Art Glitch breaks the rules at Building Gallery
Artexhibition

Glitch breaks the rules at Building Gallery

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Giorgia Massari

«Everything you see in this exhibition is born at the moment when a discrepancy between support and image occurs, when these two entities no longer collide.» With these words curators Chiara Bertola and Davide Ferri introduce the group exhibition Glitch, opening today, November 8, at Building Gallery in Milan. The key words of the exhibition, which involves ten national and international artists, are stretch mark, tear, glitch. They refer to those surface openings that allow the energy of existence to filter through. In other words, the exhibition welcomes works-figurative and abstract-that accommodate another idea of painting. The “mere,” “low,” “material” one that leads back to the idea of truth in painting. «For us this idea coincides with a material life of the painting, this is the mere. Painters who paint with a low processuality that collimates with craftsmanship,» the curators continue. But let’s find out more about the artists in the exhibition and the works presented.

Installation view piano terra, Building

The exhibition

The exhibition presents works that explore the idea of material painting, often incorporating craft and industrial elements, as in the case of Pinot Gallizio‘s “industrial painting.” Some artists adopt an impersonal gesturality in their painting practice, such as Simon Callery, who tries to merge the materiality of painting with landscape, or Ilya & Emilia Kabakov, who invent an imaginary artist to reflect on the concept of authorship. In this regard, consider the work in the exhibition, titled “Charles Rosenthal, Im park 1930.” Here an Impressionist-inspired painting dialogues with a support that hides within itself a real artificial light, reasoning about objectivity and subjectivity in the artistic expression of light.

Ilya & Emilia Kabakov, Charles Rosenthal, Im park 1930

Central to the ground floor is the work of Angela de la Cruz, who, as in the works of Peggy Franck (on the second floor), transforms painting into a mobile organism, creating immersive experiences in which the elements of the painting seem unable to contain the painting’s excess materiality. Then there are works that challenge the way we look at abstract compositions, as in the case of Mary Heilmann, who paints the painting as if it were the surface of a ceramic. Some works, on the other hand, reconfigure space through refractions, such as the works of Farid Rahimi, who compulsively paints a corner of a room, oscillating between plausible representation and abstraction. Also on the ground floor, in the back space, is the work “Untitled” by Andrea Kvas positioned horizontally on the floor. A painting that constitutes itself as a puddle, not representing it but being it. Continuing to the second floor, we again encounter the works of Maria Morganti and Simon Callery already present on the ground floor but which here take on a protagonist dimension. On the one hand Morganti’s chromatic diaries, on the other Callery who “removing a piece of the work reveals the process.” Finally, the second floor concludes the Glitch exhibition with works by Peggy Franck and Alejandra Seeber, in which the latter’s works act as a backdrop or landscape for the viewer, creating environments to accommodate what may happen.

Peggy Franck
Installation view piano terra, Building
Installation view secondo piano, Building (Peggy Franck)
Maria Morganti
Farid Rahimi

The Glitch exhibition is open from Nov. 8 to Jan. 27, 2024 at the Building Gallery at 23 Via Monte di Pietà, Milan

Artexhibition
Written by Giorgia Massari
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