they welcome us in an emotional reflection and conscience. The colors, also these carefully chosen by the sculptor, are three: white, orange, and burgundy, symbolic in many cultures, of birth or death, of illumination and spirituality. The words that flow over their bodies are an inner flow that emerges, a buzz of language now ordered and ritual, a mantra (for the sculpture man, titled “Renascence”); other times the words emerge more spontaneously following the primary impulse (for the sculpture woman, titled “Liberation”). We note then that also the presence or absence of silicone becomes metaphorical: where the silicon covers the body but not the fabric, the sculptures are at the time of metamorphosis and are not yet freed. Where the body becomes a page that includes the word liberated, there is rebirth, currently underway or fully happened. 14

“Chrysalis” (2015), the music written and played by Rosolino Di Salvo, is a unique piece formally structured into three parts. The first, preludiante, is composed of sounds that attempt to describe the state of the chrysalis. And (based on a “pedal” sound) consists of the environmental noises which were taken during some moments of processing works of Marcello in the studio, processed electronically, on which are superimposed different sound lines in accordance with criteria of contemporary counterpoint. The conceptual references in structural and formal terms are to be found in the poetry of concrete music inspired by Pierre Schaeffer. The second part is a connection (such as a sound bridge), is the transition from the natural state to that of the creature called “chrysalis” and is quite challenging, is marked by a kind of pain derived from this transformation. Music, built again in contrapuntal mode by sound lines increasingly stratified, communicating with various noise levels, it remains anchored in contemporary references in apparent connection with the influences of the themes of John Cage. The maturation of the final stage of the creature and its transition to a new dimension of life completely transformed, characterizes the third part of the musical composition and is described by sounds much lighter that reflect the themes of minimalism of Arvo Pärt, where there are reserves of sounds, connected vertically into effect of counterpoint in an attempt to simulate and match the typical feelings soar together with all the sounds of the new environment that will host. 19

The exhibition path ends in a multimedia installation video shown in two large wings of silicone. This installation is “the heart” of the exhibition, born from a collaboration between Gobbi and the musician Rosolino Di Salvo. The musical composition is in three themes and times, trying to tell, with fatal punctuality, the three phases of waiting, metamorphosis and rebirth represented by sculptures of Gobbi. The musical composition of Rosolino Di Salvo, born from minimalist canons, is a complex reworking of the noises of Marcello Gobbi at work in his study, conducted by Di Salvo. Day after day, the musician has in fact registered, selected and reworked the noises of the work of the sculptor, with grafts and electronic music, describing it as a process of metamorphosis. On this intense and lyrical musical composition, with different rhythms and narrative, highly symbolic-evocative, Rosolino Di Salvo has made during the opening night, a musical performance with electric guitar. In the middle of the two wings is the video “Messengers”, made by the artist himself in his studio in June 2015, and then developed for this exhibition. The video was inspired by the request of Gobbi, to the public in June, who visited his studio, to enter the space between the two wings, and to answer emotionally and spiritually to the suggestions of urban images played on the body and on the face of each spectator between the two wings, made so active user 20

of the work. Photographs taken by the various Gobbi spectators-performers who have accepted his invitation, were mounted in the video “Messengers”, together with the projection of the same words Chrysalis, Metamorphosis, Freedom and Rebirth. The video, which communicates with intense vibration with music by Rosolino Di Salvo, is therefore a spiritual and cultural gift that Marcello Gobbi gives to the public, inviting them to do their own personal journey, inside and outside of himself: a trip of change and rebirth, aesthetic and ethical. Text by Ilaria Bignotti

