Ritmi vitali - Suoni e semi

from Friday September 27, 2019
to Thursday October 10, 2019
Inauguration Thursday September 26, at 18:30
Arte 3160
San Marco, 3160
30124 San Marco (VE)
Italy

Bipersonal exhibition by Asako Hishiki and Anita Cerpelloni
part of
TREE GIVE US LIFE PROJECT
September 27 - October 10 2019
Inauguration thursday September 26, 2019 at 18.00
c/o ARTI 3160, San Marco 3160, VENEZIA


TREE GIVE US LIFE PROJECT

The Paraventi Giapponesi Gallery - Galleria Nobili joins the TREE GIVE US LIFE project conceived by the paper designer Anita Cerpelloni in her Venetian atelier, with the japanese artist Asako Hishiki.
The program takes place in subsequent stages, involving artists of different nationalities bonded by a renewed sensitivity towards the natural world.

The purpose of Cerpelloni, which also participates as an artist, is to allocate a limited area of territory to planting; by making art the main vehicle of raising awareness on reforestation, the attention is placed on the tree as an iconic symbol and at the same time as a concrete element of resistance, entrenchment and recovery of space arbitrarily subtracted by the anthropic interference.

A work by Anita Cerpelloni


Following a path previously traced by different artists such as Beuyes, who sold 7000 basalt stones in Documenta in 1982, to finance oaks planting in Kassel as a revolutionary act, and Salgado, who created the Istituto Terra with his wife to recover 1052 hectares of fluvial forest in Minas Gerais in Brazil, the basic reflection relies on the idea of restitution of space and consequently on the use of a time that returns to be the one of naturalness; the environment is redeemed by the economic purpose, and from a non-place re-appropriates a rediscovered identity by changing the physiognomy of the territory thanks to a more balanced dimension between man and the environment.

"It has been named the "Rain tree", for its abundant foliage continues to let fall rain drops collected from last night's shower until well after the following midday. Its hundreds of thousands of tiny finger‐like leaves store up moisture while other trees dry up at once. What an ingenious tree, isn't it?"

Kenzaburō Ōe, Women listening to the "Rain Tree", 1982


RITMI VITALI, SUONI E SEMI. The Venetian Asako Hishiki’s exhibition

The site-specific project by Asako Hishiki, "Ritmi Vitali, suoni e semi", inaugurates the first stage of this extensive program with a series of woodcuts in dialogue with the works of the artist Anita Cerpelloni, guest and creator of TREE GIVE US LIFE PROJECT.

The main themes, the seed and the tree, are seen respectively as an original natural element, metaphorically fruitful and as a fundamental component of rehabilitation and transformation. The panorama of reference to which Hishiki looks, includes the music of the Japanese composer Tōru Takemitsu and specifically the song "Rain tree", inspired by the Kenzaburō Ōe story of 1982.

Takemitsu often transposes the suggestions he experiences in nature and in particular in japanese gardens into sounds by impressing an imaginative aspect on his works, in his works appear wind and birds, stars and rain, autumn, etc. (Mitsuko Ono, Tōru Takemitsu as Cultural Mediator and Organiser in Japan).

Known for the gentleness of its woodcut interventions on the texture of the rough canvas, Hishiki makes seasonal change and therefore living time by nature the main figure of her research.
The latest development of her artistic thought, which began in spring with the residence promoted by KAMART as part of the Arteam Cup Prize and culminated with the "Tonalità Vitali on the Tuscan-Emilian Apennines" exhibition, is supported by further aspects in this occasion.

A work by Asako Hishiki


Hishiki starts from the observation of nature of which she collects what she defines transparent materials referring to the intangible aspects resulting from a total immersion in it; the silences, the pauses, the whispered or loud and syncopated noises as well as the different seasonal shades, are first made sensations and then translated into traits, lines, points and backgrounds of different intensity; a synesthetic transposition that is a tangible trace of a harmonious interior landscape.

These vibrant emotions are perceived as embryonic moments for the germination of the works. As the seed of the vigorous plant requires the necessary time for its growth to unfold its potential, so the time of artistic production mimics the one of nature in its gestation and development.

Not by chance the interior reflection first and the technique of engraving and printing of the wooden matrix then, bring the artist back to an artisanal dimension that is anything but instantaneous, made of direct relationships with natural instruments and materials, marked by the solitary rhythm of physical work and sanctioned by a patient care.
At the same time, the observer whether it is in the natural landscape or in the one recreated by the artist, can glimpse those seeds to make them sprout in his consciousness. "The sea voices the vast unfolding, the mountain swallows and throws again, the mauntain bends and inflects."

Shitao

INTRECCI, SEGNI, SUONI. Anita Cerpelloni paper textures

The paper is seen as raw material by the artist, to be cut and folded, or a layer of fibres you can write on, engrave and print. Three-dimensional shapes can be produced from a two-dimensional sheet: versatility and modularity are the peculiar traits that allow us to vary and repete shapes. Handmade paper from natural fibers, some with seeds or bark, brings natural stories and human languages into nuance. Handmade paper made from natural fibers, made either with seeds or bark, carries natural stories and human languages with it.

Cerpelloni's works are made on Japanese and Chinese paper; the artist puts tohether written paper cuttings with light paper textures, in order to create a fabric of "words of another meaning". Unpublished texts emerge, as well as new alphabets, revised linguistic codes whose intimate scent is deliberately concealed. Calligraphy, both Western and Eastern, often occurs in more recent works.

The codification of other alphabets has as its purpose the search for a sign and semantic code to describe a common emotional universe.
The experimentation of the last ten years explores the Artist's Book manner, from the art print to the single copy edition, up to the lost wax glass fusion of a transformed book model; the intent is to go beyond the book itself: in the "No Books-No Words" exhibition of 2016 some specimens are exhibited at the Glass Museum in Murano (VE).


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