a’mare – Daniela d’Arielli

16 December 2017 – 3 February 2018

Museolaboratorio Ex Manifattura Tabacchi

Opening: Saturday 16 December 2017 – 7pm

Daniela d’Arielli

curated by
Enzo De Leonibus

opening times:
From Wednesday to Sunday
6pm — 9pm.

As I reread the text Daniela d’Arielli sent me, I felt it my ethical duty to leave it as is, as a profound gift of the Artist.

Amare, the Italian word for love, is pronounced [aˈmaː.re]
A mare, also means “to be at sea”

The chemistry of the sea intertwines all the works I present here: two paintings taken from an underwater photo and twenty prints made using the salt paper technique, which consists of dipping a sheet in a solution of sodium chloride and then in one of silver nitrate. By reacting, these two substances produce silver chloride, an unstable substance in the light.
Instead of sodium chloride I have used sea water (which I collected in Acquabella, a place on the Abruzzo coast near Ortona, my family’s place of origin), my sweat and my tears; all salt solutions.

The sea is similar to the sweat of the body; and on my body I placed the paper to print.
So water meets the materiality of body and fatigue; as in cargo ships.
The sea merges with sweat as labor with money (which in paper form is also called “liquid”): this is why the briquettes that support the photographs are made from shredded banknotes. Banknotes as green as the water of Conakry in New Guinea, where the photos were taken.
On this element, liquid and oneiric, the porthole acts as a passe-partout, by delimiting the image makes it possible to preserve it. So framed, you carry the photos of your loved ones with you, enclosed in a pendant. My pendant is made from mytilus galloprovincialis; it contains a small photo I printed using my tears. The Mediterranean mussel is both fruit of the sea and its purifier. The pendant has the shape of a drop and has a small mirror inside.

These images come from the trip I made in 2013 to Rio de Janeiro; I had been invited by the Graphos gallery:Brasil and its curator, Ricardo Luiz Duarte De Suouza, who accepted my proposal to travel to Rio by ship and to consider the time spent at sea as part of the residency.
The only woman in a crew of twenty-six people and two other passengers, I left from Le Havre on board the cargo ship Grande San Paolo and after eighteen days at sea I landed in Rio de Janeiro. Traveling on a cargo ship is about loss of control, a resistance test. Time expands and space condenses into a clearly defined present, which was not yesterday and will not be tomorrow. This condition of total openness allows you to dive into an altered, perturbing and unconscious dimension.
A dimension of light and shadow, mystery and discovery, memory and dream.

Beyond the porthole of my cabin, the marine landscape; alien to every border, fixed yet ever-changing. Every morning at the same time, from the inside of my cabin, I would photograph that porthole. Months later, after my return from Brazil, I accidentally found a black-and-white photo taken and developed by my father during one of his long periods at sea. It is the photo of a porthole. Outside, the sea and the deck of a huge merchant ship.

It took me almost a year to organize this trip. I do not know whether it could be more difficult today because of new international marine laws and the complicated historical, political and cultural period we are going through. Never had I been on a cargo let alone a long trip at sea.
The sea is part of me, of my origins. I would see it as soon as I woke up, I would listen to it before falling asleep.
It was a line on the horizon to be contemplated, not something I had ever crossed.

Materia/Material – Lorenzo Kamerlengo

23 September – 28 October 2017

Saturday 23 September, 18.30 h.

Museolaboratorio Città Sant’Angelo, Pescara

Lorenzo Kamerlengo

Curated by Maurizio Vicerè

Only through a broad vision of the term sculpture it is possible to redefine its concept, so sometimes it’s an idea to move the action on a material and sometimes it is the fascination experienced by the material itself to start the idea / action transfer .
The work by Lorenzo Kamerlengo (Pescara, 1988) is impregnated with intellectual and operational nomadism. His life exceeds the familiar place as much as his research, which transcends the practice of embracing the use of different techniques and media. He creates with them a disarticulated body of visual, plastic and meta-spatial works. Silence, contemplation, sign, gesture, process, movement, dissolution, archiving are just a few of the key points I have taken and which in my opinion map many of the artist’s field of investigation. Kamerlengo seems to be interested in the understanding of elementary elements and how they activate a semantic-sensory short-circuit if highlighted and subjected to some cure.
Materia and Material create together a dichotomy on which the operation designed for this occasion is based on the Laboratory Museum: to act on Materia contemplating its potential. In essence, Materia is simply everything, man is made of Materia. As far as we know it can not be cancelled but just transformed. It is a matter of man to apply utilitarian conversions to this, altering it in Materials that multiplies, disposes, combines, or takes small and large physical chemical changes to become derivative and no longer absolute.
Materials mark human time as the hands of a big clock. Thus, through the words of the same artist, why surprisingly what was a column for hundreds of years suddenly falls to the ground for the action of the weight, wind and earth that incessantly moves. The column becomes a hoarse where the young Romans in the summer gently cling to the Coliseum until it is evening.
Are we weaved bodies in combined material systems in perimeters and areas of motion? Obviously, it is precisely this rhetorical question that the artist’s operation begins to act equally to the secular action of man, the only possible one.
It is clear so that we are faced with a complex work, that insists on precarious balance of sense between the maximum freedom of action and the constraints that the artist deals with, almost as if he wants to downplay the utopia of man in a rule order well defined as reducing its action on the anthropic level.
And for humanity it is because by its physically handed ab-origine Lorenzo becomes the attendant in physical opposition to the objects and materials that you will see in this Museum. However, it is natural to make a warning: the action here is not only reduced to a juxtaposition of things in a defined time space fraction. These actions are the pretext for an expressive attitude toward the whole, according to what the vocation of each artist should be.

Opening times:
From Thursady to Saturday 5pm — 8pm.
Sunday by appointment.

+39 (0)85 960555