M A R C O G I A C O M E L L I
O N W A T E R S
3
If art serves a social purpose in any universal sense, it is to stimulate open-ended reflection across a broad spectrum of people and without concern for directing or guiding the resulting thoughts in any particular manner or direction. When it is powerful, it is capable of creating non-linear narratives that transport us to unknown destinations, to new levels of perception of ourselves a n d o f t h e w o r l d a ro u n d u s . I t s p e rt i n e n c e d e r i v e s d i re c t l y f ro m t h e i n t e n s i t y o f t h e a rt i s t ’s p e rsonal experience and the integrity that frames the transformation of this experience into a work or series of works. It is perspective in its purest form, uniting emotional, intellectual and psychological perceptions and whose purpose is to question our own relevance and perspective.
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Sobre of
life,
tion, its
Aguas
is
water
water ultimate
one
as
as
a
a
m a n ’s hostile
multifaceted environment,
playground,
neutrality
in
in
short,
questions
of
experience
with
water
as
a
water
as
a
pleasure
water
basis
and
for
metaphor pain
–
water
as
meditation for
and
of
the life
the
source
and
reflec-
universe and
and
death.
Marco Giacomelli has created an environment in which we come face to face with our insignificance when confronted by an element whose seemingly eternal existence dwarfs our epheme ra l p re s e n c e . Th e ex h i b i t i o n s p ea ks a l l e g o r i c a l l y o f w at e r ’s m y s t e r i o u s p o w e r t o i n t e r ro g at e a n d re v ea l h i d d e n t r u t h s a b o u t o u r c h a ra c t e r. Th i s w o r k i s n o t t o b e c o n s u m e d a s a p ro d u c t ; i t i s t o b e ex p e r i e n c e d a n d a s s u c h s e e ks t h e c o l l a b o rat i o n o f t h e s p e c t at o r. I t c o n t a i n s t h e
s e c re t s o f o n e m a n ’s j o u r n e y o f d i s c o v e r y a n d a l l t h at a c c o m p a n i e s s u c h ex p l o rat i o n : t h e d o u b t and instability expressed of Aguas Incertas; the constant evolution of those invisible forces that frame our lives in Aguas Instávais; the riddles that emerge from the significance of often ignored small differences between elements/events and personalities in Aguas Revoltas. At
first
glance,
the
complexity
of
the
abstraction
employed
as
the
vehicle
of
expres-
sion might lead one to erroneously consider the exhibition as a labyrinth-like experience. There are no exits here. The exhibition is a puzzle without a rational solution. It mimics life. Like all generous work, it offers as much as we are willing to give and what it has to offer is questions. Some are rhetorical in nature, while others quite clearly seek replies on the part o f t h e s p e c t at o r. Th e re i s n o h i d d e n a g e n d a h e re , j u s t o n e m a n ’s t r u t h b a s e d o n i n t e n s e l y lived personal experiences and the private interrogations inevitably generated by such intensity. When conceptualized and shared they represent social relevance in its purest form.
S C OT T M A C L E AY CURADOR
5
My interest in nature and art are inseparable and insatiable. Over the past two years I have dedicated my efforts to developing processes that speak of my thoughts and feelings of the natural environment that surrounds me daily, abandoning concerns related to finding ways of visually representing this environment in two dimensions. This has led me to explore various techniques including the stratification of multiple layers and the juxtaposition of multiple images in a way that translates the intimacy and force of my relationship with nature and the power of strength/vulnerability duality. As the work progressed, I began to understand that prioritizing process inevitably reveals more
6
a b o u t u s t h a n i t d o e s a b o u t o u r c h o s e n s u b j e c t m att e r. I b e g a n t o f e e l t h e rea l p o w e r o f d i a logue as opposed to monologue and this in turn led to an understanding of the importance of posing of increasingly difficult conceptual questions as opposed to offering inevitably simple descriptive answers in order to advance. This exhibition is a transposition of my thoughts and sentiments in a visual language conceived and presented in a way that provokes thoughts and sentiments on the part of spectators, thereb y c reat i n g a c i rc l e o f d i a l o g u e b e t w e e n t h e a u t h o r, t h e w o r k a n d t h e p u b l i c . I t s p ea ks o f m y re l at i o n s h i p w i t h t h e s ea i n a n a m b i g u o u s a n d a b s t ra c t , y e t f ra n k a n d o p e n m a n n e r. MARCO GIACOMELLI
O N
U N C E R T A I N
W A T E R S
2 0 1 3 - 2 0 1 4
A certain degree of balance is essential to setting goals and moving forward. A certain degree of imbalance is essential to understanding who we are and where we want t o g o a n d w h y. “ O N U N C E R TA I N W AT E R S � i s a s t u d y o f stability and its necessary fragility. It dissects the relationship between movement and our confrontation with it and
how
the
equilibrium/
disequilibrium
duality
affects
our perspective. It is a parable, a lesson in tolerance.
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8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
O N
U N S T A B L E
W A T E R S
2
0
1
4
What we don’t see is often more important than what we do. It is a measure of our ignorance. In photography we often think of what we don’t see as being what lies outside the f r a m e o f t h e i m a g e . I n t h e s e r i e s “ O N U N S T A B L E W A T E R S ”, the invisible elements reside inside the images themselves, latent intangibles waiting to be discovered, their presence rendered palpable by the evolutionary format of the six evolutionary sequences that comprise the series. Like silence in music, invisibility plays an integral role in structuring these works. Like music itself, time plays an important role here. These are works to be experienced, not simply looked at.
