mercoledì 13 giugno 2012

Anomalous Presence (everywhere) (not too many, unfortunately)



The title is a little disturbing: Anomalous Presence or presence of Irregular Beings? 
The idea of the exhibitionʼs curators, Carmelo Iaria e Giancarlo Catta arises from the wish to build dialogue attempts  with ancestors and their time. To do this, they introduce, among archaeological finds collected in Museo “Sanna”, some “objects” created by the students of Liceo Artistico “Filippo Figari”, in a sort of connection between the present and the past. 
From 19th May 2012 to 31st August the museum audience will be allowed to admire handmade  products coming from the several workshops that characterize the Liceo Artistico learning curricula: Figurative Art, Architecture and Environments, Design, Audiovisual and Multimedia, Graphics
The dialogue that the curators want to create comes through the anomalous presence of “strange” evidences, and it is clearly determined to provoke a shock capable to enliven a place, like the Museo Sanna, intended, since its beginnings, to preserve works of historical, artistic, archeological and ethnographic value.
The anomalous presence are here represented by odd art works, sometimes little “grotesque” sculptures, belonging to an imaginary world, sometimes “refined” works as result of an accurate project based on the use of fine modern materials, and they all stand by the gravity and the solemnity of the antiquities dating to our remote past.
Part of the temporary exhibition is formed by some prototypes of daily usage tools, as scissors, forks and knives planned by shaping solids software and realized in wood or corian with the aid of prototyping machine; manufactures made by multilayer wood units worked by “traforo” (fretwork) technique or arranged by fixed joint method (without glue or screw) that reproduce  expressive of plastic and architectural values lamps; an architectural model created  keeping as  aim a sustainable housebuilding project, titled A functional employment of an unrestricted area of town (Sassari). The model arranges recreational facilities for young people, and has covered spaces to be used for cultural meetings and exhibitions. There is a library, there are cycle paths among green and water courses. 
Continuing your visit you can also run into paper sculptures - origàmi - inspired by Alighiero Boettiʼs works. 
It is clear that you are not called to follow an itinerary on theme or on time of each object showed, but you can get from them and from their unusual association, the sense of surprise, of estrangement from the real world. 
Visitors are invited to move along different visual spurs arising from the temporary show of handicrafts and they are brought through an imaginary and amazing  journey crowded by “little astonished faces that stare at them from the showcase”,  or they can be startled by an “improbable” paper dress. Some of the dresses displayed for this occasion in the Museum rooms, are not made of precious cloth but of recycled materials, as lace find in grannyʼs trunk, or old curtains, all of them embellished by waste of plastic that substitutes shining paillettes. But there are also original works of the loom that preserve strong links with traditional Sardinian weaving. 
Undoubtedly studentsʼ choice is not completely fortuitous, since objects, even if “different” from the contest that hosts them, adapt themselves to the layout of the archeological evidences collected in the Museum. Alongside the little idols representing the Dea Madre (Bonu Ighinu culture), you can admire little terracotta statues, polychrome ones in some cases, that propose an interpretation of feminine beauty in a contemporary vision: “veneri” strictly bounded to fertility and maternity concepts are expressed in steatopygy forms, others, showing a more romantic femininity, allude to women dressed in traditional Sardinian costumes, with their pure colors. 
Among all these elements that refer to a sort of oddness for such “differences” put together, you can find, close to an acephalous marble sculpture, a plaster head, that even though it has not any stylistic link with the ancient statue, for just one time, while you are looking, it becomes one of the protagonists of exhibition, together with the archaelogical finds. The “anomalous presence” grow as natural elements of the museum show. The same happens for the works that reproduce cartoon characters as Pen or The Simpson. 
It is clear that the idea was born not only as an artistic action but as an opportunity to make clear to the observer the relevance of “manual” making of the artist-artigian, of the sculptor, of the painter, of the architect, of the graphic designer who has to face with contemporaneity. As a matter of fact, and in spite of new technology, contemporary 
languages continue to make use of the artist-artisan millenary knowledge;  as in the 2005 cartoon Corpse Bride, the artist has to use the whole of his professional competence to create a plasticine puppet with a “deformed” head. 
Young people are being increasingly attracted from media, so that it has become necessary to teach them the “game” techniques. The publicity languages have assumed, by now, a central role in mass comunication; from this awareness arises the need to work on objects that serve as examples of packaging, aimed for serial production, that have a
protective purpose besides representing icons of products. 
Anomalous Presence wishes to re-create a magic atmosphere between past and present  traces, but it also aims to awaken in young people the will to  rediscover a place, the Museum, too often forgotten or, maybe, never known.
Through this process comes the reappropriation of  their cultural heritage. 
Liceo Artistico “Filippo Figari” students made their works keeping in mind the problem of the  “changing”  of the artistic action, using at their best, as in the different artistic fields, their creativity in the production of  handicrafts and pictures. 
The Liceo Artistico “Filippo Figari” is an important creative place in the heart of Sassari; in it teachers can be considered the transmitters of “knowledge” and of “manual making”, students are the real makers of “polyfunctional” objects and responsable for their artistic value. Moreover, school becomes, in this way, their  “artistic library and laboratory”



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