Home Artgallery Artan Shalsi Galleria Niccoli: Artan (Shalsi) 2% immanenza | impermanenza Venerdi’ 17 novembre...

Galleria Niccoli: Artan (Shalsi) 2% immanenza | impermanenza Venerdi’ 17 novembre ore 18.00

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ARTAN (SHALSI) 2% immanence | impermanence Curated by Roberto Lacarbonara On display November 17, 2023 – February 14, 2024 Opening Friday, November 17, 2023, 6 p.m. Location Galleria d’Arte Niccoli, Borgo Bruno Longhi 6, 43121 Parma Timetable Monday Wednesday 9 a.m.-12:30 p.m. / 3 p.m.-6 p.m. | Tuesday Thursday Friday 9 a.m.- 12:30 p.m. | Saturday by appointment Information Tel. + 39 0521282669 – www.niccoliarte.com Opening on Friday, November 17, 2023, in the spaces of Galleria Niccoli in Parma, Artan’s (Shalsi) exhibition entitled 2% immanence | impermanence. The recent production of the artist, now in his second solo exhibition at the gallery, is dedicated to the relationship between image, surface and perception, in an investigation that explores the profound implication – emotional and cognitive – towards the icon, the portrait, the face. Five large-scale works suspended in space a short distance from the walls; from the apparent uniformity and whiteness of the backgrounds emerge, barely perceptible, the likenesses of subjects posing motionless: the fixity of the gaze, the gravity of the faces, the abyss of a remote distance place them within a space suspended between appearance and disappearance. Each work is the result of an elaborate executive process between painting, sculpture and photography. The superimposition of transparent and white films, placed on finely sanded Plexiglas panels, is followed by the additional support of aluminum dibond, in a progressive alternation between the evanescent transparency of the image – the faces imprinted in 2% print, hence the title of the exhibition – and the compact materiality of the supports. Everything invites the exercise of observation, reifying the sought epiphany of these appearances of uncertain origin, capable of producing the subtle paradox between immanence and impermanence, coldness and intimacy. The centuries-old tradition of the Byzantine icon – to which the artist seems to turn, drawing on an imagery that goes back to childhood and the iconographic topoi of the sacred panels of his homeland (Berat, south of the Balkan peninsula) – meets the archaic, preclassical tradition of Egyptian portraiture in the Middle Kingdom, especially the singular production of Al-Fayyum and areas of Greco-Roman Egypt: idealized faces, of indefinite age and without individual features, at once realistic and chimerical. Even the technique is a revelation for Artan: the ancient use of beeswax encaustic concretions emphasized texture and volume, intensity and tactility of perception; an aspect that the artist reworks by means of abrasions that dig into and wear away the artificial skin of the panels. Just as there is a light on the verso of each work, a faint, exhausted red, barely an aura. It is the reverberation of a carmine pictorial background that covers the bottom of each work and, through ceiling suspension, emanates its reflection in the surrounding space. Once again, the ancient, precious richness of icons resurfaces in a secret, invisible mystery of transcendence and remoteness. BIOGRAPHICAL NOTE Born in Berat (Albania) in 1970, Artan has been living and working in Italy for almost twenty years. After his first exhibition successes in the motherland, in 2006 he began his collaboration with Galleria d’Arte Niccoli, with which he exhibited numerous times in the most prestigious Italian fairs and entered major international collections, as in the case of his work placed in the Sculpture Park of the Fundacion “Pablo Atchugarry” in Uruguay, in 2009. He participated in 2021 in the Italian Pavilion within the 17th. Venice Biennale of Architecture, with the project Buonanotte