There 'solution' cause there's no 'problem
When we talk about the work of an artist at a show, and we' used to dwell on the poetics and politics of the works on display, rather understand that the mood of an entity (the artist), which compares with a reality '(the visitor). This process is carried out through a series of works, whose harmony becomes key to understanding the message of the artist.
This introduction is' fundamental to the work of Michele Giangrande. It 'difficult to concentrate on a particular operation before this promising young art contemporary, not only shows particular creative skill, but it 's able to discuss what Howard Becker calls "art worlds" in an exemplary manner.
Giangrande question the concept of 'fragility': candles, a nest made of hair, stepped on a mat, rug, fabric tape measure. They are all items whose production involves, at the same time, the destruction. The candles are melting, the mat becomes dirty, the carpet is not 'walk' cause its use would destroy it. As in the case of Mona Hatoum, Palestinian artist who lives in London, Michele Giangrande shows that the fragility 'becomes quality' own of those who create so much that one wonders what part of the "art system", the artist considers fragile: the academy, the critic, the collector himself, his past or the public?
Looking at these works and 'hard not to think about the Ready Made (crucifix and the hammer' The most 'ecclatante). As Marcel Duchamp: There is no 'solution' cause there's no 'problem. And 'the clear message that this gives the visitor Giangrande. Each object loses its function. The brushes, the chair, the ties, the meter, the candles become creative media. These are the objects through which 'can carry out the work of art but are not (from this point of view are different from Ready Made).
Giangrande, therefore, makes clear the difference between being and appearance. These are concepts that help to create "harmony" among the exhibits. The underlying theme remains, however, 'the personality' of the artist able to shape reality 'through the use of everyday objects that identifies the visitor as a means of artistic creation.
Carlo Berardi
There is no solution Because there is no problem
When we are to talk only about an exhibition of artist, we are used to focus on the poetics and the politics of the works exhibited rather than understanding the frame of mind of a being (the artist) who confronts himself with a reality (the visitor). This process happens through a series of works, whose harmony becomes the key for the comprehension of the message that the creator wishes to express.
Such introduction is fundamental for Michele Giangrande’s work. It is rather difficult to focus on a particular piece when we are faced with such a talent who, not only demonstrates deep creative acumen, but also discusses with exemplary technique those that Howard Becker defined “Art Worlds”.
Giangrande questions the concept of “fragility”: candles, a nest made of human hair, a doormat, a carpet knitted with measuring tapes. These are all objects whose production involves their destruction. Candles melt, a doormat gets dirty, the carpet cannot be used because its own use would destroy it. As for Mona Hatoum, the Palestinian artist living in London, Michele Giangrande demonstrates that fragility becomes a quality of the creator up to the point that we ask ourselves which part of the “system of the arts” the artist considers fragile: the academy, the critic, the collector, himself, his past or his public?
While looking at the works, it’s hard not to think about Ready Made (The hammer crucifix is the most visible example). Marcel Duchamp once said: There is no solution because there is no problem. This is the clear message that Giangrande offers to the visitor. Every object loses its function. The paintbrushes, the chair, the ties, the meter and the candles become creative tools. They are the objects through which it is possible to make the work but they do not constitute it (here we can argue that they are different from Ready Made)
Giangrande, therefore, makes the difference between essence and appearance very clear. These are concepts that contribute to create “harmony” between the exhibited works. However, the leitmotiv is the personality of the artist who can shape reality by using common objects that the visitor identifies as means of artistic creation
Carlo Berardi
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