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Ann Veronica Janssens, Untitled (Light Painting), 2004, variable dimensions.<\/span> [\/vc_column_text][vc_empty_space height=”10px”][vc_column_text]Opening: Saturday, 30 October\u00a02021,\u00a06.30 pm<\/strong><\/p>\n The\u00a0exact\u00a0last words pronounced by\u00a0Johann Wolfgang von\u00a0Goethe before breathing his last serve as the title for the coming exhibition at\u00a0Casa Masaccio | Centro for l\u2019Arte Contemporanea<\/strong>, which will open on\u00a030 October 2021<\/strong>.<\/p>\n The concept of\u00a0light<\/i><\/strong>\u00a0has been a fundamental element of the history of art, as well as an indispensable means for the vision and transmission of colours in space, and ever since the 1960s has become an integral part of the expressive language of art.\u00a0The journey made by light has very remote sources. It has passed through myth and metaphysics, theology and art, before being secularised in our everyday lives, trapped in our control and our practical activity. Becoming material of our objects and object of our work, it asks for a different perception of the world, a different bearing of the body, a much more fluid boundary between inside and outside.<\/p>\n The exhibition brings together a group of artists from different countries and belonging to different generations\u00a0\u2013<\/i>\u00a0Alberto Garutti\u00a0<\/strong>(Galbiate, Lecco, IT,\u00a01948),\u00a0Alfredo Jaar<\/strong>\u00a0(<\/strong>Santiago de\u00a0Chile,\u00a0CL,\u00a01956),\u00a0Ann\u00a0Veronica Janssens<\/strong>\u00a0(Folkestone, UK, 1956),\u00a0Joseph Kosuth<\/strong>\u00a0(Toledo, USA,\u00a01945),\u00a0Daniele<\/strong>\u00a0Milvio\u00a0<\/strong>(Genova, IT,\u00a01988),\u00a0Kaspar M\u00fcller\u00a0<\/strong>(Schaffhausen, CH, 1983),\u00a0Michel Verjux\u00a0<\/strong>(Chalon-sur-Sa\u00f4ne, FR, 1956)\u00a0\u2013<\/i>\u00a0whose works presented at Casa Masaccio focus on phenomena of perception and on the idea that light itself can be both subject and material of art.<\/p>\n Alberto Garutti<\/strong>\u2019s intervention consists in scattering around the layout of the exhibition works from the series\u00a0What happens in rooms when people have left?<\/i>\u00a0(1993-2021), in which the artist appropriates bits of domestic memory and materials of daily life in order to continue his subtle critical analysis of the systems used for the display of works of art. -\u201cMehr Licht!\u201d-<\/i><\/strong>\u00a0<\/i>is dedicated to the memory of\u00a0Daniele Del Giudice<\/strong>\u00a0(Rome,\u00a011 July 1949 \u2013 Venice, 2 September 2021), whose essays in the volume\u00a0In Questa Luce\u00a0(Einaudi, Torino 2013) have served as a\u00a0guide in the preparation of this exhibition.<\/p>\n \u2013 \u2018Of light our things, of light our arms, of light our communications, the monitor and the computer –\u00a0memory that becomes light \u2013\u00a0[…]\u2019 \u2013<\/i>[\/vc_column_text][vc_empty_space height=”5px”][vc_button title=”CARTELLA STAMPA \/ PRESS FOLDER” target=”_blank” color=”btn-inverse” size=”btn-large” href=”https:\/\/www.dropbox.com\/sh\/gg3klhtbk2qho38\/AADWj9LDM1gIOxE10SO7zj1Ba?dl=0″][vc_empty_space][vc_column_text]<\/p>\n With the support of: Pro Helvetia, Swiss Arts Council; Stadt Schaffhausen.<\/strong><\/p>\n [\/vc_column_text][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”7669″ img_size=”full” alignment=”center”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_single_image image=”7678″ img_size=”full” alignment=”center”][\/vc_column_inner][\/vc_row_inner][vc_column_text]-“Mehr Licht!”-<\/i> has been possible thanks to the collaboration with:\u00a0A Arte Studio Invernizzi (Milan), Galleria Alfonso\u00a0Artiaco (Naples),\u00a0Galleria Lia Rumma (Naples \/ Milan), Galleria Federico Vavassori (Milan),\u00a0Studio Alberto Garutti (Milan).<\/p>\n A special\u00a0thank you goes to all the artists involved, the lenders, and to: Epicarmo Invernizzi (A Arte Studio Invernizzi, Milan), Alfonso Artiaco,\u00a0Ilaria Artiaco and Luigi Giovinazzo (Galleria Alfonso Artiaco, Naples),\u00a0Lia Rumma,\u00a0Paola Potena,\u00a0Edith Ballabio, Sara Ceroni, Camillo\u00a0Triulzi,\u00a0Francesca Vitullo\u00a0(Galleria Lia Rumma, Naples \/ Milan), Giacomo Nigro, (Studio Alberto Garutti, Milan).