Fault Lines III: extracts
From the Venice International show last summer (and Contemporary Venice in autumn.)
Q. ‘What is the message linked to the artwork you have shown in this event?.
A. ‘Fault Lines Ill uses the geological phenomenon of plate tectonics as a metaphor between the body and physical spaces. The hand painting the warning tape is a message of the frequent change in landscapes, not just physically, but also social and cultural landscapes…I’ve visited Venice in the summer and have felt inspired by Lorenzo Quinn’s hand sculptures at Arsenale – he’s previously shown a pair of hands outside Ca’Sagredo Hotel in 2017 as a wake-up call on global warming.
That’s also what influenced me to show Fault Lines IlI.
From the Interferences (online) show
[…]Interference has always been a part of life and the unpredictability of the future seems to make everything unstable and misleading. In today’s society, where everything flows faster and faster, it becomes increasingly complicated to propose something that has never been seen and that no one has yet invented, because everything seems to derive from an infinity of re-elaborations and re-propositions. But what is Art if not the manifestation of an interference or conflict?[…]
-Art Curator, Francesca Brunello
Further notes
The painting keeps witnessing a lot of cultural changes (natural disasters) every time a form of it appears in shows.
The Work of Art in the Age of Digital Reproduction
In Interferences, the painting’s cyber doppelgänger is shown. The relationship between cyber space and reality is a consensual one. Logging online is as a conscious reality check as looking at hands in lucid dreams. But does encountering the online replica first devalue the painting?
Promotional Video
Video courtesy of curator, Martina Viesti