RENASCENCE MARCELLO GOBBI

EXHIBITION VIEWS-ARTWORKS

Art Museum Cluj Napoca

Odysseus 2011 fiberglass, silicone, chains 269 x 118 x 110cm 25 25

Vizio 1,2,3,4 2010 fiberglass & silicone 183 x 55 x 42 cm 27

Res Cogitans 2011 fiberglass, silicone, barrel 77 x 52 x 48 cm 28 29

Freedom 2013 fiberglass, silicone, fabric 82 x 85 x 46 cm 31

Presenza Tre 2012 fiberglass, silicone, fabric 149 x 66 x 83 cm 33

Ascesi 2012 fiberglass & silicone 79 x 49 x 44 cm 35

Presenza Uno 2012 fiberglass, silicone, fabric 128 x 70 x 76 cm 37

RENASCENCE MARCELLO GOBBI

EXHIBITION VIEWS-ARTWORKS

IAGA Contemporary Art Gallery 39

40 40

42 42

RE M c a mi 2015 gypsum & silicone 28 x 17 x 14.5 cm

RE M c ia n o 20 1 4 gypsum & silicone 30 x 19 x 17.5 cm

44 44

REMsara II 2014 gypsum & silicone 21 x 15.5 x 13 cm

REMely 2014 gypsum & silicone 34 x 16 x 17 cm

46 46

REMcello 2015 gypsum & silicone 30 x 16 x 17 cm

REMcecco 2014 gypsum & silicone 31 x 17 x 15 cm

48 48

REMax 2015 gypsum & silicone 29 x 19 x 17 cm

REMsara 2014 gypsum & silicone 25 x 17 x 14 cm

Metamorphosis 2015 fiberglass, silicone, fabric 77 x 50 x 38 cm 50

Cocoon 2015 fiberglass, silicone, fabric 150 x 34 x 50 cm 52

Chrysalis 2015 fiberglass, silicone, fabric 60 x 58 x 26 cm 54

Liberation 2015 fiberglass, silicone, fabric 169 x 91 x 35 cm 56

Renascence 2015 fiberglass, silicone, fabric 177 x 70 x 30 cm 58

BIOGRAPHICAL NOTES Marcello Gobbi Born in 1970 in Brescia, where he lives and work. He is graduated in Sculpture at the Academy of Fine Arts of Brera

Selected solo exhibitions 2016 2015 2013 2012 2011 2009 2007 2005

MF Care Factory Marcello Gobbi, Monza, Italy, curated by Felice Terrabuio & Vittorio Raschetti Renascence, Art Museum, Cluj Napoca, Romania, curated by Walter Bonomi & Ilaria Bignotti Renascence, IAGA Contemporary Art Gallery, Cluj Napoca, Romania, curated by Walter Bonomi & Ilaria Bignotti Personale, Tenuta San Settimio, Palazzo Arcevia, Ancona,curated by Laura Coppa Lo stato delle cose, Diocesano Museum, Brescia, curated by Francesca Guerini Apples falling into the sky, Atelier ABC Mannequins, Corso Como 5 Milano Odysseus, Marchina Arte Contemporanea Gallery, Brescia, curated by Annalisa Ghirardi Marcello Gobbi, Venice Design Art Gallery, Venice Biennale, curated by Piero Mainardis Marcello Gobbi, Venice Design Art Gallery, Venice Biennale, curated by Daniele Sorrentino Vorrebbero essere sculture, Plurimediale Zarathustra, Brescia

Selected group exhibitions 2015 2014

2013

Contexto, Area Contemporanea, Edolo, curated by Paolo Sacchini AMA Festival, Museo della città, Chiari, Brescia, curated by Mara Lupatini & Marco Onorio Oltre la vita, Palazzo Fondazione Arsenale, Iseo, Brescia, curated by Angelo Zanella, critical text Lidia Muffolini Genova Art Expo, Galleria Satura, Genova Studipraticabili, San Felice Kall, by AMACI, Brescia San Felice Hall, Giovinazzo, curated by Arte Fuori, Bari The Italian Wave, Iaga international Art Gallery Angels, Cluj-Napoca, Romania, curated by Ilaria Bignotti & Walter Bonomi Un grido:mai più violenza, Gallery d’arte LuPier, Gardone Valtrompia, Brescia Artcevia International Art Festival, Ancona curated by Laura Coppa Studipraticabili, Palazzo Carlotti, by AMACI, Brescia La vita ferma, Palazzo Carlotti, Garda, Verona Citriniti Arte Contemporanea, Spotorno, Savona

