Minimal. Signs and Forms of the Essential
Posted on October 11 2022
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Author Silvia Colombo
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Minimal. Signs and Forms of the Essential │ September 30th - October 31st, 2022
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The narrative of the essential and minimal stretches from past to present in a continuum, creeping into culture’s various aspects - from literature to design, from art to theatre - to then clinging to our collective imagination. Think, for example, to well-known quotes such as “what is essential is invisible to the eye” (Antoine de Saint-Exupery, The Little Prince, 1943), “less is more” (Robert Browning, Andrea del Sarto, 1855); or to the artistic movement of Minimalism, established in the US from the 1960s and then spread globally.
A (artistic, graphic or aesthetic) style can be minimal, while an ideology is often considered as essential when endowed with strong theoretical foundations. Together, all these fragments shape the framework of the group exhibition “Minimal. Signs and Forms of the Essential”, open at Millepiani in Rome for the whole month of October, and curated by LoosenArt.
A (artistic, graphic or aesthetic) style can be minimal, while an ideology is often considered as essential when endowed with strong theoretical foundations. Together, all these fragments shape the framework of the group exhibition “Minimal. Signs and Forms of the Essential”, open at Millepiani in Rome for the whole month of October, and curated by LoosenArt.
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MG Vander Elst, Cut Flowers, 2021
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Overall, this exhibition gives the opportunity to reflect onto various critical topics through the images by a group of selected artists working with photography and digital techniques. In a world where for decades we have been hearing about words like ‘overproduction’ and ‘consumerism’... What truly matters? What are the indispensable cornerstones without which our existence wouldn’t make any sense?
And again, in artistic terms: what are the fundamentals of an image so that it can mirror specific values, beliefs, intuitions or sceneries?
When passing through the exhibition space, or while leafing through this catalogue, you will perceive a common feeling with all its chromatic, thematic as well as environmental variables.
The visual sequence resulting from the visit/the reading, in fact, will show some recurring features: a terse language, a strong linearity, but also a remarkable attention to de-contextualisation and details.
And again, in artistic terms: what are the fundamentals of an image so that it can mirror specific values, beliefs, intuitions or sceneries?
When passing through the exhibition space, or while leafing through this catalogue, you will perceive a common feeling with all its chromatic, thematic as well as environmental variables.
The visual sequence resulting from the visit/the reading, in fact, will show some recurring features: a terse language, a strong linearity, but also a remarkable attention to de-contextualisation and details.
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MG Vander Elst, Cherry, 2021
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It is as if, suddenly, the visitor traversing the exhibition space was thrown into a praise of the everyday, where nearly deserted rooms and sparse objects give rise to 21-century still-life scenes.
They are essential, but at the same time subtle images capable of tickling our imagination and triggering silent thoughts and references - from Giorgio Morandi’s paintings to Abelardo Morell’s photos, just to mention a few.
Whether they illustrate minimalistic portions of indoor/outdoor scenes, places of memory/living or landscapes, all these works have the power to absorb us, letting our thoughts run free.
And even if the variations on the theme vary a lot, leading the art pieces into different directions, they establish a dialogue between opposite poles - from reality to abstraction (nudes or architectural patterns turned into geometric shapes), from general to particular (a room recalled through lines and small features), from complexity to a non-obvious simplicity.
They are essential, but at the same time subtle images capable of tickling our imagination and triggering silent thoughts and references - from Giorgio Morandi’s paintings to Abelardo Morell’s photos, just to mention a few.
Whether they illustrate minimalistic portions of indoor/outdoor scenes, places of memory/living or landscapes, all these works have the power to absorb us, letting our thoughts run free.
And even if the variations on the theme vary a lot, leading the art pieces into different directions, they establish a dialogue between opposite poles - from reality to abstraction (nudes or architectural patterns turned into geometric shapes), from general to particular (a room recalled through lines and small features), from complexity to a non-obvious simplicity.
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Natalie Ayoub, Impressions, 2021
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Daniel John Bracken, Still Life Study at Sunrise, 2020
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Bognár Csaba, No Sobremesa #2, 2021
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Floriana Avellino, Minimalist Impressions of an Italian Village, 2021
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MINIMAL. SIGNS AND FORMS OF THE ESSENTIAL
September 30th - October 31st, 2022
Millepiani - Via N. Odero,13, Rome - IT
linfo@millepiani.eu
+39 06.888.17.620
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