image text special

'FORTEZZA', a Group Show at GiacomQ, Bergamo, Italy

article image; primary-color: #C9C6C1;
Edoardo Manzoni, Untitled 1 (Fame), 2019
article image; primary-color: #BEB7AD;
Edoardo Manzoni, Untitled 1 (Fame) (detail), 2019
article image; primary-color: #CFCAC4;
Edoardo Manzoni, Untitled 1 (Fame) (detail), 2019
article image; primary-color: #797874;
Lorenzo Lunghi, Micro flame, 2019
article image; primary-color: #4F4E4C;
Lorenzo Lunghi, Micro flame (detail), 2019
article image; primary-color: #C9C6BF;
Installation view
article image; primary-color: #C5C2BB;
Andrea Bocca, Cartasciabola, 2019
article image; primary-color: #CDC8C2;
Andrea Bocca, Cartasciabola (detail), 2019
article image; primary-color: #BAB6AB;
Andrea Bocca, Cartasciabola (detail), 2019
article image; primary-color: #D7CEBF;
Edoardo Manzoni, Untitled 2 (Fame), 2019
article image; primary-color: #C9BAA3;
Edoardo Manzoni, Untitled 2 (Fame) (detail), 2019
article image; primary-color: #B8B5AE;
Lorenzo lunghi, Il dono, 2019
article image; primary-color: #A4A19A;
Lorenzo lunghi, Il dono (detail), 2019
article image; primary-color: #848178;
Lorenzo lunghi, Il dono (detail), 2019
article image; primary-color: #B1B1A9;
Lorenzo lunghi, Il dono (detail), 2019
article image; primary-color: #A0998F;
Edoardo Caimi, Testimonianz@, 2019
article image; primary-color: #AAA096;
Edoardo Caimi, Testimonianz@ (detail), 2019
article image; primary-color: #A29D99;
Edoardo Caimi, Testimonianz@, 2019
article image; primary-color: #C1C0BC;
Edoardo Caimi, Testimonianz@, 2019
article image; primary-color: #ACA8A5;
Edoardo Caimi, Testimonianz@ (detail), 2019

Andrea Bocca, Edoardo Caimi, Lorenzo Lunghi and Edoardo Manzoni reflect on the dialogue between the industrial and rural landscape, an element that marks the flatland where they grew up and has always influenced their practices. The artists identify in the industrial structures in ruins a common interest that becomes the starting point of the exhibition. The abandoned warehouse is read by the artists as an emblem of a contemporary apocalypse: a dangerous and repelling fortress controlled by the authorities that forbid its access, an inaccessible ruin inhabited by ghosts that leave graffiti as traces of their passage. 

During many visits to abandoned spaces, study material was collected for the development of the exhibition project. Focusing on the harmfulness of industrial waste, the dangerousness of unfinished architectures and their mixing with the surrounding natural landscape, the artists tried to bring to GiacomQ's exhibition spaces the feeling of insecurity that hovers in these places through site-specific installations. 

How can we survive in a post-industrial world inhabited by abandoned wreckage and harmful waste that, with the passing of time, ends up defining a new horizon for the natural world?

The artists have worked imagining future scenarios and at the same time looking at the primitive world, its means of subsistence and its rituals to reflect the concept of survival, where both the technical tool and the magical thought are configured as means of control and defense. The works on display in the exhibition are therefore conceived both as residues of possible functional objects and as remnants of ritual practices. 

By processing and superimposing multifunctional survival tiles, Andrea Bocca shapes decorative architectural elements that can be used for different functions in space. 

Edoardo Caimi uses windows as a support to create a site specific "graffito" that recalls the primitive world, a seal made of different materials such as plasticine, mud and straw. 

Lorenzo Lunghi reflects on the idea of "do it yourself". Combining skateboard protection with resin and aluminium elements, he creates armours that can be used by children between the ages of ten and sixteen to defend themselves in post-apocalyptic situations. Edoardo Manzoni looks at the dialogue between natural and artificial, human and animal, elaborating it through the theme of hunting. The works on display present themselves as traps, referring at the same time to stinging elements of furniture.

