Chiasera’s multi-disciplinary work, involving painting, video, performance and installation, is characterized by his inquiries into historical images, myths and rituals. The artist’s work takes history as a starting point for a process of creative de- and reconstruction, sourcing material from film, literature and philosophy. Chiasera examines and experiments with how pre-existing structures or artifacts can be reinvented to serve a purpose or embody a form different from the one it had before.
The work Untitled 1 results from combining elements of photography, film, and sculpture. The glass, on which the plaster, metal and painting are mounted, allows light to go through it, creating colour refractions on the wall behind it. This process recalls not only watercolour painting but also the importance in photography of capturing light. The wall on which the work is hung contains traces of former art installations. Functioning as a kind of “memory of the architecture” it becomes - like the work itself - a site of micro history that can be investigated in various stratographical terms. This work’s title, or rather lack thereof, and its specific location within the gallery creates a connection to Bernd Lohaus's Untitled (ca. 1980) which hung in the same position during the previous exhibition.
The work K* presents a minimalistic shape, inspired by a parachute’s function at the moment of unsteady deceleration and swerving descent to the ground. K* embodies an aerodynamic attenuation constantly dependent on the density of the vehicle, the atmospheric air and the surface of the parachute.
The complex work, Ambush #2 Safari Minimalism, serves multiple creative purposes. The piece functions simultaneously as a space, a magazine and a painting. The first issue of this work, Ambush #1 Psychoinstitutions, critically analysed the relationship between contemporary art and the institutions that promote and propagate it, addressing the question 'How exactly is an institution truly dedicated to contemporary art to be identified?' The new issue is produced in Chateau Grillemont where Chiasera stayed for a period of two months as an artist in residence. Here, Ambush becomes a temporary site for Near East, while at the same time developing into an engine for cultural ventures through publishing and exhibition making.
La Macchina Analitica springs from a reflection on the work of British mathematician and philosopher Charles Babbage, who first developed, yet failed to actualize, a programmable brass calculator. Babbage got the inspiration for his calculating device from the loom designed by Joseph Marie Jacquard, adapting the perforated boards used in textile production.
Chiasera enhanced the creative skidding process through reconstructing the machine and transforming it into an instrument for musical amplification. The music was composed by Andrea Portera and performed by the pianist Andrea Lucchesini especially for this purpose. Changing its purely economical purpose as a calculator to that of a music generator, La Macchina Analitica carried out a shift from analog to digital back to analog. Thus, Babbage's failed attempt at building a calculator became the starting point for Chiasera to reinvent an object out of imperfection and error.
Paolo Chiasera (1978, Bologna) is an artist, writer and curator. In 2013, he founded 'Secondo Stile: a nomadic canvas-based artist-run exhibition-space', which focuses on the production, presentation, and discourse of contemporary art and culture. He is the author of the essays: “Painting 1: analysis and convergences” (2011, Oslo University), “The horizon after commodity: notes on perversion” (2011, Oslo University), “Art criticism 2.0 II Stile” (2017, upcoming). Among his solo exhibitions are: GAM (Torino, 2002), MAMBO (Bologna, 2006), MACRO (Rome, 2008), MARTa Herford (Herford, 2009), SMAK (Gent, 2010), galleria Massimo Minini (Brescia, 2003, 2008, 2011), PSM ( Berlin, 2009, 2012, 2014, 2017) Francesca Minini (Milano, 2006, 2009, 2012, 2014), MAN (Nuoro, 2014), De Vleeshal (Middelburg, 2014), Villa Medici (Rome, 2014).