NISOPROJECT
Arturo Ianniello
Untitled, 2022
The memory must not go lost. The withdrawal of a tradition creates silence, erasure and unconsciously claims a wound. A community needs to be recreated, and not only through the removal of ruins. Debris and traces question the future -to come, a survival possibility.
The work of Arturo Ianniello (1982, Teggiano, Salerno) is a transcendent reflection,
a material and conceptual analysis about the effects of human interference on time and space. Every sculptural or installative composition made by the artist exceeds any presence as presence to itself. Not an icon, not idol, not simulacrum, but spectrum. The haunted presence of the past as a physical archive interrupts the idea of a history and introduces an anachronistic segment, a sort of traumatic symptoms to be healed. At the same time this haunted materiality is proved as impossible to be inscribed into the present. Not past, not present, a sort of still to come.
“Cantico” is the title of a series of Ianniello’s works. By addressing the word from the Latin tradition “cantare” that means to sing, they present themselves as a poetical composition or a song, to be performed in celebration of an entity, according to the religious or civil tradition of “cantica”. In this case, the entity is an invisible creature, documented by the material.
The social dynamic, - after land dispossession crisis of the mechanical industrialisation and new power regimes, comes in surface through material ghosts and their flesh. Through the use of materials extrapolated from shared imaginaries of the past, a mechanism of dejà vu is triggered, as with repetition with which we try to cross, to capture the spectral aura of things.
The “sculptures” are an attempt to present a contemplative and resilient song hymn. The original material used by Ianniello and taken from abandoned rural buildings
or pieces of industrial archeology, demonstrates the mutation and reincarnation
of the materials in new species. The geological, the natural, the existential and the interhuman are all taken into account and assembled in a poetical manner.
By following the tradition of the Arte Povera and using the language of a local landscape, Ianniello reflects on the possibilities of global ghosts and what they whisper to us: to build up together the legacy for the future.
Sonia D’Alto
Arturo Ianniello
Untitled, 2022
The memory must not go lost. The withdrawal of a tradition creates silence, erasure and unconsciously claims a wound. A community needs to be recreated, and not only through the removal of ruins. Debris and traces question the future -to come, a survival possibility.
The work of Arturo Ianniello (1982, Teggiano, Salerno) is a transcendent reflection,
a material and conceptual analysis about the effects of human interference on time and space. Every sculptural or installative composition made by the artist exceeds any presence as presence to itself. Not an icon, not idol, not simulacrum, but spectrum. The haunted presence of the past as a physical archive interrupts the idea of a history and introduces an anachronistic segment, a sort of traumatic symptoms to be healed. At the same time this haunted materiality is proved as impossible to be inscribed into the present. Not past, not present, a sort of still to come.
“Cantico” is the title of a series of Ianniello’s works. By addressing the word from the Latin tradition “cantare” that means to sing, they present themselves as a poetical composition or a song, to be performed in celebration of an entity, according to the religious or civil tradition of “cantica”. In this case, the entity is an invisible creature, documented by the material.
The social dynamic, - after land dispossession crisis of the mechanical industrialisation and new power regimes, comes in surface through material ghosts and their flesh. Through the use of materials extrapolated from shared imaginaries of the past, a mechanism of dejà vu is triggered, as with repetition with which we try to cross, to capture the spectral aura of things.
The “sculptures” are an attempt to present a contemplative and resilient song hymn. The original material used by Ianniello and taken from abandoned rural buildings
or pieces of industrial archeology, demonstrates the mutation and reincarnation
of the materials in new species. The geological, the natural, the existential and the interhuman are all taken into account and assembled in a poetical manner.
By following the tradition of the Arte Povera and using the language of a local landscape, Ianniello reflects on the possibilities of global ghosts and what they whisper to us: to build up together the legacy for the future.
Sonia D’Alto