Andrea Bocca, Edoardo Caimi, Lorenzo Lunghi and Edoardo Manzoni reflect on the dialogue between the industrial and rural landscape, an element that marks the flatland where they grew up and has always influenced their practices. The artists identify in the industrial structures in ruins a common interest that becomes the starting point of the exhibition. The abandoned warehouse is read by the artists as an emblem of a contemporary apocalypse: a dangerous and repelling fortress controlled by the authorities that forbid its access, an inaccessible ruin inhabited by ghosts that leave graffiti as traces of their passage. 

During many visits to abandoned spaces, study material was collected for the development of the exhibition project. Focusing on the harmfulness of industrial waste, the dangerousness of unfinished architectures and their mixing with the surrounding natural landscape, the artists tried to bring to GiacomQ's exhibition spaces the feeling of insecurity that hovers in these places through site-specific installations. 

How can we survive in a post-industrial world inhabited by abandoned wreckage and harmful waste that, with the passing of time, ends up defining a new horizon for the natural world?

The artists have worked imagining future scenarios and at the same time looking at the primitive world, its means of subsistence and its rituals to reflect the concept of survival, where both the technical tool and the magical thought are configured as means of control and defense. The works on display in the exhibition are therefore conceived both as residues of possible functional objects and as remnants of ritual practices. 

By processing and superimposing multifunctional survival tiles, Andrea Bocca shapes decorative architectural elements that can be used for different functions in space. 

Edoardo Caimi uses windows as a support to create a site specific "graffito" that recalls the primitive world, a seal made of different materials such as plasticine, mud and straw. 

Lorenzo Lunghi reflects on the idea of "do it yourself". Combining skateboard protection with resin and aluminium elements, he creates armours that can be used by children between the ages of ten and sixteen to defend themselves in post-apocalyptic situations. Edoardo Manzoni looks at the dialogue between natural and artificial, human and animal, elaborating it through the theme of hunting. The works on display present themselves as traps, referring at the same time to stinging elements of furniture.

15.4.19 — 10.5.19

Andrea Bocca, Edoardo Caimi, Lorenzo Lunghi, Edoardo Manzoni

Photo by Andrea Bocca

GiacomQ

'New Psychedelia of Industrial Healing' by Sharona Franklin at King’s Leap, New Y

'Another Night in Dream City' by Seán Boylan at Stranger, Baltimore

'I SAW A CROW, ORCA WAS I' by Alison Yip at Monte Clark Gallery, Vancouver

'DIGESTING DUCK ENTRY LEVEL POSITION' by Isabelle Frances McGuire at From the Des

'Access Modes for Encountering Large Industrial Bodies' by Kitty Maria at Het Res

'La ballade des sardines – Die Liebe der Sardinen' by Robert Brambora at Sans tit

'Weathered Shabby Shabby Brenches: Vernal Festivity of the Four Clari' by MRZB at

'Rose Button' by Romain Vicari at Placement Produit, Aubervilliers

'리좀적 주문 Rhizomatic Spell', a Group Show at Kvalitář, Prague

'Die ZWEITE HAND' by Niclas Riepshoff at Stadium, Berlin

'Bit Rot' by Bob Bicknell-Knight at Broadway Studio and Gallery, Letchworth Garde

'ALL ONE' by MYLASHER / Tine Günther at The Complex, Dublin

'Jacques de Bascher', a Group Show at Treize, Paris

'Confusion is next and next after that is the truth' by Jonathan Castro Alejos at

'Dewdrop Toadstool Hopscotch' by Isabelle Adams at Garthim, Mattheissen State Par

Behrang Karimi at Zarinbal Khoshbakht, Cologne

'Selfing' by Elif Saydam at MÉLANGE, Cologne

'From the Xmas Tree of Lucy Bull 2', a Group Show at From the Desk of Lucy Bull,

More