Contemporanea, a site-specific installation created for the event of the same name in Montebello sul Sangro (CH) the previous year. _____________________ Thought dances fast in an inscrutable zone of the soul; it conditions and defines our every move; every outcome of our living is and remains the result of a flow of invisible energies that exert constant control over our existence. Artan (Shalsi) gathers this timeless and incessant vortex of impermanent becoming and offers it to us with the spontaneity of his gesture: the extreme rarefaction to which he tends with each of his works declares the organicity of the human and relaunches it beyond nature, beyond time and beyond space to suspend it in the rarefaction of an absolute that is never completely definable and therefore infinite. The rigid form and hard material of the sculptural-installative works and the painting exercised to the utmost degree of its hermetic rationality adapt and indulge in the grace of a choreography in which the di-sign of a rational project thins to the point of rarefying itself to find its new soul and assertive essence in the punctual lightness of movement: dance (Shalsi)’s surfaces to detach architectural tangibility from contingent physicality bringing it closer to the expressive freedom of thought. In this passage, where the boundless universe of ideas meets – and activates exchanges – with the real world and all its present “angularities,” its minimal attitude surprises us and almost catches us in the act, rouses us from the misunderstanding of its cold semblance to bring us back into the fullness of a flow of energies that envelop our intuition and send it back to other territories, other imaginative horizons. _____________________ 2023 Utopiche seduzioni. Dai nuovi materiali alla Recycled Art– Fondazione Dino Zoli, Forlì 2023 I rossori dell’arte – Ronchini Gallery, London, UK 2022 Memento Mori – PRAC, Ponzano Romano, Rome 2022 Biennale d’Arte di Alessandria OMNIA III EDIZIONE 2020 – 2022. Palazzo del Monferrato, Alessandria 2022 Artefiera, Memoria e Materia, stand quadripersonale Galleria d’arte Niccoli, Bologna 2021 The human connection, installazione “site-specific” Atessa, Chieti 2021 Padiglione Italia, 17. Biennale di Venezia di Architettura, Buonanotte Contemporanea, Venice 2020 Attraverso le Avanguardie. Giuseppe Niccoli / visione e coraggio di una Galleria, APE Parma Museo, Parma 2020 Installazione “site-specific” Buonanotte Contemporanea, Montebello sul Sangro, Chieti 2019 Solo show, Waiting to board the plane, Crac Gallery, Terni 2019 Solo show, Artea Gallery, Milan 2018 Solo show site-specific , “Alato Tumulto” – Exchiesetta, Polignano a Mare, Bari 2018 Solo show “Res Non Naturales” – Una vetrina, Rome 2017 “Artan (Shalsi). Pensieri e materie”, De Primi Fine Art, Lugano, Switzerland 2017 Art First, Galleria d’arte Niccoli, Bologna 2016 “morbida 120” installazione “site-specific” Galleria d’arte Niccoli, Parma 2012 “Un orizzonte” installazione “site-specific” Galleria Il Ponte, Florence 2010 Art First, Galleria d’arte Niccoli, Bologna 2009 Art First, Galleria d’arte Niccoli, Bologna 2009 MACA – Museo de Arte Contemporáneo Atchugarry – In collaborazione con la Galleria d’arte Niccoli viene collocata una sua scultura ambientale, Uruguay 2008 Art First, Galleria d’arte Niccoli, Bologna 2007 Art First, Galleria d’arte Niccoli, Bologna 2006 MiArt, Galleria d’arte Niccoli, Milan 2002 4th International Biennale, Raciborz, Poland 2001 Concorso Nazionale “LEAR02” Civic Art Gallery “Edward Lear”, Berat, (Alb) 2001 Shalsi-Polovina-Prifti, Art Gallery “Frasherri”, Fier, (Alb) 2000 Ballkan artist’s – Civic Art Gallery “Edward Lear”, Berat, (Alb) 2000 Solo show “GABRIEL’S”. Postbauer-Heng, Germany 1999 Solo show. Civic Art Gallery “Edward Lear”, Berat, (Alb) 1997 First Prize Concorso Nazionale “KODRA’97” Award. Civic Art Gallery “Edward Lear”, Berat, (Alb) https://artanshalsi.blogspot.com IG artan_shalsi