25
26
27
28
29
30
O N
R E B E L L I O U S
W A T E R S
2
0
1
4
T h e d i p t y c h s o f t h e s e r i e s “ O N R E B E L L I O U S W AT E R S � a r e riddles. They speak of small apparently insignificant differences of various types, differences that are often erroneously considered unimportant in our daily lives. They are mirrors that mock our tendency towards oversimplification. They are puzzles that employ repetitive imagery
to
render
differences
banal
in
an
attempt
to
awak-
en us from the deep sleep of contemporary life and its misplaced
fascination
with
everything
exaggerated
and
big. Here the small differences are extravagantly large. These are confident works that confidently question what we have to bring to an eventual conversation with them.
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32
33
34
ON UNCERTAIN WATERS - 2013 / 2014
O N U N S TA B L E W AT E R S - 2 0 1 4
Cov e r - THE KEY, 2, 2 0 1 3
1 0 0 x1 0 0 cm
P g . 2 4 - E V O LU T I O N I , VA R I AT I O N 3 , 2 0 1 4
MONITOR PROJECTION
Pg. 06- ACROSS SEAS , 3 , 2 0 1 3
1 2 2 x0 8 0 cm
P g . 2 5 - E V O LU T I O N I I , VA R I AT I O N 3 , 2 0 1 4
MONITOR PROJECTION
ACROSS SEAS , 5 , 2 0 1 3
1 2 2 x0 8 0 cm
P g . 2 6 - E V O LU T I O N V I , VA R I AT I O N 1 - 3 , 2 0 1 4 M O N I TO R P R OJ E C T I O N
Pg. 07- ACROSS SEAS , 4 , 2 0 1 3
0 8 8 x0 8 0 cm
P g . 2 7 - E V O LU T I O N V I , VA R I AT I O N 4 - 5 , 2 0 1 4 M O N I TO R P R OJ E C T I O N
1 2 2 x0 8 0 cm
P g . 4 0 - E V O L U T I O N I V, V A R I AT I O N 3 , 2 0 1 4
ACROSS SEAS , 1 , 2 0 1 3
Pg. 08- TU RB U LEN T WAYS , 1 0 , 2 0 1 4
1 0 0 x1 1 0 cm
0 6 0 x1 1 0 cm
TU RB U LEN T WAYS , 1 1 , 2 0 1 4
Pg. 09- TU RB U LEN T WAYS , 5 , 2 0 1 4
1 0 0 x1 1 0 cm
Pg. 10- TU RB U LEN T WAYS , 2 , 2 0 1 4
1 0 0 x1 5 6 cm
Pg. 11- TU RB U LEN T WAYS , 4 , 2 0 1 4
1 0 0 x1 1 0 cm
Pg. 12- THE KEY, 1, 2 0 1 3
2 0 0 x0 7 2 cm
Pg. 14- N EUTRA L TER R ITORY, 2 , 2 0 1 3
0 8 0 x0 8 8 cm
N EUTRA L TER R ITORY, 1 0 , 2 0 1 3 0 9 7 x0 8 8 cm
Pg. 15- N EUTRA L TER R ITORY, 9 , 2 0 1 3
1 3 6 x0 8 8 cm
Pg. 16- N EUTRA L TER R ITORY, 1 , 2 0 1 3
3 1 2 x0 8 8 cm
Pg. 18- N EUTRA L TER R ITORY, 7 , 2 0 1 3
0 9 7 x0 8 8 cm
MONITOR PROJECTION
O N R E B E L L I O U S W AT E R S - 2 0 1 4
P g . 3 0 - T W I N S , 2 , P A N E L 1 , 2 0 1 4
188x224cm
P g . 3 1 - T W I N S , 2 , P A N E L 2 , 2 0 1 4
188x224cm
P g . 3 2 - T W I N S , 3 , PA N E L 1 & 2 , 2 0 1 4
168x138cm
Pg. 19- N EUTRA L TER R ITORY, 1 1 , 2 0 1 3 0 8 8 x1 7 5 cm Pg. 20- DA RK SIDE, 9 , 2 0 1 4
2 0 8 x0 5 6 cm
DA RK SIDE, 2 , 2 0 1 4
1 9 0 x1 0 0 cm
Pg. 21- DA RK SIDE, 1 0 , 2 0 1 4
2 0 8 x0 7 7 cm
AL L ART WO R K S AR E P R I NT E D I N MI NE R AL P I GMEN T O N PAP ER 1 0 0 % COT TO N
Pg. 22- THE KEY, 3, 2 0 1 3
1 5 6 x1 0 0 cm
3 1 0 GS M CANS O N I NF I NI TY E D I T I O N E TC H I NG R AG . M O U N T ED IN ALU M IN IU M
1 5 6 x1 0 0 cm
CO MP O S I T E MAT E R I AL , AND VAR NI S H AP P L I CAT IO N W IT H U V P ROT ECT IO N .
DA RK SIDE, 3 , 2 0 1 4
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SPECIAL THANKS
M I C H E L E AT H E R I N O D O S S A N TO S G I A C O M E L L I A N TO N I O AT H E R I N O D O S S A N TO S G I A C O M E L L I ANTONIO GIACOMELLI NETO ELIDA REGINA COLOMBI GIACOMELLI
C U R AT I O N A N D A R T D I R E C T I O N 37
S C OT T M A C L E AY
PRINTING AND MOUNTING
GUILHERME TERNES
PRODUCTION
E L I A N A C . D E M E LO M A C L E AY - E C M 2 A R T
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C
A
T
A
L
O
G
U
E
-
2
0
1
6
w w w . m a r c o g i a c o m e l l i . c o m