Co-Relations on Diptychs
Posted on August 11 2022
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Author Silvia Colombo, Antonio Muratore
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Co-Relations on Diptychs │ July 15th - August 31st, 2022
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Images in dialogue with each other through narrative, conceptual and aesthetic-formal languages. Images connected both to the communicative methods adopted by the arte and by those of the art cinematographic world. The Diptych, a pictorial representation form that has spread since the Middle Ages, assumes in photography and the visual arts world functions aimed to strengthen symbolic meanings, create narrative continuums that define temporal moments or different places, enhance the aesthetic sense of shapes, colors and details, create dynamism etc .. Diptychs and visual correlations are the means and channels of expression that unite the works presented in the group exhibition Co-Relations on Diptychs curated by Loosenart.
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Nicoletta Cerasomma, Memories and Dreams, 2020
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Already from the Middle Ages, the diptych, triptych, or, in many other cases, the polyptych was a format used in art to give breath to a subject otherwise relegated to a single board. In fact, diptych opened up interesting possibilities for painting (and, centuries later, to other techniques as well), both from the point of view of the technique and of the content. It gave artists a way to paint a series of episodes, to represent a story that unfolds in space and time. According to a more modern vision, this format is also an opportunity to broaden the artistic horizon by going from a monologue to a dialogue, to a dialectic relationship between two poles including various and diverging universes. This dynamic is also one of the features exhibited at “Co-Relation on Diptychs”, group show arranged at the Spazio Millepiani in Rome. The digital pieces as well as the photographs look at what is happening in the world with extreme clarity and awareness. Here, the diptych is considered as a format, an expressive mean, but also as a subject reinforcement. Thanks to this, the message the artists are trying to communicate through their pictures is remarked, repeated or contradicted; at the same time, the perspectives are multiple and ever-chaning.
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Nicoletta Cerasomma, El Oro Blanco, 2020
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1. Duality of Time. Subsequently to a ‘before’, comes an ‘after’: the time sequence embodied by some picture-pairs establishes a dialogue between past and present. How is it to backtrack after a while? The time passing, the skin wrinkling, and the kids growing up are some of the more noticeable features. But despite that, some patterns stay the same. And this is because we, humans, are difficult to disaccustom from our habits. They take root in ourselves, becoming a part of our own identity. Everything passes by, everything flows (panta rhei), but certain things stay and don't ever change.
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2. Duality of Space. What does it happen when we exit our body and see ourselves from the outside? The NDE (near-death experiences) are some of the experiences examined by the artists on show. The diptych here is the depiction of a world/threshold separating materiality from incorporeality. In that way, as in a dream, everything seems suffused, blurried. Confused. Those pictures are done and exhibited not just to perpetuate the memory, but also in order to recall those experiences within a context that has no yesterday, today or tomorrow.
2. Duality of Space. What does it happen when we exit our body and see ourselves from the outside? The NDE (near-death experiences) are some of the experiences examined by the artists on show. The diptych here is the depiction of a world/threshold separating materiality from incorporeality. In that way, as in a dream, everything seems suffused, blurried. Confused. Those pictures are done and exhibited not just to perpetuate the memory, but also in order to recall those experiences within a context that has no yesterday, today or tomorrow.
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Roberto Ruoli, Solo - Lonely as I Feel, 2022
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3. Duality of Subject. In addition to the abovementioned features, the diptych gives artists the opportunity to experiment and to create comparisons, similitudes and metaphors, but also contrasts. For example, the clash between opposite poles - such as outside/inside, presence/absence, dream/reality - resulta in visual fights, where colors and subjects play an important role within the whole context. From another point of view, the recurrent proximity between humans and nature - established by various artists on show - gives rise to sociological research about contemporaneity.
4. Duality of Narration. In the end, there is who has chosen a more traditional path, but no less interesting.
4. Duality of Narration. In the end, there is who has chosen a more traditional path, but no less interesting.
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Some of the pieces at Millepiani show how the artists played with another duality: the double introducing a narration. So here comes urban stories where details of people, places and buildings tell anecdotes about a world in constant change - or maybe not. Sometimes, those discursive narratives lead to repositories of distant lives and places, where nostalgia is accompanied by astonishment.
Some of the pieces at Millepiani show how the artists played with another duality: the double introducing a narration. So here comes urban stories where details of people, places and buildings tell anecdotes about a world in constant change - or maybe not. Sometimes, those discursive narratives lead to repositories of distant lives and places, where nostalgia is accompanied by astonishment.
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Stephanie Robbins Thulin, Box C: Sweden – 1972, #19: C-9, Jul72 and Box C: Sweden – 1972, C-19, 2020
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Stephanie Robbins Thulin, #8, Mar61 and Hot Springs Vill., #1, Nov73, 2018
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Agata Mendziuk, Untitled #1, Mind Games, 2015
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Agata Mendziuk, Untitled #2, Mind Games, 2015
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Liva Pastore, Gentle Creatures, 2022
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Florence Babin-Beaudry, Unexpected Parentheses, Stephanie, 2020
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Chris Ireland, 9am – Sweeping the Floor 2016/2006, 2016
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CO-RELATIONS ON DIPTYCHS
July 15th - August 4th / August 23rd - 31st, 2022
Millepiani - Via N. Odero,13, Rome - IT
linfo@millepiani.eu
+39 06.888.17.620
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