“NOMADIC EXPERIMENT, ANATOMY OF RESTLESSNESS"
Solo Show Soze Gallery - Los angeles Ca - 27-06-2014
A Journey without map
For a long time the history of art and perhaps the story in general is in charge of putting the narrative turn on the way in which a particular fact is told and widespread. In front of a cultural history made up of survivals , returns, removals, pauses and latencies , it is no longer possible to use a linear and homogeneous time model; instead we need a dynamic combination of different temporalities. Therefore the editing which considers the combination or opposition of images from different times and contexts is configured as a hermeneutical tool par excellence to interpret the huge archive of images in which we live.
The image , as Lacan said , is a wilder space than the word because ' there are not morphological structures a priori and even permanent , and therefore it will be important to consider the "to do" , the action which it carries on for the simple fact to exist. Any relationship they have with reality , they don’t ever leave it unchanged . They reshape and reconfigure the real even when they are limited to a simple illustrative purposes .
The journey of 2501 is a journey without a map that with the genuineness of an experiment - a nomadic experiment - doesn’t touch just the image but even the central points of the history of culture. The trip is without a map because when the images are effective , beyond any reduction or definition , they freely circulate throughout time and place . The image " acts " , is a living creature , merges with the structures or resist them , hide or manifest, modify, or radicalize itself .
Nomadic Experiment is a journey without a map which touches capitals ,neighborhoods and buildings everywhere. There is a documentary behind each piece, a narrative made up of multiple points of view , this is the language that characterizes 2501 since its origins. In his work several registers merge and the painted surface is support through which to relate to them.
The black and white , the abstract and the figurative terms are not inert or taken for granted , they are moments that affect our body as a whole , to quickly extend from the (scope)of sensitivity to all those layers of meaning involved in the experience of the image , from aesthetic to antropological , from visual to cultural , from (emotional) to holy (sacral).
It’ s important to HIGHLIGHT HOW the 2501’s OPERATION is incredibly complex and HOW time IS ingeniously spontaneous . AS the gesture is quick and instinctive, the action is genuine and moved by its relationship with the land , its substance and its history . The aim instead is deeper as there is a rethinking of what we see and hear .
The reason for the black and white declined in a kind of skin that grows on the structures of a thousand of different architectures , it is both our skin that changes from time to time in front of the circumstances , both the far-sighted action of an artist who deconstructs our certainties , while he invites us to be suspicious of any default conviction , letting go with the flow of creation, narrative and time.
Valentina Casacchia
