For the DIALOGUE section of Artissima 2017, the RITA URSO gallery proposes an encounter between two artists, Davide Allieri and ZAPRUDERfilmmakersgroup, whose respective work shares some common elements of approach; artworks that, despite a seeming straightforwardness, demand to be looked at slowly. The apparent deviation from the canon leads the viewer into a condition of disorientation and suspense, of confusion that upsets and induces a greater effort of imagination. In this non-narration the viewer becomes the author, and is given the task of completing and creating the work.
The work of the ZAPRUDERfilmmakersgroup is difficult to situate among the usual definitions of disciplines; it is to be located somewhere in the intersection of visual, performance and cinematographic arts. In their work the medium is a fundamental and essential part. The work proposed and created specifically for the Artissima is made up of a series of photographic portraits. In these works the group continues their exploration of the enigma of human vision and its potential with a particular modality of access: the non-binocular viewing forces the eye to see a disembodied image. What happens when for some reason one is not capable of depth perception and therefore of stereoscopy? This is the case with strabismus and drunkenness. The Cordiale project is the result of these suppositions. In 2016 the ZAPRUDERfilmmakersgroup won the prestigious MAXXI prize for their work Zeus Machine.
An analogous subtractive operation features in Davide Allieri’s work, particularly in the case of the site-specific works in the stand, which continue the examination of the relationship between the artwork and its exhibition display. A couple of things is an empty display case, built of glass and painted iron, containing nothing. As well as Supporti, a structure apparently without a function. Empty, they are not supporting anything, and only display themselves. As with the empty display case this sculpture is also situated at a midway point, in an incomplete eternal. Finally, in Never Mind, the fragments on the canvas are images of past works. A fading past, a canvas that goes back white.
Despite the explicit formal difference that distance these artworks from one another we believe that the dialogue between the two artists’ work has the paradoxical effect of placing retroactively both of their poetics in a new light, highlighting threads that allow us to interpret and contextualize the entire body of their work.