Catalogue Exhibition │Millepiani
Posted on July 27 2023
..
..
PLASTIC VISIONS
—
In Villa Manin on the small hill known as Mount Parnassous, ancient statues can be found. In the 18th century, they represented the pride of Greek mythical deities. Now, time has made them frail: their stony bodies have aged. I wanted to speak of this very human decaying: these statues lament the annihilating weight of the years, but traces of past splendour remain in their gaze.
- C. L.
—
In Villa Manin on the small hill known as Mount Parnassous, ancient statues can be found. In the 18th century, they represented the pride of Greek mythical deities. Now, time has made them frail: their stony bodies have aged. I wanted to speak of this very human decaying: these statues lament the annihilating weight of the years, but traces of past splendour remain in their gaze.
- C. L.
—
Epiphany; the act of remembering the unknown.
- E. B.
—
—
The story of a little princess with an unknown photograph on her table.
- A. K.
—
Italy, Milan, Fondazione Prada (in complex of new and renovated buildings conceived by Rem Koolhaas and the Office for Metropolitan Architecture). View of "Crouching Venus" (1st Century A.D.), in the 2015 "Serial Classic, Multiplying Art in Greece and Rome" exhibition curated by Salvatore Settis and Anna Anguissola.
- J. B.
—
The photograph was taken in a Christmas park in Bragança, Trás-os-Montes region, in the northern inland Portugal.
- P. M.
—
The photograph depicts the Cabrão, a sculptural figure approximately 7 meters tall, which is burned during the Festa da Cabra e do Canhoto in Trás-os-Montes, Portugal. This festival is of Celtic origin and is celebrated on the Saturday closest to Halloween.
- P. M.
—
"My Family" uses inflatable machine guns to explore how replicas can reshape meaning. These soft, artificial weapons parody symbols of power while exposing the contradictions of gun culture. By turning lethal objects into playful imitations, the work highlights the tension between reality and representation, questioning how violence is normalized, performed, and woven into cultural identity.
- P. R.
—
A sculpture peeks out over the temporary wall of a public library that has been under renovation for at least a decade in downtown Mexico City. This nostalgic image reminds us that access to culture and art should be a priority on social and political agendas.
- R. V.
—
Helplessness in an ever changing world.
- L. F.
—
The David's head lies in a tomb of trash, the classical marble stained by the grime of decay. This once-pristine symbol of art is now enveloped in crinkled plastic, the skin of our disposable culture. A flash of red inside the broken neck hints at the vibrancy it once held, now suffocated by a sea of synthetics. This is our Plastic Vision: a future where enduring beauty is choked by throwaway convenience, a monument to our own waste.
- M. Z.
—
I am also a sculptor. I started in 1978, using enamelled clay. Nevertheless, these are not my sculptures. I made this shot, in the Alameda Central park of Mexico City. Textures and colours of the patina, are alike to the ones in the trees of the background. I low contrasted the image, from the capture, against the light, with sun illumination. All of this, to create unity and harmony.
- T. B.
—
URSULA is the name of this plastic shop-window mannequin. It is the central element of this series. Inspired by the desire to introduce synthetic elements into natural settings, I focus solely on the mannequin's legs to create enigmatic compositions that invite the viewer to reconsider the meaning and aesthetics of the scenes depicted. This series explores the creation of images that are both aesthetically pleasing in color and conceptually provocative.
- J. P. S. B.
—
This image captures a moment of reflection and quiet intensity, allowing the viewer to enter the emotional space of the figure. The cool tones lend a meditative quality, reinforcing themes of introspection and emotional resonance. Her posture suggests resolution, the stillness of acceptance. By focusing on sculptures, objects meant to endure, I highlight its timelessness. Carved in stone, she speaks silently yet powerfully. From Stadtischer Friedhoff III in Berlin.
- A. P. D.
—
Luminarium is a pop up interactive exhibit that comes to Auckland city every few years. It is a natural environment created through unnatural means; inflatable plastic and rubber tunnels lead people through the expansive belly of the exhibit, allowing the natural light of the day to either light up or cloud the colors within.
- V. K. R.
—
This interactive sculpture consists of nine cubes, each side displaying a fragment of the artist's photograph. Like a puzzle, the work invites tactile engagement: images can be reassembled, or the cubes stacked into towers and structures. Bridging play and conceptual art, it transforms the static "plastic object" into something dynamic, where meaning shifts with each rearrangement. The piece explores fragmentation, identity, and the viewer’s role in completing the artwork.
- N. A.
.
—
—
My work with plastic explores its dual role as both protector and pollutant. Once celebrated as a miracle material, it now embodies fragility, toxicity, and permanence. I reframe plastic not as disposable waste but as a symbolic skin—covering, shielding, yet suffocating. Through sculptural and photographic interventions, I confront how this artificial substance shapes our bodies, environments, and future myths, revealing beauty entangled with harm.
- S. M.
—
Photography is a way of seeing. When I observe objects, I often feel that they are gazing back at me. Standing within Gaudí’s architecture, the monumental structure feels like an alien creature, silently watching me. This moment belongs neither to the past nor the future—it exists only in the world created by the lens, suspending between reality and illusion.
- S. S.
—
I take photographs of old art objects closing up to transform old traditional techniques into our high-tech life and have chosen to use a digital camera to express the contrast between them. This image is the sculpture closing up in the Museum of the Duomo of Milan.
- J. M.
—
Contact without acquaintance: meetings with life forms we’ll never know. Countless species vanish within a human lifetime, yet each already meets us through our far-traveled emissaries—microplastics. The pale discs act as gauges—eroded spherules, tally marks, nurdles. Here the line between observation and contamination is blurred. Plastics bear our trace and carry it ahead of us, introducing our civilization to organisms science may never name.
- A. M.
—
There is no use in crying for a child who through sustained marketing is trained on poor food choices. There's no point in being sad as it can't be stopped or avoided. A reminder here perhaps to be grateful that some free choice still exists for a bit longer.
- J. C.
—
Plastic mannequins, frozen in poised elegance, stand as silent sentinels in shop windows. Blank stares, rigid postures, lifeless charm. Surreal stillness in front of you.
- A. K.
—
This photo introduces an unsettling yet poetic dialogue between mannequins and architecture. Their polished, unblinking forms stand against the rawness of weathered wood, blurring the line between human intimacy and artificial stillness. The gaze of these silent figures invites the viewer to question identity, authenticity, and the performative nature of being.
- A. D.
.
.
.
.
.
.
.
.
.
Connect