STREET now open! Chicago | Los Angeles | Miami | New York | San Francisco | Santa Fe
Amsterdam | Berlin | Brussels | London | Paris | São Paulo | Toronto | China | India | Worldwide
 
Worldwide

Famiglia Margini Contemporary Art Gallery

Exhibition Detail
God O’Clock HORLOGERIE EXQUISE God Is Wearing A Rolex
Via Simone D'Orsenigo, 6
Milan
Italy


November 25th, 2010 - January 20th, 2011
Opening: 
November 25th, 2010 6:30 PM - 10:00 PM
 
4 Divinae Volontade, Christian ZanottoChristian Zanotto, 4 Divinae Volontade,
2010, photography on crystal, cm 150x180
> QUICK FACTS
WEBSITE:  
http://www.famigliamargini.com
COUNTRY:  
Italy
EMAIL:  
famigliamargini@gmail.com
PHONE:  
+39(0)255199449
OPEN HOURS:  
From Monday until Friday / 11:30 am - 8:00 pm
TAGS:  
photography, digital, video-art
COST:  
Free entrance
> DESCRIPTION

God O’Clock

HORLOGERIE EXQUISE

God Is Wearing A Rolex

Solo exhibition by CHRISTIAN ZANOTTO

Photography on crystal, digital art, video

Curated by Alberto Mattia Martini

FAMIGLIA MARGINI

Contemporary Art Gallery - Milan

November 25, 2010 – January 20, 2011

Under the aegis of the Province of Milan

The art works presented by Christian Zanotto in the Famiglia Margini Gallery are all brand new, the fruit of years of constant and secret research, carried out to advance an investigation into the creative possibilities to be found hidden between the physical and the immaterial, so as to open new portals of chemistry which are to be the black mirrors of the contemporary: passages to be crossed, like Alice, in order to undertake an unusual journey through a universe that is nearly always concealed, but ubiquitous and eternal. By stimulating the intimate dimension of our psyche , with the aim of leading us to face the sense of ambiguity, the artist invites us to look for a new key with which to observe the deepest queries about the nature of our existence, no longer to get lost in the alienating automatisms ticked out by the rotation of the hands of a clock with a hooked cross hub.

The title of the exhibition, “God O' Clock – Horlogerie Exquise – God Is Wearing A Rolex”, proposes, through pun of word the idea of God hoodwinking us about the end of time.

The Rolex, synonym for a watch of supreme quality, the traditional “gold watch”, worn on God's wrist becomes the symbol of prestige of he who is the master of time, because he decides its existence and its end.

An intelligence constructed with some degree of sadism using as its raw material man's hopes and fears, holds an exquisite contraption created to show the elusive, contrived to control the mind of the social organism entirely. This entity shows itself to us today pointing at new paths of an itinery which is open to a dazzling mutability: a journey undertaken to move elsewhere the line of the horizon, moment by moment, following footpaths and spanning with new bridges, two extremes which before seemed remote and impossible to bring together.

Christian Zanotto's style of art is endlessly straining towards the conjunction of opposites. A gamble on a razor's edge. In his works folly and reasoning compensate each other, just as do the love of justice and of falsehood, aesthetics and anaesthetic.

Brand new technical virtuosity and ambiguity appear through the mystifying filter of art and push the viewer to wonder what the true origin of the the word is. Lacking a clear and definite answer, mankind continues to lose himself and see himself once again in the mirror of a mechanism of spiritual cog-wheels in which terror is mixed with pleasure, in the sublime union of Eros and Psyche.

Through the looking glass, a beauty of extreme fascination is 'alive' in the great crystal altar-piece in the exhibition “Horlogerie Exquise”.

The figures, set in an immaterial and luminous dimension, draw inspiration from the popular idea of the sacred, the religious, the mythological: powerful winged characters, hieratic “priestesses”, entities of perfect physique, together both feminine and masculine, present themselves, image after image, in their nudity or adorned with elaborate attire rich in precious detail.

Beside them, behold the presence of complex golden metal machinery, a kind of throne, means of both locomotion and combat, impressive constructions of obscure function endowed with a variety of cog-wheels and mechanisms.

Then videos offer us wings of wax on which to fly along a path of introspection towards the knowledge of the nature of the universe, every certainty dissolves among conscious and subconscious input, on the trip in a whirlwind of lights, sounds, words and colours.

Christian Zanotto's “Olympus” is generated by constructions of light in a virtual world, interlaced with a variety of softwares, as if in a parallel reality which is brought to us by means of the completely new technology of transferring the digital image onto crystal, by means of a process of photogaphic exposure.

The matrix of artificial intelligence with which the artist elaborates his work, goes together with a rigorous planning spirit coupled with an almost sacred respect for the casualness of the synchrony.

His figurative compositions, formulated throughout showing masterly control over the result, are in fact haunted with learned memories of the painting styles in our artistic tradition, starting with the images created in the artists' workshops in medieval

and of Renaissance times, of memories and echoes of the gothic, of the style of mannerism, of the baroque. The works thus appear in our memory, to cause a new sense of time-space continuity. The precious detail in the intertwining of the various decors in the complex plot leads us back to our perception of a sense of continuous correlation, close to the flemish style of visionary courage and with scrupulous care for the high definition of the detail.

The great crystal sheet is a frozen black mirror of the contemporary: the dictatorial figures, untouchable in their sphere of riches and power, govern relentless and exquisite clockwork mechanisms, which turn us into carnal beings, psychologically bonded to superior dogmas of subconscious automatisms. The alternative is that of becoming an entity in one's own right and experiencing the awareness that gives us our own existence; the opportunity is that of setting out along a philosophical and spiritual path, in search of answers which are no longer alien, but unique and personal.

Grace Zanotto & Sonia Arata

Traduzione a cura di Josephine May (Translation by Josephine May)

Famiglia Margini under the aegis of the Province of Milan

God O’Clock

HORLOGERIE EXQUISE God Is Wearing A Rolex

Solo exhibition by Christian Zanotto

Curated by Alberto Mattia Martini

FAMIGLIA MARGINI – Cultural Associatio & Contemporary Art Gallery

Milan

Exhibition date: November 25, 2010 – January 20, 2011

Vernissage: November 25, 2010 at 6:30 Cocktail

Via Simone d’Orsenigo n°6, 20135 Milan.

From Monday until Friday / 11:30 am - 8:00 pm

Info: ph. +39(0)255199449 – +393287141308

Web: www.famigliamargini.com ; www.christianzanotto.com;

Organizzation: Famiglia Margini - galleriafamigliamargini@gmail.com

A catalogue accompains the exhibition.

In collaboration with:

RED STAMP ART GALLERY
Rusland 22 1012 CL Amsterdam

Press Office: Flavia Lanza flavialanza6@gmail.com ; +393409245760


Copyright © 2006-2013 by ArtSlant, Inc. All images and content remain the © of their rightful owners.