Cardi Black Box opens the new season with a double appointment: besides its usual activity it will present more experimental projects, focused on emerging art, dedicating the first floor of the gallery to monographical projects by young artists.
In conjunction with the opening of the show, Cardi Black Box starts its new project dedicated to emerging artists: LevelOne#1 will take place in the large room on the first floor of the gallery, with works by young artists invited to produce site-specific projects.
The first LevelOne will be opened by Francesca Anfossi, (1980) with the project “Petrified Paper”.
In her works this young Italian artist, Londoner by choice, investigates the transformations of matter without, however, focusing on its documentary and scientific aspect but rather operating like a crazy scientist that tries to trigger a sort of uncontrollable entropy which has the power to put everything in relation and contradiction, creating a continuous short-circuit between images obtained from the microscope and kitsch memorabilia.
Petrified Paper - Francesca Anfossi
In Francesca Anfossi’s world nothing is created or destroyed; things mutate continuously changing shape and state. For her exhibition Petrified Paper, Francesca Anfossi develops an astonishing reflection on the geological aspect of the world and its slow and constant transformation. In her work this young Italian artist, Londoner by choice, investigates the transformations of matter without, however, focusing on its documentary and scientific aspect but rather operating like a crazy scientist that tries to trigger a sort of uncontrollable entropy which has the power to put everything in relation and contradiction, creating a continuous short-circuit between images obtained from the microscope and kitsch memorabilia.
Anfossi’s works are characterised by a form of lightness, related to the choice of materials, which causes us to question our relationship with the world around us. Paying homage to Bruno Munari in her optimistic relationship with daily objects, the artist demonstrates a strong interest in making ‘hand made’, as well as with Italian craftsmanship. Therefore her images derive from photographs she has shot or scanned from the multiplicity of books she constantly consults, which she often cuts and mounts together, manifesting a tactile relationship that demonstrates the physical need to manipulate paper and its by-products. Collage, mono-prints and projections of photographs on different materials render the articulation of the artist’s poetics fluid and natural, as if one work automatically generated the following one, in a chain process that resembles chemical reactions. Anfossi, in fact, through the constant juxtaposition and bundling of materials and images, pushes us to look through our memory and search for emotional or dream-like landscapes that lead us to look at things in an unexpected way, as if daydreaming. The titles of her works help trigger this process by provoking a series of paradoxical reflections.
The title Petrified Paper refers to the geological process of fossilization, in which some natural materials such as wood and leaves (from which paper is produced) become stone. Being petrified means that the excess of fear induces us to lose our ability to move; however, the play on words petrified-paper evokes the contrast between culture – the idea of permanency of art – and nature in continuous transformation. These works also reveal a sort of ‘underground melancholy’, another recurrent theme in Francesca Anfossi’s works. Not a sentimental feeling, but a bittersweet melancholy that can be compared to the tenderness we experience when rediscovering objects of our past or images that have become out of fashion.
The Ingenuity of Ingenuous Igneous Rocks is a pictorial multimedia installation in which photographs of volcanic rocks (igneous), taken with a microscope, are projected onto a brass plate shaped as the mountainous relief of Goreme city in Cappadocia together with the sound of cicadas playing in the background. Through this fantastic landscape the artist invites us to reflect on the gap that exists between human action and the slow development of biological time. The series of works on paper (Petrified Paper), printed and coloured, using the brass plate of the above mentioned work, represent a portion of the shape of Goreme, built in Cappadocia in 4000 A.C. These prints develop as rocky formations subjected to the passing of time and recount, through their transformations, how the human attempt to create a living environment in an inhospitable area has originated a magical place. The obsessive repetition of one shape in different colours and transparencies, transforms a real image in a fairytale landscape that is nonetheless disturbing. Thus this series of large sand castles evoke different reffrences Prague’s Golem as well as the Biblical story of Lot’s wife’s transformation in a column of salt.
Through a 180° revolution of a slide projected on a wall collage, Drip or Drop? plays with the idea of natural geologic growth through the calcareous sedimentation of stalactites and stalagmites. Once again, Francesca Anfossi, playing with the double meaning of drop (noun and verb) talks about that feeling of frailty and ‘magic’ that stalactites and stalagmites provoke in human beings. Finally the artist defines her three exhibited collages as petrography, which is the scientific name for the study of stones, when they are cut and then scanned at the microscope. The journey through Francesca Anfossi’s exhibition is an incredible visual adventure in an animated world, inspired by Calvino’s stories.
Text by Ilaria Bonacossa - Art At Work