Premio Carapelli for art
Winners Exhibition
7 - 9 May 2021
Museo internazionale e
biblioteca della musica di Bologna
Art City Bologna 2021
The exhibition features the winners of the third edition of Carapelli For Art, Sergia Avveduti, Arturas Bumšteinas, Carlos Casuso and Silvia Bertoldo, who have been selected by a jury of experts, Elisa del Prete, Matteo Innocenti, Massimiliano Tonelli and Gabriele Tosi , among 1,720 applications from 80 countries around the world.
The roots keep us firm on the ground, to make us grow in height; they are our identity, history, tradition - individually and collectively. They make any form of exchange possible because their strength is inclusive. This is in their principle: they give us nourishment and stability, to allow development and transformation. In art, the roots are essential: they can be the relationship with one’s origin, the recurring character of a research, the solid link with a material or an idea, the first and necessary element of a process.
For the Open Category, the following were awarded:
Freccia Esplosa
di Sergia Avveduti esposto in sala 7
(2020, legno di noce, 70x61x78cm – laser print su acciaio, 20x24 cm)
An ancient clock mechanism emerges as a root to two constellations. It is a plane obtained by reworking the shape of an enlarged clock mechanism, the body rests on three legs one of which is flexed and grafted onto a double almond, a symbol of transcendence and origin, almost a spear towards infinity and communication between physical and immaterial dimension. I imagined the mechanism as a vector, an exploded arrow crossing the uncertain as the essence of the human condition. The work expresses a great ability to transfigure traditional elements - both material and conceptual - into a fascinating and mysterious narrative; the exploded arrow is a vector that indicates the breaking of time, from a starting point to a final one that in a certain way coincide (the origin of creation, the explosion - pure root - is perhaps also the result of a very distant future).
Navigations
di Arturas Bumšteinas esposto in sala 6
(2019, sound-art performance, macchine barocche in legno in teatro barocco, sistema audio DIY)
Performance presented in a large museum space (the National Art Gallery of Vilnius) with an ensemble of five artists navigating the wheel-mounted Baroque atmospheric noise machines, while the public observes this meteorological theatre from several fixed locations. Navigations is an installation that emerges from an intersection between art, music, and theatre. It refers to the stage machines of the Baroque period, suitable for simulating a storm on stage. In the performative action, actualized, the same machines are exhibited, and the imaginative process is reversed: the origin of a narrative effect becomes narration, while the observer, or listener, evokes in himself the rest of a possible representation. In accordance with the simple ingenuity of the ancient instruments, the work retains an evident sculptural value, fully responding to the concept of "root" introduced this year by Carapelli for Art, if one thinks of the concatenation process that the roots underlie, in their formation as in their becoming.
Per la Categoria Accademia sono stati premiati:
X-About credit and debt
di Carlos Casuso esposto in sala 1
(2020, olio su tela di lino, colla di coniglio e gesso, abbozzo a tempera, 150x150cm)
The painting moves between a meta-pictorial value and the attempt to destroy it. The image speaks of the History of Painting, this is reflected in the techniques used (you can see the use of hatching typical of tempera painting, as well as pointillism, gestural painting together with comics) and on the materials used. The work comes from the study of paintings, depicting the theme "Deposition" performed between the beginning of the eleventh century and the end of the fourteenth century. From this base, I continued for logical formal / chromatic, accidental links. Work awarded for the way in which the artist tackles the roots of painting practice starting from the relationship of man with technique. The “deposition” proposed by Casuso welcomes different expressions, gestures, and backgrounds in a surprisingly plausible composition. All collected in a mixed but neat technique of watercolour, tempera, and oil painting.
Funambolo
di Silvia Bertoldo esposto in sala 2
(2020, scultura in cera a dimensione variabile, 30x15x22cm circa)
Roots between proxemics and mycorrhizae, link between inner and tangible roots. This sculpture demands respect: it is composed in its entirety of wax pieces in precarious balance between them, interdependent variables ranging from structural to relational. Whenever one acts within its intimate space, it alters, while the surrounding social space determines existence and nourishment. Static, secular guardian form of becoming, which hides the swarming of microfractures and recomposition by adaptation, in the natural biochemical relationship as well as in human bonds. The work interprets the sculptural foundation of balance and gesture and for the artist's ability to orient the form to the representation of inner bonds between different species and beings. The sculpture proposed by the artist is a metaphorical, discreet but aerial recording of the continuous adaptation to which everything is subjected. In a broader sense, Bertoldo proposes an interesting research on the sculptural potential of organic matter, by nature, in constant transformation.
