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DTSTART;TZID=Europe/Rome:20260509T180000
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UID:19565-1778349600-1781379000@www.spazioartecontemporanea.com
SUMMARY:Res Naturae
DESCRIPTION:Can we continue to consciously inhabit a world that overwhelms and consumes us\, or does the act of stopping to reflect open up the possibility of a new relationship with nature and with ourselves? \nThe collective exhibition Res Naturae\, from the Latin for ‘things of nature’\, takes its cue from this question. Today\, nature can no longer be viewed as a static backdrop or a reality separate from humankind; rather\, it is a dynamic web of relationships\, in which the biological\, technological and cultural spheres continuously influence one another. \nIn her book The Posthuman (2013)\, Italian-Australian philosopher Rosi Braidotti invites us to radically rethink the very idea of ‘human’\, calling into question the legacy of Western humanism\, which has long defined the human being as a central entity\, separate from the rest of the living world. Hence the concept of zoe: a life force that flows through every form of existence (human\, animal\, environmental\, natural or technological) in a shared\, non-hierarchical current that unites all living beings. Women and men are nomadic beings who form part of a vast network of relationships that includes other forms of life. \nIn the exhibition\, the animal world is not defined as a mere iconographic subject\, but as a field of enquiry through which to examine the forms of life and their transformations. adaptation\, disappearance and reinvention\, these artistic works construct three distinct variations of the same imaginary ecosystem\, in which species hybridise\, dissolve or re-form into new forms of life. \nThe work of Stefano Zaratin (Mestre\, 1962) explores a radical vision of a dystopian future in which nature transforms itself to survive a hostile environment: plants and living forms adapt\, mutate and redefine themselves\, ultimately giving rise to new imaginary taxonomies that challenge the boundaries between species. Often sourced from recycled materials\, concrete\, wood\, plastic and paper play a central role in Zaratin’s work\, serving as vehicles for stories and transformations\, and directly fuelling the creative process. His works frequently depict a short circuit between the natural and the artificial: polluting materials that evoke pristine environments\, salvaged items that take on artefact-like qualities\, and organic shapes that oscillate between adaptation and subjugation. Nature thus appears as an ambivalent space: fragile yet still vital. His scientific background strongly influences his attention to detail\, his unhurried pace and careful observation of nature: the result is an approach that combines analytical curiosity with a poetic quality. \nThe language of Hadeel Azeez (Baghdad\, 1981) unfolds through images that appear as hybridisations of species and forms\, in which drawing becomes a hypothesis for new possibilities of existence\, particularly in relation to contemporary environmental transformations. Her style\, both gesture and abstraction\, occupies a threshold between East and West: thousands of micro-strokes construct surfaces that evoke organic structures\, as if the image were being observed at the cellular level. At the heart of her creative exploration lies a reflection on the relationship between form and nature\, particularly through the world of ornithology and the bird as a symbol of freedom\, balance and adaptation. She interweaves beings that are different from one another\, as if to create a new species\, in a process akin to that of the mind. The result is a sort of ‘mental Cubism’\, in which shapes continually overlap and recombine\, generating new nuances of reality. \nIn the works of Alice Olimpia Attanasio (Milan\, 1985) too\, the primary choice of subjects are birds\, observed through an almost contemplative lens. Embroidery and stitched details overlay the images\, accentuating a sense of fragility and transience\, in which the subjects appear immersed in a gradually dissolving environment. The result is a hybrid vision of life\, poised between what endures and what risks disappearing under the impact of human intervention. While remaining true to reality\, the images do not aim at mere reproduction\, but at a sensitive and aesthetic reinterpretation of it. The practice of embroidery also becomes a meditative exercise\, bringing together elements of painting\, sculpture and installation – hallmarks of multidisciplinary artistic practice – and transforming the process itself into an act of attention and care. Enabling nature to be revealed in its most fragile yet\, at the same time\, most essential form. The use of desaturated palettes and pastel tones helps to create a rarefied\, suspended atmosphere: this gives rise to imagery that evokes natural habitats and an almost dreamlike mood\, where even the most ordinary subjects take on a symbolic and poetic dimension. \nMoving on from these reflections\, the focus broadens and shifts from the animal to the environment that surrounds it. Here\, nature becomes