Le ossa del cane nel cuore ovvero Il mio sentire randagio
Galleria Comunale d’Arte Contemporanea Molinella
exhibition view | Galleria Comunale d’Arte Molinella
selfportrait ovvero frattura di L2 e trauma cranico non commottivo. mi prendo una pausa ma continuo a lavorare, 2007 | glazed earthenware | cm 107 x 33 x 55
detail from | mai abbandonare le passioni istintive ovvero la bestia equilibrista, 2007 | glazed earthenware | cm 100 x 29 x 50
i 3 porcellini ovvero le favole sono finite, 2007 | glazed earthenware | cm 30 x 55 x 41
It is difficult to be unmoved in front of the new and rich nucleus of works by Alessandro Neretti, displayed in this double exhibition held in Faenza, beginning from the dense figurative strength of its title and subtitle. Words that originate from their pleonastic significance to anticipate and highlight a paradoxical combinatorial emphasis and that, together, create a counterpoint between the élan-vital and the artist’s willingness to offer a de-construction of objects and serial icons of our time. And he could not help choosing the hyper-real (and kitsch) ceramic production which, at the same time, is reflected and defined within the framework of an almost boundless decorative and ornamental predisposition. When the local and the global settle down and recognize each other in a figurative-affective animalier context, a process of variation and re-definition of the “already-made” develops through filiation and exchange, through re-appropriation and re-interpretation. In just one word, the détournement (or “culture jamming”), enables and activates the ability and pleasure of childish amazement.
Simulacra of Great Danes, greyhounds, Doberman Pinschers, mastiffs, pugs, wear different masks and snouts or exhibit hearts, bones, jaws and appendices borrowed from other species; they put on and off ambiguous morphological identities in a never-ending and animated variation on the theme. Similarly, small-sized dogs aggregate and combine into totemic figures, while any direct relationship or alliance with Man remains far-away, except for the appearance of a helmet-like human skull. Or perhaps, although metaphorically, in some mutilated specimens of anatomic parts such as the ears, the snout or a paw… Don’t be afraid, though: under certain respects, one may appropriately refer to the hyper-realism of simulation that, according to J.Baudrillard, solves and obliterates reality.