Many artists produce on their possess at a time when the classical concepts of possession and authorship are invested by the logic of profile, anonymity and local community. From this consciously unpleasant placement, one particular can express oneself freely, vulgarly.
Ladri di piastrelle
In the set up and overall performance function Nunca fui turista em Lisboa! Giuseppe De Mattia interprets the unlawful trade in azulejos, glazed ceramics of Arab origin that adorn the partitions of many Iberian towns, composing figurative, summary and geometric motifs into a gallery area. Azulejos burglars secretly get rid of the tiles to market them to tourists as souvenirs, creating a black marketplace that supports total family members by exfoliating their towns. Furthermore, the 300 tiles set up on the partitions of OPR Gallery are destined to be taken out and then purchased separately by the exhibition viewers for the modest rate of a memento. The De Mattia’s tiles are a particular interpretation of the most common sq. condition. All together they make up a ornamental floral sample. But taken a person by one particular they reveal the stylisation of a male member. The parallelism in between black current market and gallery reveals how the artist showcases the mechanisms of art to refer to broader economic and social narratives these as the authentic estate speculation that plagues some locations and the position of individuality in the administration of widespread merchandise. The phony testimony of a thief of azulejos, which Giuseppe De Mattia provides in audio kind, is in point centred on the self-legitimisation of the delinquent who, like any good artist, finds inside of himself the causes for his steps. At the conclude of the functions, it is hence crucial not to be fooled by the enthusiasm of the exchanges. Acquire a great glance at what stays in each individual person’s palms.
Ingegno di Mola
This is not the first time that De Mattia has applied procedures and devices typical of road trading, also building irony out of the artist’s require to offer in order to make a living. In Ingenuity and Independence (That is It, MAMbo, Bologna, 2018) he collects 7 performances targeted on clandestine exchanges. In Esposizione di frutta e verdura (Materia, Rome, 2019. Curated by Vasco Forconi) he transforms the exhibition room into a store by using a massive show for true and bogus fruits and vegetables. Ingegno di Mola sequence is also along these lines, which reworks the illegal exercise, widespread in the South, of environment up a chair in the vicinity of the entrance doorway with examples of goods for sale in the personal residence. For the black and white silver salts photographic series, Giuseppe De Mattia shoots on location, portraying real chairs/displays from the village of Noha, in Salento. A backdrop sketched with a white cloth, even so, pretends a studio reproduction, abstracting the object from the city material and offering the illustration an idealised value. In the sculpture, on the other hand, the artists substitutes the Salento chair for a person designed subsequent the instructions dictated in the 1970s by the designer Enzo Mari, who noticed in self-layout an escape route from the logic of capitalism. On this historicised chair, even so, meals has turn into faux and the treasured yellow gold, oil, is mediated by a black and white photograph.
Piccola storia ignobile che gli tocca raccontare
De Mattia uses historic and standard languages and units in an unexpected way. In the formality of the common, he drops the tale of negligible or marginal episodes, circumventing the narrative domain of maximum programs to denounce underhand economies and moralities of a distinct type. A list of values and behaviour, frequently sweetened by the creative narrative of the present, needs criticism and consideration. Gimmicks, thievery, petty malfeasance, deceit and subterfuge explain historical connivances concerning male, image and landscape. The representation of art as a metaphorical, social and anthropological item is the benefit all-around which the total Giuseppe De Mattia universe finds its raison d’être. The terracotta whistling mask Testa di Gianni, Fischia! tells of the time when De Mattia paid out his artist friend Gianni D’Urso to whistle on command and paperwork the acceptance. The function evokes the Apulian custom of translating costume scenes and authentic people into a terracotta whistle. The audio that goes as a result of Gianni’s head tends to make the memory at any time current and appropriate. The whole exhibition merges into a single style scene, from Bari to Lisbon, traversed by a breath of vitality that phone calls the viewers to participate in the feast (or slaughter) of the worldimage. Mustard all’ancienne “Those who have not regarded the Ancien régime can hardly ever know what the sweetness of life was”. PrinceDuke Talleyrand, one particular of the greatest exponents of political chameleonism, hence fed the reactionary cravings of the French, manipulating the earlier in the form of a memorable misplaced paradise. Like the mighty Talleyrand, De Mattia features an picture of the artist self that is acceptable for all seasons. On the 1 hand, he is able of pandering to the retro-refined tastes of the cultured (a dollar blackens the pupils at the clap of the cash sign-up). On the other it is nimble in relocating, candidly, in the inadequate undergrowths of the unbiased scenes. To be an artist, one could possibly say, one particular ought to be capable to invent at minimum just one (of artists). And to deliver it to the stage. Giuseppe De Mattia is an exquisite, anti-magic and tragicomically real looking just one. A dude who, with the purchase and strategy of an archivist of folklore, builds symbolic trustworthiness in purchase to expose its falsehood, sowing question on the real beliefs of white hetero cisgender Westerners and identifying their dread of taking it or, even worse, of not being capable to put it on.
at OPR gallery, Milan
until November 15, 2022