an opportunity for contemplation: our gaze slows down\, pausing on what remains\, on what changes\, and on what is gradually disappearing. In this state of suspension\, absences and memories emerge\, inviting us to rethink the way we inhabit the world. \nIndeed\, the work of Noemi Cammareri (Pisa\, 1997) focuses on nature understood as an indispensable presence and an active interlocutor. Being far removed from her native landscape gradually brings a sense of absence to the artist’s intuition. Her adopted lagoon environment thus becomes a potential alternative means of connection: the water of the canals\, with its reflection and movement\, becomes a space for observation and pictorial experimentation. In Cammareri’s imagination\, the terrestrial realm – tied to memory – and the aquatic world – of the present – merge and intertwine. This superimposition prompts a profound reflection on our relationship with the environment: what is constantly present tends to be taken for granted\, only to prove essential when it is absent. Elements such as water\, sometimes evoked\, become signs of an absence\, alluding to a state of progressive loss and depletion of natural resources. \nWith Christian Basetti (Erba\, 1979)\, the focus shifts from nature to human-made spaces. In this case\, contemplation is linked to architecture dating back to the Risorgimento period\, viewed as evidence of a past steeped in memory and identity. Basetti’s photographs explore the abandoned\, where human presence lingers on in the form of ruins\, and vegetation slowly reclaims the land. Light transforms these spaces into suspended scenes\, where loss and rebirth coexist\, suggesting a continuity that transcends the distinction between the built environment and nature. The result is a practice that combines a spirit of adventure with aesthetic exploration\, placing a strong emphasis on light and the visual dimension of decay. This approach prioritises the aesthetic and atmospheric over the documentary\, with the aim of restoring a forgotten beauty and awakening a renewed perspective on Italy’s architectural heritage. \nThe traces of human intervention represent a fragile balance. The focus then shifts to the relationship between humankind and the environment\, focusing on the duality of the use and abuse of natural resources. \nIn this vein\, the sculptural practice of Diego Asperges (Milan\, 1958) combines wooden structures and resin elements\, bringing works to life that blend materiality with a critical reflection on contemporary production models. His work addresses the theme of consumerism\, understood as a pervasive system that encompasses not only the consumption of goods but also the transformation and depletion of environmental resources. Seen in this light\, the production process becomes a continuous loop of accumulation and disposal\, where everything created is destined to become waste at the outset. The dialogue between wood and plastic thus becomes emblematic: on the one hand\, an organic material; on the other\, an artificial material that embodies the excesses of production as well as being difficult to dispose of\, contributing to the accumulation of waste and environmental pollution. \nThe work of Sofia Fresia (Genoa\, 1992) draws on direct experiences and a deep connection with the local area\, evoking scenes that hover between wonder and unease. The natural landscape\, particularly that of the mountains\, is interwoven with autobiographical elements such as swimming – an experience of redemption and self-rediscovery – giving rise to a visual language in which personal and collective dimensions coexist. Reinterpreted in a symbolic and surrealist key\, these references become a tool for reflecting on the contradictions of the present: on the one hand\, the individual’s sense of inadequacy in a fast-paced and unstable world; on the other\, the growing awareness of the environmental crisis. Fresia nevertheless offers a form of hope: through the use of vibrant colours\, she invites us to believe in a source of light\, even in times of uncertainty. But\, given the instability of the present\, is it truly possible to find a glimmer of hope? \nRes Naturae thus challenges us to reflect on what happens when the boundaries between the human and the ‘non-human’ become blurred. In this suspended space\, the quest for a possible balance with nature – no longer seen as something to be dominated\, but as a living entity with which to enter into symbiosis – becomes a necessary act of resistance. Through a variety of languages and perspectives\, the exhibition does not present a single\, unified vision of nature\, but rather reflects its complexity\, inviting us to reconsider how we live within it. In this liminal space\, where boundaries become fluid\, the possibility of a renewed equilibrium no longer depends on control or distance\, but on a more attentive\, mindful and reciprocal relationship. \n  \nCritical text by Sofia De Pascali
URL:https://www.spazioartecontemporanea.com/en/evento/res-naturae/
LOCATION:Spazio Arte Contemporanea\, via Carducci 2\, Robecchetto con Induno\, 20020\, Italia
CATEGORIES:Exhibition
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