A special exhibition for the Gallery Week End is running at SR Contemporary Art in Berlin, sets out to put nature in contemporary art .
While displaying visual Art also raises the question of how art deals with nature.
Wunderkammer der Nature refers to works that express “the relationship between nature, environment and artists,” and serves both aesthetic and researches functions.
This exhibition features artists who have created their own interpretations of their experiences by working through their theories of nature and natural occurrences, while allowing nature to take a supporting role. From the com- plex relationship between man and na- ture, the exhibition investigates the era of globalisation and the use of new technologies in a presentation tackling and exploring themes such as ecology, memories and recycle. Nature reveals a new paradigm of art and its contemporary beauty.
This special exhibition for the Gallery Weekend that running at SR Contemporary Art in Berlin, sets out to put nature in contemporary art. While displaying visual Art also raises the question of how art deals with nature. Wunderkammer der Natur refers to works that express “the relationship between nature environment and artists,” and serves both aesthetic and researches functions. This exhibition features artists who have created their own interpretations of their experiences by working through their theories of nature and natural occurrences, while allowing nature to take a supporting role. From the complex relationship between man and nature, the exhibition investigates the era of globalization and the use of new technologies in a presentation tackling and exploring themes such as ecology, memories and recycle.
The work of Luzia Simons is located precisely at this interface between the obvious and the cultural code, naked reproduction and metaphor. Using modern scanning techniques, the artist produces images of flowers. In this way, her images not only come to include the ideal forms of blossoming beauty, but also faults, malfunctions and the start of irrevocable decay. Simons’ art, however, is not primarily concerned with the warning of vanitas – the reminder of the transience of all being in the old paintings -, but with the rather rambling tale of a cultural symbol. The tulip thus becomes a metaphor of mobility, globalisation and intercultural identity. Once the much sought-after flower was worth its weight in gold, and developed into a cultural symbol in both the Occident and Orient.
Zonta represents his subjects with the scientific precision of the orthogonal projection, alternating sequences of zenith looks with others of lateral views, which predispose the natural elements to the rigorous analysis by a look that questions the processes of nature. On the other hand, Zonta is not limited to the realistic reproduction of this crucial moment; on the contrary, as soon as he succeeds in taking possession of it, he immediately subjects it to a process of abstraction and de-realization, with the whiteness of the white background or with the black that seems to impose an unattainable distance between the object taken in the moment and the other infinites moments of his natural life.
Franco Fontana looking at his images and at the sensitivity inherent in his work, we can speak of Zen photography. In fact, with his minimalist photographs, Fontana has touched the abstract world and the purity contained today in a few contemporary images. By removing all that was superfluous he managed to give added value to his landscapes. Yes, we talk about “his” landscapes as the photographer has succeeded, through his eyes, to create his own unique and unmistakable style. The contrasts given by light, the bright colours of southern Italy and the shadows in the right places, have given life to the essentiality of its landscapes. As one of the master Italian Photographer he succeeds to make visible the invisible.
The Nest – explains the artist – is the projection of the concept of home, the envelope that somehow each of us carries around, through our own memory. Places live in time, spaces are transformed and shaped with the experience of the moment. “The time of the places” wants to underline just how a place can change according to the fruition that is made of it. In this context, NIDO, the living image par excellence, tells its story and its memory. Intimacy and majesty are compared on tiptoe, in the silence of a place that invites almost to meditation, returning a dimensional relationship with what surrounds us. Nature lives around us and inside us.
Eros and Thanatos gathered in a logic of absences and non-places that take over and flow into a completely surprising image in the results; results that go well beyond the constructive logic and break the conventional aesthetic canons to propose a reality divided between abstract forms and fluctuating dimensions of a real parallel, where dream and madness seem to meet between the notes of songs borrowed from the Anglo-Saxon electronic music. This is not through the important component of authorizing a ghost, allows Ivan Piano to produce extremely refined, conceptual works, where Nature in the creative act in all its parts goes to merge into its ego, as if to bring back the myth of the mirror which reflects hidden and mysterious worlds.
The approach of Alessandra Baldoni is the impossibility of photography to tell the truth.
Having abandoned all documentary aspirations, the photography by Alessandra Baldoni is a visual metaphor that, yes, establishes a strong link with the world’s forms, but with the single desire to allude to reality, perhaps evoke it and then transform it into a powerful, tormenting, sometimes dangerous appearance, recollection, memory.
There is a bit of madness in contemporary art that corresponds with the idea of art itself or on its borders. Transforming the material, the most banal, into something different, is a dream that often caressed the twentieth century. Bocchini makes an apparently simple and damn complicated operation to carry out. To do anything into something. It is a process that rarely succeeds, a little like alchemy or at least alchemy linked to art. The transmutation of the banalities in art, Duchamp master obviously from the height of its Pissoir, is not for everyone, precisely because many try it. Ferrous scrap that become poetic elementary mechanisms. Poor materials that are sublimated in sophisticated colours and existential allusions, always ironic. Leaves and metallic flowers of absolute beauty, which open unexpected blooms in silent walls and showcases.
The artist’s expressive means are constantly changing: from man-sized paintings to sculptures, with a strong architectural value to visual poetry. The words of Giancarlo tell of a person in love with creating, the act of expressing himself and freely deciding, the material appropriates these flavours: and every time that the whims find and take a form, things have the ability to transform that that one perceives them, and perhaps here lies the essence of beauty. The artist questioning the nature in a conceptual vision, the sentence ‘Rose is a Rose’ closes inside its roots the force to hurt and free through art and poetry.
The wearable micro sculptures of Simona Rinciari are handmade with organic parts of the plant world: leaves, flowers, seeds, berries, they preserve colour, consistency and soul over time, embellished with gold, silver and brass. Simona Rinciari uses a procedure unique in the world to preserve the collected elements, patented by her by the name of petrification.
Together with the natural elements, the metals used are 21 or 24 carat gold, silver and brass.
Superfluoo mainly works on the design and realization of unique pieces, especially lights sculptures and tables.
Nature as inspiration is at the hearth of all our projects.
Attention to sustainability, social cost and productive impact of environment are the roots of their projects.