“�� ���������� ���� �������� ������ ������ �������� ���������� ���� ����, ������ �������� ��������, ����������������, �������������� ������ ���������������� ���� ������������ ��������������, ������ �� ������������ ���� �������������������� �������� ������ ������ ���������������� �������������������� ��������������. ���������� ����������, ���������� ����������������, ����������������������������. ������������������������ ����������������, ������������������ ���������������� ���� �������� �������� �������� ������ �������� �������� ���� ����, ������ ��������. [...]"
How does contemporary art react towards the revolution of communication languages and the new digital etiquette?
This question is the cornerstone of "Clumsy and Milky: encoding the last quarter of a pose". The exhibition is the first solo of Michele Gabriele in Rome; it will open the 7th of June at White Noise Gallery's new location in via della Seggiola 9.
The show of the Milan-based artist will feature a new body of work curated by Something Must Break project. Michele Gabriele’s sculptures are archaeological artefacts from a yet-to-come future; semi-organic evolutions of daily use objects. Ready-mades from a dystopian future giving up any connection with their past. These artefacts are floating in an undefined narration instead of telling the story of their time. Any reference to the artist disappears from the works, as if they were the product of a natural, chaos-based, transfiguration. The artworks look like the encounter of a geode, an old machinery from a garbage island and a limestone stalagmite.
All the works are constantly striking a pose, obsessed by the urgency of always showing their best selfie–face. They exist only to be seen at their best, as if they were models/avatar who only look real through an Instagram filter. Each sculpture has been conceived in order to always show a three-quarter view; multi-faceted solids that are always showing an intriguing view regardless of the observation point. The result is a group of glossy artworks, smiling and blinking like beauty pageant queens.
The relationship among the viewer and the sculpture becomes similar to the one between a teen star and a demanding fan. While the viewer is obsessed by an idealized idea of the work, the latter is quickly reacting, trying to never fail in meeting its expectation.