2012

2011

2010

2008 2007 2006 2005 2004 2002 2001 2000 1997 1995 1994 1993 1992

Artcevia International Art Festival, Ancona curated by Laura Coppa Group exhibition, Beyond factory, Verona Naturalmente, Valle del Lujo, Albino, Bergamo, curated by Virgilio Fidanza Group exhibition, Palazzo ‘900, curated by Arteingenua, Brescia Corpi Esposti, Barbara Frigerio Gallery, curated by Barbara Frigeri, text by Ilaria Bignotti, Milano The end as a beginning, ONO Arte Contemporanea Gallery, Bologna Young artists from Brescia, Marchina artecontemporanea Gallery, Brescia Rionvega- Group exhibition, Brescia Naturalmente, Valle del Lujo, Albino, Bergamo, curated by Virgilio Fidanza Intemporanea, Museum Santa Giulia, Brescia, curated by Ilaria Bignotti CTRL+N, Torre Civica, Verolavecchia, Brescia, curated by Annalisa Ghirardi Naturalmente, Valle del Lujo, Albino, Bergamo, curated by Virgilio Fidanza Stanze, Villa Glisenti, Villa Carcina, Brescia E venne a abitare in mezzo a noi, LuPier Art Gallery, Gardone Valtrompia, Brescia Non c’era posto per loro, LuPier Art Gallery, Gardone Valtrompia, Brescia Group exhibition, Marchina Gallery, Brescia 10x10, LuPier Art Galerry, Gardone Valtrompia, Brescia Il giusto della vita, Academy of Fine Arts LABA, Brescia Paradisi perduti, Palazzo Bonoris, Brescia INtransito, Croce Bianca, Brescia, curated by Silvia Casagrande I have a drink you make the choise, Associazione culturale AREA, Brescia Corpi sospesi, Globo, Brescia BE essere semplice, ex industrie Tempini, Brescia Ottomani, Sala dei Disciplini, Castenedolo, Brescia Kunstkabinett, Synanon, Berlino Identita’, Museo Attivo delle Forme Inconsapevoli, Genova, curated by Andrea B. Del Guercio Se vede cosi, Varallo Pombia, Novara Pianeta Brera, La Cascina Grande, Trezzano, Milano, curated by Franco Migliaccio Richerche artistiche, Centro Socio Culturale Villaggio Sereno, Brescia Le forme dello spirito, S.Barbara, Cornice di Palazzo Ducale, Mantova, curated by Benvenuto Guerra Poetiche per il futuro, Centro socio culturale, Trezzano sul Naviglio, Milano, curated by Franco Migliaccio Brera allievi dell’Accademia, Villa Glisenti, Villa Carcina, Brescia Mostra seria, Pozzolo, Mantova

Thanks to Walter Bonomi and Alberto Perobelli, IAGA Contemporary Art, Ilaria Bignotti, Rosolino Di Salvo, the musician who created the sound performance for â&#x20AC;&#x153;Messangersâ&#x20AC;? and to all friends that helped and supported the realization of the exhibition: Grazia Bertorello Roberta Boglioni Francesco Bonfanti Pedro Bonometti Letizia Bonzanini Angelo Bordonari Lia Cervi Angela Corti Umberto Dattola Giada Furgeri Viaviana La Via Francesco Martinelli Maria Nolli Camilla Rossi Stefania Zorzi Special thanks to Silvia Casagrande

For the first edition of this book 100 copies have been printed. 50 copies are signed by the artist.

IAGA Gallery thanks Elvira Bozga and Sabina Elena Dragomir for their precious collaboration with the Gallery Photos have been taken by: Marcello Gobbi: pp. 5, 9, 15, 25-37 Catalin Hladi: pp. 1, 3, 11, 21, 40-59 Emanuela Casagrande: p. 62 SzĂĄsz Barna: pp. 6, 7, 16, 17 Zeno Schivardi: pp. 12, 13 Sabina Elena Dragomir: p.18

ÂŠ IAGA Contemporary Art

From an idea by Alberto Perobelli

Project manager Walter Bonomi Text by Ilaria Bignotti Graphic design Sabina Elena Dragomir

Printed by A&M Graphis Editura SRL

IAGA - Contemporar y A r t S t r. Closca, Nr. 9/1 1 Cl uj-Napoca [Romani a] t el : +4 0-3 64 73 54 28 www.iaga.eu i nf o@iaga.eu

member of:

PerchĂŠ le apparenze non durano? Walter Bonomi