Tigers in Flip-Flops

VOID

MARCO GODINHO

Curated by Daniele Capra

 

30 September - 15 October 2017

Vernissage on Saturday 30 September at 9 p.m.

 

The Galleria Massimodeluca is proud to present Tigers in Flip-Flops, the final show of the third Darsena Residency, conceived by Marina Bastianello. The exhibition, curated by Daniele Capra, collects together the results of the work undertaken by the Italian-Belgian group VOID (Arnaud Eeckhout and Mauro Vitturini), and by the Portuguese artist Marco Godinho, all of whom were the gallery’s guests in July 2017.

 

Tigers in Flip-Flops consists of some twenty works conceived during the residency in Venice – developed from the visual, historical, cultural and anthropological stimuli of the area – and that range from glass sculpture to tin casting, photography, a sound art environmental installation, jewellery, neon lights, and even the conceptual use of the written word. The show’s title, blatantly ironic, was inspired by a fact in the life experienced by the artists in the gallery: the oxymoron “tigers in flip-flops” in fact alludes to the condition of being an artist, continuously balanced between the attempt to make a feline leap and the material difficulty of doing so in slippers.

Tigers in Flip-Flops is backed by a bilingual publication that contains the documentation of the residency, the images of the works installed in the rooms, and essays by the curators.

 

Among the works on show, the series of sculptures Glass work made by VOID derived from the idea of using sound for modelling glass according to the traditional working techniques in Murano. After having been formed by the master glassblower, the masses of glass while still hot were placed on metal surfaces to which a transducer speaker transmitted sound waves. These waves literally moulded the surface which took on the sinusoidal form of the sound. Instead, the sound of the human voice was the starting point for Au Claire de la lune, a sculpture that VOID made on the beach after having incised their own voice in the sand while singing this famous French song; this was made possible by a special device constructed on the lines of the phonoautographs used in the second half of the nineteenth century for recording sounds.  The groove was then filled with melted tin and so the sound track had become an articulated metal sculpture on the surface of which we can read the ripples of the voice.

 

The couple of neon lights of Going south is not the same as going north / Going north is not the same as going south by Marco Godinho are concerned with the psychological perception of geography. They are oriented in such a way that the viewers, while looking at the work, have their eyes turned to the cardinal point indicated by the work itself (respectively to the south and the north). With linguistic tautology, the work recounts how our point of view and our placement are fundamental, not only to a topological reading, but also to the cultural construction that we have of our horizon. The Mediterranean Sea as a suspended territory is a work consisting of two gold wire earrings in the shape of the Mediterranean Sea that, during the inauguration, will be worn by the gallery’s directress. The work alludes to the inextricable network of relationships – cultural, economic, and social – that links the people who face up to this sea, and that the geopolitical events of recent months seem to have made us forget. It is both a warning about our condition and a hope for change.

 

Darsena Residency #3 and the show Tigers in Flip-Flops are supported by Angeloni dal 1927, Falkensteiner Hotel & Spa Jesolo, Studio Alberto Nale Dottore Commercialista, and Vulcano Unità di Produzione Contemporanea.

 

Marco Godinho (Salvaterra de Magos 1978; he lives in Paris and Luxembourg) has been for a number of years now, sensitively tackling the themes of exile, memory and geography inspired by his own experience of nomadic life, suspended between different languages and cultures and nourished by literature and poetry. From installations and videos to drawings and collaborative pieces, his works form a map of a world shaped by personal experiences and multiculturalism. In 2016 he held solo shows at MAMAC – Musée d’art moderne et d’art contemporain de Nice (F); in 2015, MNAC – Museu Nacional de Arte Contemporânea do Chiado, Lisbon (P); in 2013, Museo Universitario Universidad de Antioquia, Medellin (CO) and Casino Luxembourg – Forum d’art contemporain (L); in 2011, Mois de la Photo, Montreal (CDN); in 2007, Chaudronnerie – FRAC Champagne-Ardenne, Reims (F). In 2017 he has taken part in such group shows as Mondes Flottants, 14e Biennale de Lyon (F); Tous, des sang-mêlés, MAC Val – Musée d’art contemporain du Val-de-Marne (F); Homeland, ARGOS – Center for Art and Media (B). In 2015 Eppur si muove, MUDAM – Musée d’Art Moderne Grand-Duc Jean, Luxembourg (L); Everydayness – Alternativa, Wyspa Institute of Art, Gdansk (PL); Bienal video y artes mediales – Autonomia, Museo National de Bellas Artes, Santiago de Chile (RCH); Les lignes du geste, Centre Pompidou-Metz and Frac Lorraine (F); and in 2010, Marcher-Créer, Les rencontres d’Arles (F).

 

VOID is a visual-sound art collective based in Brussels founded in 2013 and composed by Arnaud Eeckhout (Belgium 1987) and Mauro Vitturini (Italy 1985). VOID’s research often leads to time-based and site-specifics three-dimensional installations, in resonance with the places they inhabit. Among VOID’s solo shows, mention should be made of Monographie Arts 10 6, La Médiatine, Brussels; Lorem Ipsum, Maison des Arts de Schaerbeek, Brussels (B), and Sound never dies, MAAC, Brussels, all in 2016. His work has been shown in different museums and venues, like ARTER foundation in Istanbul (TR), Carrillo Gill Museum in Mexico City (MEX), BAM in Mons (BE), OFF Biennale in Cairo (ET), Villa Croce Museum in Genoa (IT) and Macro Testaccio in Rome (IT).

 

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