sprovieri is delighted to present new sculptural works created specifica lly for this exhibition by giorgio andreotta calò\;\, micol assaë \;l\, gabriele de santis\, seb patane\, jorge peris\, pietro roccasalva and marinella senatore.

'up on a small marble slab the information for the exhibition new works #1 at s provieri gallery in london is engraved. the invite is the work of art\, and that the moment is a unique event can be deduced by pietro roccasalva&rsqu o\;s piece &lsquo\;cosa sono le nuvole (what clouds are)&rsquo\; which high lights the contrast between electronic flexibility &ndash\; essential dynam ics of our age &ndash\; through the use of a material like marble that oppo ses the idea of communication in favour of that of the communicator. this p iece\, like the others in the exhibition\, brings together several aspects of italian sculpture during recent years creating the perspective of an art istic landscape divided between a richness of study and experimentation and the difficulty of converging within an identity ravaged by an above all cu ltural crisis. never before has a generation reflected upon agamben&rsquo\; s texts and theories on the contemporary quite like this one. from its iden tification in obscurity up to the distinction between contemporary and curr ent. a series of contradictions that aim to explain one of the most controv ersial periods in italian cultural identification. at first glance the deta chment from italy\, from a territory that has buried the concept of contemp orary only to find it once more in recovering the warburgian canon of burie d culture. a territory that appears more as a landscape of quicksand in whi ch the present is ever sinking\, and in which the solid basis of the past a cts rather as an impervious headstone. and yet these elements that seem neg ative perhaps are not\, other than for the politicians who always have thei r responsibilities. italian contemporariness is elsewhere\, dissolved in ot her regions like an emigrant\, or in a deep analysis of the &ldquo\;i&rdquo \; before an interminable history. a look into a shattered mirror\, the fra gments of which multiply time into a kaleidoscopic puzzle. yet in this cata strophic scene a moment of reflection and meticulous production seems to be expressed by a contemporary art that tries to study the deepest aspects of history\, taking a stand in a landscape in which the window from which to behold it must be invented daily. and it is no coincidence if all this fall s back on sculpture. a technique that uses the surrounding space as time\, as a construction of its own individual outlook\, multiplying points of vie w and perspectives. neither is it by chance that this exhibition aims to ex amine precisely these aspects that are intrinsic to an italian situation an d that this examination passes through the analysis of a sculpture. as oppo sed to other media\, sculpture reacts differently to time. it does not wish to build the illusion of space\, reconstructing it through a perspective p retence\, but rather it wishes to bring together the view of the visitor wi th the work of art\, using the surrounding space as a kaleidoscope of diffe rent visions.


the exhibitive space as a physical experience\, as an expe riment until arriving at a metaphysical dimension in which time and history become two indissoluble elements. the artists involved in the exhibition e xamine this relationship between history\, matter and time linked to proces ses of materialisation and decomposition.


&lsquo\;clessidra (hourglass)& rsquo\;\, a sculpture in bronze by giorgio andreotta calò\;\, highlig hts the dynamics of time and the possibility of transforming itself into ma tter. the void &ndash\; the missing element &ndash\; has been created by ti me\, sculpted\, as it were\, by time. in the activities by jorge peris the formal transformation of the physical and organic world transforms matter t hrough a series of processes that give way to controlled randomness. as in the works by micol assaë\;l\, the relationship with the viewpoint is of ten permeated by a physical and dynamic activity that becomes a metaphor fo r a physical and chemical energy. in this sense the research of these artis ts lends itself to a portrait or a landscape in which the corrosion of the present\, of the current becomes a dimension for going beyond an unstable p resent. gabriele de santis' historical fragments that use the surrounding e mptiness as a continuation of remains that are to be reconstructed\, rethou ght. and it is these spaces that can again propose a thought of reflection and freedom. seb patane photographs the historical situation reconstructing structures and elements that can ignite contemporary visions. just as hist ory identifies with form\, the thought of the artist becomes visible in uni ting personal memories with collective ones and aiming to bring everything to a formal synthesis. the same attention to a balance between pretence and reality results in the work by marinella senatore\, in which history and h er reconstruction and modification become central elements in her research. '

text by lorenzo benede tti. translation by oliver dorostkar

LOCATION:Sprovieri\,23 Heddon Street \nLondon\, W1B 4BQUnited Kingdom SUMMARY:New Works #1\, Micol Assaël\, Giorgio Andreotta Calò\, Seb Patane\, JORGE PERIS\, Pietro Roccasalva\, Gabriele De Santis\, Marinella Senatore END:VEVENT BEGIN:VEVENT DTSTAMP:20170818T034310Z UID:300750 DTSTART:20131017T180000 DTEND:20131017T200000 LOCATION:Sprovieri\,23 Heddon Street \nLondon\, W1B 4BQUnited Kingdom SUMMARY:New Works #1\, Micol Assaël\, Giorgio Andreotta Calò\, Seb Patane\, JORGE PERIS\, Pietro Roccasalva\, Gabriele De Santis\, Marinella Senatore END:VEVENT END:VCALENDAR