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‘Movement as Parresia’ by Emiliano Aversa at Soyuz, Pescara

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Emiliano Aversa, Evolution food, 2016
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Emiliano Aversa, Evolution food, 2016
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Emiliano Aversa, Evolution food, 2016
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Emiliano Aversa, MPH(otel). Yes, this shape scratches the face, 2016
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Emiliano Aversa, MPH(otel). Yes, this shape scratches the face, 2016
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Emiliano Aversa MPH(otel). Yes, this shape scratches the face, 2016
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Emiliano Aversa, Movement as Parresia, 2017
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Emiliano Aversa, Movement as Parresia, 2017
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Emiliano Aversa, Hippoflytta, 2017
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Emiliano Aversa, Hippoflytta, 2017
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Emiliano Aversa, Hippoflytta, 2017

I, M & P

I. Hi M and hi P. Where are you at the moment?

M. There is no space.

P. I’m where the steel steels itself. For M there aren’t options left. But M, you have a location, right?

M. Yes, but no space.

I. What’s the location?

M. It’s not about you being in the hotel’s lobby right now and it’s not about the hotel’s position. This is not a fact. The delocalization of “here” The delocalization of “here” The delocalization of “here” The delocalization of “here” The delocalization of “here” The delocalization of “here” The delocalization of “here” The delocalization of “here” The delocalization of “here”

P. It’s where the water moves itself at its best.

M. What means space and what means repetition? I have no idea.

I. And the tension between elements?

P. It’s the drool.

I. Yes, every tableau calls a drool.

IMP. The drool goes on!

I = Interviewer M = Movement P = Parresia

Emiliano Aversa works exclusively with the medium of video. His works can be seen as real video tableau: spaces in which the image occurs. In his work he tries to activate a process of involution or repurification of the concept of pure cinema, considering its historical evolution in search of an a priori in which the moving image reveals itself for what it is. An aurora that Aversa calls “Cineflex:” a “cine” reduced to the bone that in looking for its own movement flexes, flexes the movement, brings it back to its origin, and reiterates it. Such a creative approach takes the infinite expressive modes that the moving image brings with it into account; and such freedom indifferently includes the use of abstract or representative images that consequentially lose their character as fixed elements, becoming their own movement, evolving within a space where spatial editing gives time to space and vice versa. Duration, evolution, rhythm, quietness, acceleration, obsessive repetition, moving painting, thing concept, time not as general time but as the flesh of the video and space intended as duration are characteristic features of his works – praise of the surface.

14.10.17 — 28.10.17

SOYUZ

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'Fantasy Lands' by Maggie Dunlap & Allan Gardner at Collective Ending, London

'Dead Season' by Vitaly Bezpalov & Karina Azizova at Spas Setun, Moscow

'Duru Duru' by Stefano Serusi at Galleria Arrivada, Milan

'Ø' by Andrea Nacciarriti at DISPLAY, Parma

'Vore' by Jenkin van Zyl at Rose Easton, London

'Bigag & The Bando' by Theodor Nymark at aaaa Nordhavn, Copenhagen

'Mitla' by Andy Medina at Estrella Gallery, New York

'INSIDE OUT' by Poupak Sarah Shoughi at Herrretics, Derbyshire

'LIBERTY' by Débora Delmar at GALLLERIA PÌU, Bologna

'HEARTH' by Liam Denny at Greenhouse Off-Site, Melbourne

'CANDALÙ' by Rachele Maistrello at Almanac, Turin

'Thought-Forms' by Andy Ralph Presented by Final Hot Desert, Nephi, Utah

'The Laws Of Hospitality' by Travis John Ficarra at Lindberg Galleries, Melbourne

'Firmament' by Aaron Christopher Rees at NAP Contemporary, Mildura

'Take The Day Out In Baskets', Group Show at St. Chads, London

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