ARTISTS
Alessandra聽Spranzi: He runs after facts like a beginner learning to skate, who, furthermore, practices somewhere where it is forbidden.
P420 is pleased to announce the third solo exhibition at the gallery by Alessandra Spranzi (Milan, 1962), after the previous Maraviglia (2014) and Mani che imbrogliano (2018).
The show features recent works, made over the last two years: Esercizi, the new series of color photographs, and four videos made specifically for the occasion. The context in which the works interact is a place suspended in time, which the artist formulates with white and green curtains, typical of the summer months.
Alessandra Spranzi works with the photographic image in different ways and forms: photographing, re-photographing, gathering, cutting, indicating, erasing. She intervenes when images and things shift away from their uses and become, so to speak, unaware of themselves, their possibilities and their beauty.
The images created by Alessandra Spranzi leave us suspended; they are open images, we might say, but not in the sense of a question open to the viewer, not to be interrogative, but to safeguard the enigma, or in any case the depth, of a certain intrinsic inexpressibility.
As Lisa Andreani writes in the critical essay that accompanies the exhibition: 鈥淚n the first and second rooms, as we shall see, certain subjects stand out more than others. The chairs are are in a precaurious position, resting on a table, waiting to lay claim to a shared function, or perhaps a state of deployment, more than anything else. Extraordinary objects, bearers of history and stories. Implication of a hierarchy, tending towards the patriarchal, but also things with the force of knowing how to play. The chair is also democratic, malleable and comfortable. The other subject, a warm presence, is a circular form: balls, oranges, arrays of fruit, a walnut, a table leg.鈥�
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P420 is pleased to announce the third solo exhibition at the gallery by Alessandra Spranzi (Milan, 1962), after the previous Maraviglia (2014) and Mani che imbrogliano (2018).
The show features recent works, made over the last two years: Esercizi, the new series of color photographs, and four videos made specifically for the occasion. The context in which the works interact is a place suspended in time, which the artist formulates with white and green curtains, typical of the summer months.
Alessandra Spranzi works with the photographic image in different ways and forms: photographing, re-photographing, gathering, cutting, indicating, erasing. She intervenes when images and things shift away from their uses and become, so to speak, unaware of themselves, their possibilities and their beauty.
The images created by Alessandra Spranzi leave us suspended; they are open images, we might say, but not in the sense of a question open to the viewer, not to be interrogative, but to safeguard the enigma, or in any case the depth, of a certain intrinsic inexpressibility.
As Lisa Andreani writes in the critical essay that accompanies the exhibition: 鈥淚n the first and second rooms, as we shall see, certain subjects stand out more than others. The chairs are are in a precaurious position, resting on a table, waiting to lay claim to a shared function, or perhaps a state of deployment, more than anything else. Extraordinary objects, bearers of history and stories. Implication of a hierarchy, tending towards the patriarchal, but also things with the force of knowing how to play. The chair is also democratic, malleable and comfortable. The other subject, a warm presence, is a circular form: balls, oranges, arrays of fruit, a walnut, a table leg.鈥�
Artists on show
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A solo exhibition by Alessandra Spranzi is ongoing at P420 in Bologna (Egli rincorre i fatti come un pattinatore principiante, che per di pi霉 si esercita dove 猫 vietato), featuring recent works from the last two years from the Esercizi series.
