Corpo Sociale - Group exhibition of contemporary Videoartists
The art gallery as a social body, by Gianluca Marziani
Written by: Giampaolo Abondio
Web URL: http://
A gallery that breathes, moves, expands, interacts and reproduces as any living organism. That is the concept proposed by Corpo Sociale, a project produced by Galleria Pack
of Milan and curated by Gianluca Marziani
. Corpo Sociale
obsoletes the idea of a gallery as plain and static exhibiting space. The show includes the work of five artists represented by galleries from different cities in the same space, opening an extraterritorial platform where the dialectic between each individual body and gallery results in a vast artistic and social experience.
The artworks selected for this project analyze the two words of the exhibition title, Corpo Sociale. Presented in four rooms and an outside courtyard reserved to the host gallery, the works ofJaime Pitarch
(Galeria dels Àngels
, Barcelona), Maslen & Mehra
(Galerie Caprice Horn
, Berlin), Akino Kondoh
(Mizuma Art Gallery
, Japan), Nathalie Rebholz
, Switzerland) and Marina Paris
, Italy) establish a different dialogue among strongly related parts of a total organic corpus.
In Tim Maslen
and Jennifer Mehra's
installation, a group of anthropomorphic silhouettes that mirror real landscapes create a visual trick that question our perceptions of persons/bodies and the concept that we culturally assigned to them. Through another perspective, Nathalie Rebholz's
work immerses the spectator in an aquatic universe that recalls our original amniotic existence. It is not only an unassisted dive into the complexity of the feminine universe, but a return to the place where the body starts to lose its individual condition.
The inability of the human being to suit the social, cultural, or political structures that he has created to himself are strongly expressed in Jaime Pitarch's
videos. Showing urban life and its collective tension opposed to the sublimation above the social and how contemporary art wounds the beauty smile of appearance.
Surrounding beauty as well, Akino Kondoh's
young and delicate bodies inside of magical landscapes gave a symbolic, almost erotic dimension to the multiple paths between the single physical body, and our social condition. As the five exhibitions in Corpo Sociale
approach, no matter which path one chooses, this voyage frequently situates the human being in the fight against the external conditioners that at the same time define us some way.