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Indepth Arts News:
" Andrea Nacciarriti : Crystallize"
2010-05-20 until 2010-07-17
Franco Soffiantino Gallery
Torino, ,
IT Italy
The relationship between the artist and the gallery owner, between the reality of the gallery as a space conventionally used for art and the artist's gesture are the point of departure for Crystallize. A relationship which becomes a clash at the same time and intends to highlight the limits and constraints within which the artistic creation is always and nonetheless relegated; a time for the innermost expression which, through the artist’s condemnation is constantly battling against the impositions of an editorial, organisational and technical nature present within the mechanisms of the world of art.
If, in the realm of physics, crystallization is a phase transition of the matter, from liquid to solid, in which the components dissolved in a solvent solidify, arranging themselves according to neat crystalline structures and in which it is thus possible to speak of a transformation which implies a reduction in entropy, in the same way Andrea Nacciarriti's exhibition tells the story of a transition from a liquid to a solid state. An inevitable transformation of the artist’s pure thought into something “else”, the result of a concerted mediation between the pawns of the same game. It all translates into an intervention marked by a violent and destructive tone, which physically attempts to break down such barriers. A rebellious gesture arising in order to create an actual opening inside the gallery as an institution but that is promptly reabsorbed for obvious safety reasons, by refilling the crack where the window was placed, still prevents a complete project autonomy. The awareness of the rules and dynamics underlying the “window of art” and the frustration that partly derives from it are a sort of sarcastic self-portrait of the artist himself. A declaration of awareness of the constant systemic “digestion” by the “structure” towards the artistic creation which culminates in the ironic crucifixion of the artist himself staged in the work Selfportrait, 2010 and finds its epilogue in the act that, for a fleeting moment, allows the artist, through an intimate and primordial gesture, to take possession of the gallery without compromises, dispelling for a few instants the everlasting nightmare of failure.
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