Cripta747 is thrilled to present researches and works developed in Studio by the artists João Drumond and Chris Rocchegiani and the curator Auridas Gajauskas during their stay in Turin in April. The researches of the artists in Studio on April are accompanied by a critical text by Lisa Andreani (Verona, 1993) art critic and independent curator.
NOTES ON GRAMMARby Lisa Andreani
Research as a moment where figure out important elements, be surprised by coincidences or new discoveries. Studio as a place for notes, notes and notes.
Louis Marin, a French semiotician and philosopher, reading the architectural structure of images or texts spoke many times regarding neutral.For him neutral is an area where both the space of representation and the space of presentation are denied. Neutral as the place where the reading modes are enunciated.
Then signs, which come under our eyes, spread out and at the same time go away very quickly. They don’t leave us the possibility to stop on them.
Studio 1- Chris Rocchegiani
The grammar of neutral appears in the place of the diagram. Starting from different pieces coming from her archive the grids of different papers move on the canvas.The signs of human gestures generate natural pink forms. These spots without meanings permit to other marks to rise up. Different levels create the grammar of the diagram.The documents, letters, images from the landscape nearby disappears.
Studio 2 – Auridas Gajauskas
Neutral is here a little piece of land, the frame of a non-human order. In the piece of land, a post box. The place to fable, narrate, write.
"We have learned that it has changed a lot: in the spirit and, perhaps even in the most delicate circuits of the body. Come could it be otherwise? Its mental atmosphere is profoundly transformed: its hygiene, its nutrition, too. Yet it is necessary that in human nature and in human societies there is a permanent 'bottom'. Without it the real names of man and society would mean nothing. "(M.Bloch, Apologia della storia, Einaudi, Torino, 1998, p. 35)
Studio 3 – João Drumond
Water, the water was neutral a long time ago. In the domestic landscape transparent water leaves its signs: on the jars, in the sink, on the hair.The simple graphic lines of the drawings of Joao evoke a no more neutral water. The grammar of the home scenes represented move to the laundry. Place for the community, open sometimes 24 hours on 24, create an environment far from the anxiety. Actually almost relaxing.Wash, Wash, Wash, this noise while turning the basket of the washing machine.
The open studio on April 24th is the second public event of Cripta747 Studio, an international programme of shared studio which over the year will host 13 artists and one curator from Canada, France, Great Britain, Italy, Lithuania, New Zealand, the Netherlands, Portugal and Spain.
Cripta747 Studio Programme is a project by Cripta747 realised thanks to the support of Fondazione CRT.
João Drumond was born on the Portuguese island of Madeira in 1990. After moving to Berlin in 2016 his research focused on water, in particular on water's treatment and supply for domestic consumption and on its geology, questioning the impact of this natural resource on the lives of human populations in a broader scope. Water is a basic human physiological need and has shaped societies, its economies, traditions but also people's mindsets in the form of fears of natural disasters and invasions, mythologies, or island cultures by providing isolation. The way that water influences the weather, in the form of clouds or precipitation, still has an impact in contemporary societies no matter how technologically advanced they are. It shapes what people wear and their moods and is a common topic in day to day conversations. The paintings made during the residency draw inspiration from the time spent at the public laundries around the city of Turin. Aperto 24h (“Open 24h”) can often be found written on the windows of such spaces. If aperto in Italian can be translated as “open”, in Portuguese the same homograph takes the different meaning of “grip”, “squeeze” or figuratively “the state of being under pressure”. The figures and actions in these paintings embody such feelings and states of mind within a space that promises transformation through the action of washing.
Auridas Gajauskas is a Lithuanian curator, researcher and writer born in Šiauliai, in 1981. Trained as a philosopher, he became interested in visual arts when he was 27 and wanted to experiment with different types of transcendental reduction in the context of neoconceptual movements, to work with artists and to invent a new contexts and needs of creativity. In 2016 he spent three months working as a trabajo (lowest ranking worker) in a circus in Spain. At the end of this experience he published “A Dictionary for a Circus Worker with an Accidental Education from Spain”.In Cripta747 started to explore relations between feminist and humanist paradigms of science and possibilities to purchase land in Europe by extending these possibilities as part of a boundaries of the making of a sculpture and interpretation of its functions. The process has two directions: writing letters to European Land Registry Association (ELRA) and inviting people to make a sculpture. They sent sketches functions not only as proposals of the art work, but as propositions how to connect distribution of power to urban planning in the specific case of invitation.
Chris Rocchegiani is a painter, art director and Graphic Design Professor at the ACCA Academy, she is also the co-founder of CH RO MO studio, a duo focused on visual language and art. Her project for the residency starts out from Paesaggio, a range of oil paintings on canvas and boards, in which the subject is actually the human body. This is because she look at the body in the same way a landscape is observed: defining an area from the whole vision and in that chosen portion she identifies both areas that are defined and recognizable and areas that vague and undefined. Her painting focuses on this second typology which Gilles Clèment calls “Third Landscape”: portions of territory to which nobody has given a function, which are in a state of indecision and for this reason they are in a constant state of waiting, they are fragments like the documents found in a red cardboard box owned by the former tenant of her studio in Jesi and which the artist has brought with her in residence. The box contains an ID card, some receipts of the apartment rent and bills, municipal taxes and a letter of apology. Here again the human presence is only evoked. But how can these fragments replicate the potential, the expectation and the chaos of the “Third Landscape” through painting again? By Manual intervention, the force of the gesture that transform the image into a Figure. The pictorial fact from the hand is the creation of the third eye, an haptic eye, a new clarity.