Exhibition project by Elena Giulia Abbiatici. Artists: Luca Coclite, Federica Di Carlo, Matteo Nasini. 22 - 25 March 2019 Milan.
It opens on March 22th in the context of Mia Photo Fair, a collective exhibition of three multimedia artists - Luca Coclite, Federica Di Carlo, Matteo Nasini - aimed at questioning the concept of wave in its physical-atmospheric, socio-anthropological and oneiric-biological declinations. The artists go beyond the traditional photography and open the medium to its linguistic transformations and evolutions, with a great elaboration and aesthetic effectiveness.
Albert Einstein said “Everything is relative”. A century later, we can say that everything is, in a large measure, made of waves. The breakthrough into the understanding of the universe, for what we can, dates back to 2016, when the LIGO Gravitational Waves Observatory team reported the passage of a gravitational wave through a black hole, thus revealing those deformations in the curvature of space time, which determine the relativity of space and time and would be constituted, in fact, by waves. All the matter in transformation is crossed by waves, like body or movement, but only the waves produced on water and by water have monopolized the collective imagination of the wave concept, as well as the artistic iconography, which has become attentive to the mimesis of the wavy water movements. The Venus of Botticelli (1484) seems to dance on a shell, which floats on thin stylized waves, while a Zephyr blows on her auburn hair and on the clothes that Hora is offering her.
When we arrive at Turner, three centuries later, the surrender of the waves of a stormy English sea, is subject to the painter's intention to make the decomposition of light equally. Another great discovery had recently been demonstrated: the corpuscular and undulating nature of light, freeing it from a mono - particle destiny and giving it the theophany of being photon and wave together.
The wave in Luca Coclite’s video installation The Hall / Ledwall, goes beyond the classical recording of the sea: it breaks up, it breaks down that Mare Nostrum which unites and divides us, on which we base our post-Punic civilization and we have forgotten to had been a battle ground, to overcome those mythological Pillars of Hercules. The horizon breaks, refracts itself into an ostensible wave, in a clash within the chaotic movement of the sea, and the camera sublimates this mysterious moment - the technological unconscious of the medium. Along the coast, Regina Pacis reigns, from a home colony to a welcoming home to a luxury hotel, converts that concept of home, unrolling a red carpet towards the sea and evoking a cursive suggestion to the Oscar runways or the red carpet in Grand Hotel Budapest, where the joke and the bitter history proceed together to exorcise each other. If it is true that history shapes and changes the landscapes we observe, actual history imprisons the wave in a deceptive hall and we still do not know how it will return it to the sea. Perhaps (mindful) place, perhaps (limiting) space, or (negationist) horizon.
Federica Di Carlo’s blue wave is caged inside a salvific and lethal grip. The movement of the sea is obtained by locking up the print of a blue sky in a vice, at the exact point of resistance, beyond which the shell, carefully inserted as guardian of the wave, would shatter. The vice translates the 2° atmospheric degrees above which scientists predict uncontrollable environmental cataclysms. “Somewhere along the way, that pleasure turned to madness,” Julian Casablancas used to say in his Out of the Blue; madness will hit the earth, no longer able to support itself and do the same for us. The temporal vulnerability of A. Sassolino has become together the human unconsciousness and arrogance towards the two extremes in which we move: the sky and the sea. “But where is the border?", these works seem to ask us, while they are compressing the two extremes of our world. In a game of references between the blue of the sky and the blue of the sea, Federica has charged the telescopic image of an interstellar cloud with blue, identifying, in this chromatic wheel (cyanometer), all the blue scales of the sky, according to the classification of the astrophysicists, with whom she shared the days of hrs residence in Montpellier, to unveil with the inhabitants, if the sea is blue because the sky is blue. La mer est bleue parce qu'on veut savoir pourquoi la mer est bleue.
The vagueness is the result of a very precise measurement and understanding of the parts, it is the linguistic form of exactness, which, once achieved, can dip into the vague of the poetic and imaginative land, of the dream, and can be codified again, as exact science, without losing its metaphysical nature. Because the dream territory is personal, as long as an electroencephalography does not transcribe the shapes of our sleep and some modern Apps do not monitor our nocturnal brain activity to regulate rest for higher productivity. Sparkling Matter by Matteo Nasini is the attempt to sound and formalize levels of oneiric consciousness or subconsciousness, through a mysterious and haunting EEG recording path of our brain waves during sleep and / or dreams. In 2016, at the Marselleria Space in Milan, the artist started a nocturnal navigation, translated into soundtracks, and then into 3D ceramic prints of the synaptic waves’ sound. Sparkling Matter potteries are not the transposition of Inception, just as the respective dream books are not the transposition of Freud's milestone issue, yet the spirit passing through them is the same: revealing the latent content of our sleep. Or rather the part which we can not bring to consciousness and which takes on conical, cylindrical forms, of irregular parallelepipeds and rough surfaces, made for once by the real substance of dreams.
Waves, like photography, always record images of what they hide.