The launch will include a one day exhibition and presentation of the included drawings, followed by Trigger Partywith Joel Dean, Zoe De Luca, Sam Korman and Libby Rothfeld. Trigger parties are a monthly gatherings where “people invited to show and talk about their practice freely.”
Milan-based artistic production label, Siliqoon curated and produced Pure Disclosure at Marsèlleria permanent exhibition, a group show of new works by artists Alessandro Agudio, Daniel Keller, Andrea Magnani, and Timur Si-Qinthat ran May 10 to April 10. The four artists were selected based on their individual research and aesthetic approach to work alongside thirteen Italian companies dedicated to artisan excellence. Hosted by Casa Natali/MAMbo, and Spazio RAUM in a residence in Bologna, the artists set out to create post-capitalist works –or products –that follow “commercial promotional logics, thus creating a friction with their spiritual, critical, [and] ironic nature”. The outcomes were produced by companies such as Aida Bertozzi, Bikun, BIOTEX, Euromec di Archenti Mauro, and Fabric Division.
Daniel Keller + Ella Plevin, Seastead, ‘Figures (Polypool)’ (2015). Install view. Courtesy Marsèlleria.
The exhibition is filled with a disorienting consideration to visual and marketing culture. Timur Si-Qin’s new work, ‘Display (Peace)’ (2015) is a backlit digital print of a mountain top with the word “peace” written on the bottom right-hand corner, just underneath a spherical yin-yang symbol as teh artist’s logo. Mimicking sleek advertising displays, the work is made of UV coating on micro-perforated mesh, anodized steel tube, and plexiglass.
Agudio turns a shower base into a delicate yet desolate landscape in ‘FOREVER – Dead in the Bathroom (feat. Summer Katie Fox)’ (2015) using ceramic sculptures, micro shot peening on stainless steel, wood, plastic laminate, plant, and a short sound piece that loops on speakers. A large installation entitled ‘In the Vast Infinity of Life, All is Perfect, Whole, and Complete’ (2015), made by Magnani, attunes itself to the water bottle and water as a nourishing element that perpetuates life. As the title suggests, three silk-screened prints on ice packs filled with gel surround a water bottle that entertains notions of ‘oneness’ by labelling it with an infinity symbol. A second container is showcased in a small refrigerator, resting on top of carefully produced icicles.
The works in the exhibition elegantly present a crossover between artistic and consumer production, giving consumer goods and the language they’re spoken in, a more soulful, or perhaps slick, new identity. **
