What goes around comes to art

19 - 25 November 2018, Herrick Gallery, London

The contemporary art collective exhibition “What goes around comes to art”, exhibits works by artists Daniel Arango, Francesco Irnem, Diego Miguel Mirabella , Laura Santamaria and Lapo Simeoni.

The curatorial aim is to offer a visual restitution of the material, concrete, cultural and even physical components which together conducted to the contemporaneity, going beyond a mere conceptual approach in order to find in the artistic expression the concreteness and practicality on which art has been historically based. 

In the view of the above, the exhibition “What goes around comes to art” features five international artists able to offer a visual representation of the relationship between contemporary expression and practical, geographical and, sometimes even primordial, references, in order to attribute to contemporary art the role to fully valorise the present. 


                                                                                                                      Laura Santamaria, Exhibition view. Photo S. Santarcangelo


In this context, significant remark is offered to the “object”, especially in relation to its present reinterpretation. Example is the “Things left unsaid” series by Lapo Simeoni, who finds in found materials, and more specifically in their transformation compared to the original functions, the starting point for developing his own narrative. In parallel, also Daniel Arango bases his work on the “object”, which he meticulously and almost ritually selects after deep research in the most significant cultural institutions’ collections, among which the Louvre, offering the object itself a new existence, and giving it a digital representation, starting from which new narratives come to life. The personal fruition of the place, and of its related cultural and geographical contaminations, represents the key behind both the research and the visual restitution of the work. In this sense, the artworks belonging to the “Louvre” series, developed during Arango’s trip from France to New Zealand, clearly show references to New-Zealand. The influence of the Moroccan artisan practice is instead evident in the “But me” series by Diego Miguel Mirabella, in which language represents a sort of ornament of a practice based on the transformation and translation of words, phrases and drawings proposed by the artist in typical Islamic motifs, realised through a direct collaboration with local artisans in Fés. The physical and territorial relationship sometimes goes beyond that personally usable by the human being, as it happens in Laura Santamaria’s work, based on a parallelism between micro and macro cosmos, and on their related interconnection processes. Her practice originates from pure matter, definable in simple elements, sometimes even primitive, such as pigments and crystals, for which the cognitive process comes to a contemporary existence through the artistic practice. Immersive is instead the relation between human being and physical environment highlighted by Francesco Irnem, whose work puts out of focus the most immediate perception of the external space, represented by the landscape, causing a sort of fusion where the contours are lost, making possible a full and true immersion in it, and a related fruition of the external environment truly intimate and primordial. 


                                                                                   Daniel Arango, Diego Miguel Mirabella, Exhibition view. Photo S. Santarcangelo


Aiming at supporting the contemporary art expressions, “What goes around comes to art” presents a mapping of new artistic geographies that well represents the relationship between the physical artistic creation of the works exhibited and the promotion of pioneering digital channels of fruition.

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