Infinite entertainment with art’s primary materials, geometric frames structured in space (to restitute full meaning and sense to signs), with elementary geometric units: minimal units. More specifically, units that interact to construct an iconic statement (a sculptural tale) whose expressive power invites us to ponder the artist’s individual discourse. After five exhibits (held in 1995, 1998, 2006, 2008 and 2010 respectively) Carl Andre is back once again in the venues of the Galleria Alfonso Artiaco with a broad-reaching project that presents a selection of works created (more or less) between the first half of the 1960s and 2010. Some sculptural structures from the 1970s are also featured (13 Copper is a brilliant example), some works in Belgian blue limestone and several projects dating to 2010 (like come Steel ∑ 15) which carefully tell of the many syntactic relationships that shape and sound offer the public through their relationship, their conjugation, bringing complex chains of combinable orders. Many works by Carl Andre can be walked through and invite viewers to walk on the aesthetic conformations so they hear a slippery, brittle sound. Alongside a series of poetic connections which reveal their extension and crunchy chromatic involvement with the gallery’s venues – determined in many cases by the exact choice of material (copper, steel, stone and industrial composites of many different natures) – there are some works done in paper dating back to 1963-1964. Essential compositions that are only apparently gelid add unexpected lightness to the exhibit. These are the Poems created on precious papers with the same word type-written over and over again on them (calf, chest, groin, hand, he, neck, rock, shoulder, thumb – to name a few) to create a chase-effect, repeating itself to invent impossible enjambments and to bring such things into being as frames, primary modules, verbal tiles that extend along the surface for the purpose of accentuating the syllabication of thought and the inner rhythm of a mental module – a module which is the privileged model used for broaching precious discourses on the art of nature itself and making art.
Infinite entertainment with art’s primary materials, geometric frames structured in space (to restitute full meaning and sense to signs), with elementary geometric units: minimal units. More specifically, units that interact to construct an iconic statement (a sculptural tale) whose expressive power invites us to ponder the artist’s individual discourse. After five exhibits (held in 1995, 1998, 2006, 2008 and 2010 respectively) Carl Andre is back once again in the halls of the Galleria Alfonso Artiaco with a broad-reaching project that presents a selection of works created (more or less) between the first half of the 1960s and 2010. Some sculptural structures from the 1970s are also featured (13 Copper is a brilliant example), some works in Belgian blue limestone and several projects dating to 2010 (like come Steel ∑ 15) which carefully tell of the many syntactic relationships that shape and sound offer the public through their relationship, their conjugation, bringing complex chains of combinable orders. Many works by Carl Andre can be walked through and invite viewers to walk on the aesthetic conformations so they hear a slippery, brittle sound. Alongside a series of poetic connections which reveal their extension and crunchy chromatic involvement with the gallery’s halls – determined in many cases by the exact choice of material (copper, steel, stone and industrial composites of many different natures) – there are some works done in paper dating back to 1963-1964. Essential compositions that are only apparently gelid add unexpected lightness to the exhibit. These are the Poems created on precious papers with the same word type-written over and over again on them (calf, chest, groin, hand, he, neck, rock, shoulder, thumb – to name a few) to create a chase-effect, repeating itself to invent impossible enjambments and to bring such things into being as frames, primary modules, verbal tiles that extend along the surface for the purpose of accentuating the syllabication of thought and the inner rhythm of a mental module – a module which is the privileged model used for broaching precious discourses on the art of nature itself and making art.
Alfonso Artiaco Gallery, Naples
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