HOPERAPERTA

 HOPERAPERTA 

LA SUPERFICIE ASSOLUTA

Della Forma Vaso in musica. What’s going on

by Alessio Bertallot & Pointillismo

A performance composed of audio samples, isolated and recombined according to the concept of “vase” (internal volume) and “surface” (plain of combination of single components). The random and dispersed sound of Marvin Gaye's famous song thoughout the terrace is ideally recomposed in a center, a sonic vase in the middle of the terrace. The harmonic sythesis comes together at the heart of the exhibition space.

“The function of my vases is not the end goal; they are a means to investigate the surface, respecting the traditional forms of the container. I frequently experiment with the use of enamel to create rough and jagged surfaces that remind me of lava stones, or the age-old erosion and sedimentation of rocky coasts.” Matter therefore becomes a body free to fulfill its own performative metamorphosis, and the artist operates at the formal and technical margins of ceramic tradition, in a new unexplored territory rich with freedom of expression, invention, and play.

Courtesy: Gilda Contemporary Art, Milano

Use traditional tools to nullify their functionality trough art and create other pieces with different messages.

VOID, nothing, literally empty space, explores the theme of the absolute surface of a vase starting from an explosion: the object's form is actually created by a multitude of small explosions inside a block of fresh clay. The end product is a series of vases cast in bronze using lost wax, that take on a sculptural form in juxtaposition to the original material perfection of the clay block.

Courtesy: Fonderia Artistica Campagner

Vessel for the unknown. “My organic containers have references to the body - as the vessel often does. The containers are made up of fragments with different textures assembled into three-dimensional collages. The fragments are direct imprints of objects from my surroundings. The power and movement I put into the works will be present even after the firing process, after the living soft clay has become hard porcelain. The porcelain carries with it its history and value, and my containers are like a disturbing echo from the golden ages of porcelain.
” Irene Nordli

Courtesy: Format Gallery

LTDO Vase is an analog-digital sculpture, a collage of body and surface — a hybrid of image and object. Printed in 3D from sand, the raw material of glass, it conveys a graininess reminiscent of pixels. Its shape is shifted and only appears from one perspective in its original state of a traditional vase.

With the Souvenir project, debuted at MiArt 2022 with Galleria Luisa delle Piane, Matteo Pellegrino deepens his research on the development and application of resins, polyurethane foam, and silicone. This time he uses them to tie pieces of Capraro stone together, giving life to a collection primitive-looking vases and containers.

Courtesy: Galleria Luisa delle Piane

Marble vase inspired by Curzio Malaparte's experience on the border of Italy and France during the First World War, when he enlisted with the French army, and in the Second World War, when he crossed the border as an Italian soldier. “From that moment on, Malaparte's thoughts of that border elicited a sense of remorse, guilt, and sacrifice. The absurdity of war and the stalemate on the frontier compounded with the same bloody price to pay. On the glaciers French grenades strike masses of granite, forming silver angels. On the scorched dirt, the explosions threw up monumental squids. In the pure snow, they became white marble columns.”

The idea depicts and incorporates the technique of marbling. A large and shallow vase represents the tubs used in marbling, usually filled with water on the surface of which the fake marble is formed. A long and thin hexagonal vase represents the object being processed, and appears to be coated in the dye. This couple of objects represents process and application, internal and external, marble and marbling.

The choice of color reproduces the typical colors of marbled paper through a selection of (almost all Italian) marble. 

Courtesy: Del Savio 1910