della muta eloquenza


Katinka Bock | Paolo Gioli | Jean-Baptiste Maitre | Paolo Meoni | Kathrin Sonntag |Emanuele Becheri |

Danilo Torre | Runo Lagomarsino | Luca Rento | Margot Quan Knight


curated by Paola Caravati


June 24 - July 10, 2015


Ophelia – Of Silent Eloquence, is an exhibition of silent video and film curated by Paola Caravati. The show explores the enigma of a voiceless body at the originating and epiphanic dimension of the movement image. The absence of sound in the works selected emphasizes their eloquence, revealing the presence of an irreducible mystery. The silent image draws in the eye; it’s hypnotic, bewildering and induces one to question its nature.
In Untitled, 2011, Paolo Meoni has constructed the story of an absence, hidden and yet aggressively present, that which is excluded from view informs the work by imposing its presence. The fixed camera shoots an adolescent intent on performing in a mechanical dance that ends up being, upon closer inspection, the repeated attempt to direct the flight of a kite that has been left out of the frame.
Time appears upset and unable to resolve itself, forced into the moment before its decisive event, in Histories that Nothing Are, 2001-2003, by Runo Lagomarsino, in which a youth seems to be eternally on the verge of throwing a Molotov cocktail.
With Infocus Memories, 2010, Danilo Torre checks the omnipotence of vision by showing a reiterated and failed attempt at putting in focus. The video, which uses the technique of found footage and the combustion of film, shows the sequence of photograms that in the very moment in which they become more distinctly perceptible undergo an irreversible process of consumption.
It is a vacant moment that shatters every possible representation of the real that we see in Vacations, 2013, a video by Emanuele Becheri. The image of a piazza overcrowded with tourists is animated by the rhythm of the camera that seems to oscillate continuously between vision and visibility.
In PS: Jerusalem, 2003, Katinka Bock films from above the perfect geometric composition of a group of people playing in a musical game. The work has the rhythm of a dreamlike and complex time in a fluid and circular nature without a solution of continuity, and highlights the scrap of time that is the singular instant.
Luca Rento with Greta, 31 Gennaio 2015 16.32.57, 2015, removes the image present by dilating the images of the visible in a suspended temporality. A Tableau vivant upset by an internal rhythm that resounds throughout the entire surface of the picture.
Shaped cinema, 2010, by Jean-Baptiste Maitre, deconstructs and recomposes into cinematographic terms a monograph by Frank Stella from the 1970s put to use as raw footage. The entire textual and photographic apparatus translates into a constellation of film fragments open to a new possible meaning, the question of a iconography in continuous transformation.
Margot Quan Knight in the work Sur face (bubbles), 2009, provides a kaleidoscopic image on the verge of disappearing. The face of the artist is repeatedly reflected in a series of soap bubbles that proliferate in a play of continuous reflections. A fragile simulacrum, the image waits its announced disappearance.
In Tango, 2006, Kathrin Sonntag puts on a coup de théâtre that seems to strip the image down in order to preserve what it has of the arcane. A violent and determined gesture pulls the tablecloth from a table that has just been set, masterfully leaving each thing perfectly in place.
Paolo Gioli in Piccolo film decomposto, 1986, enchants the viewer with the rhapsodic wonder of his vision, in the re-creation of a movement script. The film shows time, the goes on to suspend, repeat, duplicate, slow down and superimpose it; Gioli unsettles the gaze with an uninterrupted push of cinema.

Completing the exhibition, for the opening, is Uncofied signals, a sound performance by Pietro Riparbelli. The performance is done with the exclusive use of shortwave radio receivers. The radio signal takes us to a dimension invisible to the senses in which we are constantly immersed, a music without instruments, sound without images, inevitably connect with its complement, the silent image.


LUCA RENTO, Greta, 31 Gennaio 2015 16.32.57, 2015, video installation, full HD, colour, no sound