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DTSTART;TZID=Europe/Rome:20260228T180000
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DTSTAMP:20260811T185836
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UID:19501-1772301600-1776540600@www.spazioartecontemporanea.com
SUMMARY:Fragments
DESCRIPTION:“No sooner had the warm liquid\, and the crumbs with it\, touched my palate than a shudder ran through my whole body\, and I stopped\, intent upon the extraordinary changes that were taking place”. \n(Marcel Proust\, Swann’s Way\, 1913) \nIt is often a single detail that triggers a revelation. In Marcel Proust’s famous madeleine scene\, a simple gesture\, such as biting into a cake after dipping it in tea\, acts as a sensory amplifier capable of triggering\na whole universe of images and emotions. \nFragments unfolds in this liminal perceptual space\, where what is ambiguous\, discontinuous and partial continues to challenge our gaze and mind. \nFor the first time ever\, SAC is opening its doors to the public with a two-person exhibition. Silvia Beltrami and Giuseppe Gallace\, previous visitors to this space as part of previous group exhibitions\, are now participating in a direct exchange\, a visual dialogue in which their sensibilities interweave and reflect off of one another. \nSilvia Beltrami’s research (Rome\, 1974) moves within a shattered\, unstable and never fully graspable reality. Right from the beginning\, she chose collage as her preferred form of communication – as not just a simple compositional technique but a critical gesture through which images are dismantled\, decontextualised and reconstructed. In her most recent works\, Beltrami intertwines collage techniques with the fresco strappo practice\, during which the surface layer of a wall is removed and transferred onto a new support with the help of plant-based glues and a light canvas (calico). The wall\, understood as a site of historical stratification\, is thus physically removed from its original context to become an artwork\, while keeping it physically intact and at the same time evoking the visual effect of a torn poster. Far from being lost\, the fragment becomes a generative element: a portion of reality that\, removed from its own time and space\, opens up new possibilities of meaning. The figures that inhabit Beltrami’s works convey a precarious human condition\, marked by prejudice\, control and lack of communication. The deconstructive process creates new life\, and it is this gesture that is the most fundamental and authentic aspect of Beltrami’s practice. The artist relies on the theory of Deconstructionism elaborated by Jacques Derrida\, according to which it is necessary to dismantle consolidated concepts and structures to reveal their fragility and contradictions\, in order to demonstrate that meanings are constantly evolving. \nGiuseppe Gallace (Soverato\, 1993) rejects linear narratives in order to embrace a stratified\, visually and imaginatively ambiguous style. His research is presented as a field open to interpretation based on an intimate relationship with the art of painting. For the artist\, the canvas is a surface on which past and present\, surface and substance coexist without perspective hierarchies. Gallace situates his research in the sphere of Magical Realism\, interpreted as an artistic and literary approach that blends the everyday with fantastic elements\, making what appears ordinary extraordinary; creating an unstable threshold between reality and the imagination\, where images maintain an apparent formal stillness but are infused with a subtle and restless tension. In his most recent works\, Gallace highlights floral elements that\, just like visible elements\, pierce the painterly surface\, thereby revealing the layer’s from which the painting is constructed. The fragile forms\, on the verge of bending or breaking\, inhabit a state of latent tension\, suspended between the childlike representation of a flower and a feeling of inhospitality. The contrast between the typical illusion of childhood and the disillusionment of youth clearly expresses the intermingling of sensitivity and restlessness that characterises Gallace’s work\, where the outward appearance suggestive of a fairy tale is continually interrupted by fragments of canvas that break the spell. \nWithin this dialogue\, the fragment asserts itself as a form of possibility. The works of Beltrami and Gallace inhabit a hybrid territory where what’s real\, though shattered\, remains alive. \nCritical text by Sofia De Pascali \n 
URL:https://www.spazioartecontemporanea.com/en/evento/fragments/
CATEGORIES:Exhibition
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