Utsuroi - Un continuo cambiamento
until Saturday November 16, 2019
Inauguration Thursday October 17, at 18:00
Via Marsala, 4
20121 Milano (MI)
Bipersonal exhibition by Mitsukuni Takimoto and Simone Negri
UtsuroiThough mujō 無常, inpermanence, indicates the continuous change of events and it's the only steady thing in an unsteady reality, the term utsuroi 移ろい, while sharing its meaning of transitiency, refers better to the exact moment in which a change is happening.
The original meaning binds with sacral aspects, bounding the empty space that the kami 神, the divine, choses to occupy. The term's evolution basically refers to the very moment of the transformation. The moment before this transformation is the very essence of utsuroi 移ろい. It's what makes the object part of a whole, which is subject to a continuous evolution.
Both the hanami 花見 practice, at the beginning of the blooming season, and the seasonal changes are an extremely important subjects in the visual arts and indicates that the Japanese kind of sensibility is not based on a steady and permanent standard of beauty, but rather on its adaptation ability.
Whether they are sudden or imperceptible, the variations are nothing but different aspects of reality's changes. That is, beauty is collocated inside the change.
Ceramics, musics, sculptures as well as architectures host the concept of time in them, as a fundamental characteristic of their natural being. This isn't immediately recognisable, but it can be seen by an aware and listening spirit.
Not by chance, Japanese aesthetics is filled with ma concept. Difficult to define, this concept refers to a space-time interval, a relationship between two or more subjects in which the spiritual bond of the observer has the same importance as the object itself. Basically beauty is not something to look at, but something to experience.
The exhibitionThe Gallery's choice to collaborate with the Italian ceramist Negri and the Japanese sculptor Takimoto places in time and space the two main points of a research that has its origin in raw materials, to become later on a real work of art. Both of them share with wood and clay a similar method which implicates different steps in the creative process.
Materials' selection, structure and right tone search for Negri, and sketch, definition of the form by subtraction for Takimoto. The realization of the work of art comes after different stages and moments, in which the artist plays with the materials, till it reaches the necessary equilibrium between full and empty.
In Negri's ceramic production, both time and emptiness create a suspended and sacral dimension. The rethoric narration is erased by the semplification process, reducing forms to overcome contingency. The color suddenly breaks on the lyricism of the structure and leaves an evanescent trail, bringing us to a wabisabi 侘寂 dimension, in which a melancholic beauty makes us aware of the time passing.
In Takimoto production the works are like slight memories, which the chisel tries to fix to the wood. Takimoto's dimention of transient, ephemeral and contingent brings us to a more contained intimate sphere and to a relationship with memory.
His favorite subjects are waterfalls, rivers, clouds and smoke, always changing and impossible to catch. Trying in vain to stop the moment, the human intervention wants to leave a witness of itself on the materials.
Time passing is included in the materials and it's inside the processing, completely indifferent to human interventions, which don't have any power neither on mutability nor on transience.