Beatrice Sacco, Effimero Permanente II, 2020 © Beatrice Sacco
Sep 29 – Oct 15, 2023
Palazzo Atelié
San Raffaele Cimena Alto, Italy

MVTAFORMA, a collective exhibition promoted by Palazzo Atelié and curated by Elisabetta Moiraghi for DRIM Contemporary Art Ground opens on Friday 29 September at 6pm. In the setting of San Raffaele Cimena Alto, a charming village in the Turin area, the works by Lorenzo Fontana, Hetty Ann Laycock, Miriam Marafioti, and Beatrice Sacco will interact with the space and each other. MVTAFORMA aims to investigate the ‘plural-directionality’ of matter, considered as entity and brand of a thought as well as an action. In the belief that evolution from an original condition to a secondary one is the key element of the present, the state which defines the current, the exhibition intends to highlight that exact point of crisis, the precise moment in which the form is enhanced with meaning, becomes metamorphosis and determines a change. The changing aspect of the works of Fontana, Laycock, Marafioti and Sacco contributes to creating a circuit of symbols and visions: they are eclectic works that dialogue and harmonize in a new synthesis.

Lorenzo Fontana presents for the first time at MVTAFORMA an installation consisting of ten cyanotypes mounted on hanging easels. The paradox of post transposition extrapolated from Instagram and reproduced on the traditional paper format invites us to reflect on our ways of using images. Being used to “scrolling” pages on screens of small, over too bright and often damaged devices, in a hypothetical continuum without end, we have now lost the ability to concentrate and analyze when faced with one any image, even when it conveys ambiguous and delicate content. In an ironic tone, riguardiamo-ci forces us to consider the times of a conscious observation that the images, as means of communication, ask at their viewer.

Hetty Ann Laycock has defined her sculptural practice in recent years through the medium of ceramics. The work began thanks to the study of the dynamic pattern of nature and the artist’s marked sensitivity in the manipulation of materials. The sculptor challenges the traditional boundaries of clay, using empty space and imitating natural processes and phenomena: an exercise in exalting omnipresent patterns, attributable to the dimension of reality. Hetty Laycock’s practice considers the correspondence between all terrestrial species, animate and otherwise, the connection between land and sea, wind and rock, light and water, translating these elements into a universal artefact, i.e capable of considering the faces of a constantly evolving nature; endowed with power communication that crosses cultural boundaries.

Terrestrial Meteorites is a chapter of the Crocevia project by Miriam Marafioti, born from the need to analyze the images of the collapse of the Morandi bridge and to represent the elements that made up the landscape, bordering the Certosa district, the place where the artist was born and raised. The recurring image of this pictorial series is an enormous portion of the motorway viaduct rooted in the bed of the Polcevera river. This carcass keeps the memory of the function of the bridge alive, while denying it to itself: similar to a meteorite fallen from the sky, presents itself as foreign material, an alienating presence and symbol of definitive rupture. A meteorite is an unexpected, unimaginable and destructive, however made a terrestrial element in this specific circumstance.

Beatrice Sacco’s project for MVTAFORMA develops in two directions. The photographic series was born from the development of a precise working method in the darkroom, which gave rise to prints alive in their three-dimensionality, a typical characteristic of sculpture, maintained in this case in two-dimensional format. By the overlap of pages from old magazines, the artist investigates the unexpected connections between icons, capable of highlight discriminatory messages, which the artist neutralizes and reconsiders ironic with the aim of inspiring different suggestions, new contents. The second series, dedicated to bruises, investigates the symbolism of this sign of the body, a metaphor for pain and time, a symbol of violence and at the same time of healing. A sketchbook for tattoos, markings on synthetic leather, photographs of bodies bearing bruises of others: these are works that talk about the possibility of eternalizing the pain of others, experiencing the shock wave on our own flesh.

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    May 2 – Jul 26, 2024
    Hauser & Wirth
    New York, USA

    “A body of work starts by daydreaming…” –Mary Heilmann

    On May 2nd, we will open ‘Daydream Nation’ at its 22nd Street gallery, exploring Mary Heilmann’s ongoing interest in drawing as a form of transcribing memory. Curated by artist Gary Simmons, Heilmann’s friend and former student and colleague at New York’s School of Visual Arts, the exhibition celebrates her talent for distilling complex images and ideas into deceptively simple geometric forms and abstract gestural marks. (more…)