Minus.log – Untitled (line)

Minus.log
Untitled (line)

solo show curated by Martina Lolli

Opening Thursday, February 9th, 2017, from 6:00 pm to 21:00 pm
February 9th – March 4th 2017
Galleria Bianconi, via Lecco 20, Milan

 

 

Thursday, February 9th at 6:00 pm inaugurates at Galleria Bianconi Untitled (line) curated by Martina Lolli, Minus.log first milanese solo exhibition, collective born in 2013 from the partnership between the visual artist Manuela Cappucci and Giustino Di Gregorio, audio-visual artist since the 90’s. Through experimentation and the union of different media and languages, Minus.log aims to create each work as part of a synesthetic environment that welcomes the visitor in a dialogue between painting, sculpture, music, videos and projections.
“Untitled (line)” the title of the exhibition, focused on earlier works,  gives an account of how it’s possible to conceive it as a single large installation in which flow the artworks of the Cure series (2015), Try Again (2016) and Faraway so close (2017). The line indicated in the title is not only the elegant figurative element from which it generates the production of Minus.log, but it also refers to the ideal that implies itself: the pursuit of formal and conceptual simplicity by reducing the representation and the audio-visual stimuli to a bare minimum.

Into artistic universe of Minus.log the time slows and receives moments of rest and latency in which the search for meaning sinks into the deepest essence of the user. In this subjective temporality the expression becomes silence and, in the inner fold of the senses, the buzz gives way to the removed, to what is usually said in parentheses. The line as the easier and more refined act of the form, therefore, is not the bearer of analytical knowledge, but it’s the perceptual margin that needs waiting to be experienced.
In the installations of the Cure series, the line takes shape and becomes an empathetic threshold which the light play invites us to penetrate. It is the cut translated by overlapping gauze and the shafts of light that vibrate on the canvas surface of Cure 02 and on Cure 01 sculptures, flaps that open to the patient underground activity of the healing of a wound.
The shapes that slowly rise to the surface in the oils on canvas of Try Again series are hanging in the balance between figuration and abstraction. Traces of an absence, made visible by glazes and transparencies, translate the line in perfect cuts of the digital through fragments (Skyline), repetitions (Loop. Simultaneous display), interruptions (A-line) and cut-up (Cloud); they train the sight to a deeper view which is made of trials and moods (People). Into the namesake installation  the lines manifest as interferences that cut trough the white painted background of the projection; their unpredictable manifestation invites us to discover a singular synchrony and a rejection that this time is given by the presence of color.
In Faraway so close the line is the far and yet close profile to a memory that is rewound on itself: in infinite time, memory is a matter of perspective; in infinite space, it declines in suspended shapes. Faraway  so close landscapes are actually images originated from the act of erasing and clearing that, in the same way, they keep still the shades of the memory and the formal definition of a purpose.
The research of Minus.log borrows fascination and digital aesthetic sophistication through the use of technology supported by the “warmth” and “colors” of analog media. Its formal rigor declines in the poetry of the case and error of a non-totally controllable system – as much analogue as   a human – and that leads to unexpected and surprising results. In this game of balances the user has a great importance because he’s invited to regain his temporality and to seek in it a sense, not necessarily shared unanimously, but that assumes the value of a singular experience.

Minus.log is a collective dedicated to the creation of audio-visual installations, prints and pictorial works, it formed in 2013 from the already tried out collaboration between Giustino Di Gregorio and Manuela Cappucci. Giustino is active since the 90’s as a composer (Sprut, 1999 Tzadik Records), videomaker and audiovisual artists (InterNos, Teramo, 2011; Festival E-fest Cultures Numériques, La Marsa, 2013). Manuela comes from informal painting and she began painting in the late 90’s participating in various group and solo exhibitions (Istantanee di mondi possibili, Villa Filiani, Teramo, 2011). From the union of these two sensibilities a research borns in which material and immaterial soak each other, in which music and painting, analog and digital, partecipate in the work as a synaesthetic elements of an experience based on a subtraction and reduction process of the means. Similarly, the authorship of the two artists is merged into unitary and indissoluble participation in its creation.

Among the major group and solo exhibitions where Minus.log has been noted: Stills of Peace, Scuderie Ducali Palace degli Acquaviva (Atri, Teramo, 2016), Unotrezerouno, Abbazia di Propezzano (Morro d’Oro, Teramo, 2016), HearteartH festival (Berlin-Milan, 2016). What remains, Museolaboratorio ex tobacco factory (Città Sant’Angelo, Pescara, 2016), FILE 2015. Electronic Language International Festival (São Paulo, Brazil, 2015), door/angelo della rivelazione framco/summa project (Castelvecchio Subequo,  L’Aquila, 2014).

The attention of Minus.log is focused on the empty space, on the break, on a communication that comes from silence. Simple elements such as lines of light and minimalist shapes, interact with surfaces, sculptures or environments that, receiving the formal rigor, they play in the interstices of the sense and logic bringing up what is often shelved faster: the mistake, the wait, the repetition. Minus.log, in the creation of immersive environments, investigates and invites you to explore a different relationship with space and time, a dimension in which it’s possible to capture subtle nuances and minimal changes.

 

 

Ph. Andrea Doria

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