[\/vc_column_text][vc_empty_space][vc_media_grid element_width=”6″ gap=”10″ item=”mediaGrid_SlideOutCaption” filter_size=”md” include=”7702,7703,7704,7705,7706,7707,7708,7709,7710,7711,7712,7713,7714,7715,7716,7717,7718,7719,7720,7721,7722,7723,7724,7725,7726,7727,7728,7687,7688,7689,7690,7691,7692,7693,7694,7695,7696,7697,7698,7699,7700,7701″ grid_id=”vc_gid:1710264520674-8f5fc2c2-a057-0″][\/vc_column][\/vc_row]<\/p>\n","protected":false},"excerpt":{"rendered":" 30 October – 6 february 2022<\/p>\n","protected":false},"author":2,"featured_media":7675,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[65,64,62,18],"tags":[74],"_links":{"self":[{"href":"https:\/\/www.casamasaccio.it\/en\/wp-json\/wp\/v2\/posts\/8442"}],"collection":[{"href":"https:\/\/www.casamasaccio.it\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.casamasaccio.it\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.casamasaccio.it\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.casamasaccio.it\/en\/wp-json\/wp\/v2\/comments?post=8442"}],"version-history":[{"count":2,"href":"https:\/\/www.casamasaccio.it\/en\/wp-json\/wp\/v2\/posts\/8442\/revisions"}],"predecessor-version":[{"id":8444,"href":"https:\/\/www.casamasaccio.it\/en\/wp-json\/wp\/v2\/posts\/8442\/revisions\/8444"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.casamasaccio.it\/en\/wp-json\/wp\/v2\/media\/7675"}],"wp:attachment":[{"href":"https:\/\/www.casamasaccio.it\/en\/wp-json\/wp\/v2\/media?parent=8442"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.casamasaccio.it\/en\/wp-json\/wp\/v2\/categories?post=8442"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.casamasaccio.it\/en\/wp-json\/wp\/v2\/tags?post=8442"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\n Photo: \u00a9 Grafiluce. Courtesy Galleria Alfonso Artiaco Napoli.<\/span><\/p>\n
\nOn this occasion too, the contributions of\u00a0Alfredo Jaar<\/strong>, an undisputed protagonist of today\u2019s art scene, incorporate questions that regard socio-political issues and probe the significance of struggle and participation, of political and social engagement, seeking to raise people\u2019s awareness of and sense of responsibility for the world and what goes on in it.
\nThe principal aim of\u00a0Anna Veronica Janssens<\/strong>\u2019 practice is to investigate the perception of reality by dematerializing it through a variety of means, chiefly light. Since the end of the 1980s, in fact her work has been based on natural optical phenomena of light and colour. The artist has always experimented with the distinctive traits of carefully chosen materials, with forms and light, getting them to interact with our perception of reality so as to create a recurrent vocabulary of minimalist motifs.
\nSince the 1960s\u00a0Joseph<\/strong>\u00a0Kosuth<\/strong>, one of the pioneers of conceptual art and installation art, has been producing works based on language and on strategies of appropriation. For an exhibition dedicated to the memory of Daniele Del Giudice, one of the greatest Italian writers of the second half of the 20th century, his intervention tackles the problem of time through a multiplicity of allusions to other artists, thinkers and authors. In\u00a0Quoted Use<\/i>\u00a0(2019), the artist appropriates personal items and objects of everyday use that belonged to writers and influential cultural figures, including Jane Austen, Samuel Beckett, Simone de Beauvoir, Charles Darwin, Marcel Duchamp, Albert Einstein, S\u00f8ren Kierkegaard and Virginia Woolf.
\nAnd on this occasion\u00a0Kaspar M\u00fcller\u00a0<\/strong>confirms his practice of \u2018bricolage\u2019, transfiguring the codes of the design of furnishing accessories used for the lighting of interiors and subverting them through minimal variations, so as to invent other objects. The range of meanings commonly attributed to this kind of element works with images, icons and groups of symbols to produce a single system that expands in time and space to suggest alternative scenarios of loss and subsequent recovery of energy. For\u00a0–\u201cMehr Licht!\u201d-\u00a0<\/i>Kaspar M\u00fcller has specifically conceived\u00a0Tree of lights<\/i>\u00a0(2021), a work that moves between sculpture, design and art in a functional context.
\nThe work of\u00a0Daniele Milvio<\/strong>\u00a0is founded on a roving iconography that does not stem from formal speculation, but arises out of and is shaped in his almost daily practice of drawing. For\u00a0the exhibition at Casa Masaccio, the artist is presenting\u00a0In tutta la citt\u00e0 si facevano testamenti<\/i>\u00a0(All over the city people were writing their wills<\/i>, 2016), a bronze located in the \u2018alley\u2019 of the building and conceived with the intent of creating a sculpture that would be hard to date, but that in reality turns out to be an overgrown oil lamp whose iconography makes reference to motifs from the first half of the 17th century.
\nRather than internal spaces\u00a0Michel Verjux<\/strong>\u2019s creations are \u2018interior bodies\u2019 with affinities to biotic luminescence, quite different from painterly luminism and from sculptures of light intended for mere contemplation. Their topology makes them thresholds of invitation to perceptual transits, indications of the underlying link between energy, concept and matter. In fact the French artist\u2019s\u00a0\u00e9clairages<\/i>\u00a0consist of pure \u2018light\u2019, projecting artificial light onto sunlight and glowing as they illuminate.<\/p>\n