Curated by Graziano Menolascina
La galleria Mimmo Scognamiglio è lieta di presentare Parallelo Oriente Occidente, bipersonale che vede interagire per la prima volta negli stessi spazi espositivi l'artista cinese Yuxiang Wang e l'artista iraniana Leila Mirzakhani con le loro più recenti realizzazioni. L'artista emergente Yuxiang Wang da sempre dedica molta attenzione ai luoghi e gli spazi con i quali si relaziona fino ad arrivare ad un allineamento tra la tradizione artistica dei suoi luoghi d'origine e l'ambiente culturale preso in esame. Alla stessa maniera la giovane artista Leila Mirzakhani trova un equilibrio tra la dimensione spirituale della sua terra natale e il rapporto intimo che ritrova nella natura. I due artisti, seppur provenienti da dimensioni lontane, uno dall'Oriente e l'altra dal Medioriente, fanno emergere in maniera lampante delle esigenze e dei desideri comuni che confluiscono in un'ibridazione con la cultura occidentale. Attraverso un approccio più poetico e riflessivo Mirzakhani riporta con diverse tecniche, dall'acquerello su carta alla ceramica smaltata, degli studi istintivi sul mondo del naturale trasmettendone la dimensione più placida, fatta di atmosfere effimere e colori ispirati alle stagioni. L'artista iraniana rende minimo il segno pittorico per far affiorare la traccia spontanea delle componenti organiche e materiche con cui fa interagire la propria tela offrendo un esempio di pratica istintiva che delinea l'impermanenza della natura. Una bellezza armonica e sottile che incontra i canoni stilistici dell'artista Yuxiang Wang che invece utilizza roccia, legno, ceramica e acciaio per ripensare il rapporto tra uomo e ambiente urbano. La pratica di Yuxiang si radica tra spazio architettonico e spazio pubblico e cerca di riflettere l'esperienza intima dell'artista a contatto con una popolazione e i luoghi che meglio la rappresentano. La decostruzione e la ricostruzione di oggetti simbolo di una cultura sono per l'artista cinese un modo per appropriarsi e ridare la propria versione dei meccanismi storici e culturali a lui sconosciuti. Oggetti che rappresentano un ambiente e che decontestualizzato e relazionato ad altri elementi assume nuovo valore narrativo. Nella stanza centrale della galleria ci si accorge come la figurazione della gabbia abbia portato i due artisti, così differenti e lontani per tradizioni, a ragionare su tematiche analoghe. L'atto drammatico di rinchiudere qualcuno o qualcosa in gabbia viene visto da entrambi come metafora dei possibili pericoli che le condizioni di libertà di pensiero possono subire e contemporaneamente osservano il limite spaziale come possibilità al di fuori di esso.
Mimmo Scognamiglio Gallery is pleased to present Parallelo Oriente Occidente (Parallel East West), a two-person exhibition that sees Chinese artist Yuxiang Wang and Iranian artist Leila Mirzakhani interacting for the first time in the same exhibition spaces with their most recent productions. Emerging artist Yuxiang Wang has always paid close attention to the places and spaces with which he relates to the point of achieving an alignment between the artistic tradition of his places of origin and the cultural environment under consideration. Similarly, the young artist Leila Mirzakhani finds a balance between the spiritual dimension of her homeland and the intimate relationship she finds within nature. Although the two artists come from distant dimensions, one from the East and the other from the Middle East, they blatantly bring out common needs and desires that flow into a hybridization with Western culture.
Through a more poetic and reflective approach Mirzakhani brings back with different techniques, from watercolor on paper to glazed ceramics, instinctive studies on world of the natural conveying its more placid dimension of ephemeral atmospheres and colors inspired by the seasons. The Iranian artist minimizes the pictorial sign to bring out the spontaneous trace of the organic and material components with which she makes her canvas interact, offering an example of instinctive practice that outlines the impermanence of nature.
A harmonious and subtle beauty that meets the stylistic canons of artist Yuxiang Wang, who instead uses rock, wood, ceramic, and steel to rethink the relationship between humans and the urban environment. Yuxiang's practice is rooted between architectural and public space and seeks to reflect the artist's intimate experience in contact with a population and the places that best represent it.
The deconstruction and reconstruction of objects that are symbolic of a culture are a way for the Chinese artist to appropriate and give back his own version of historical and cultural mechanisms unknown to him. Objects that represent an environment and that decontextualized and related to other elements take on new narrative value.
In the central room of the gallery, one realizes how the rappresentation of the cage led the two artists, so different and distant in tradition, to reason about similar themes. The dramatic act of enclosing someone or something in a cage is seen by both as a metaphor for the possible dangers that the conditions of freedom of thought can suffer while simultaneously observing the spatial limit as a possibility outside of it.
Through a more poetic and reflective approach Mirzakhani brings back with different techniques, from watercolor on paper to glazed ceramics, instinctive studies on world of the natural conveying its more placid dimension of ephemeral atmospheres and colors inspired by the seasons. The Iranian artist minimizes the pictorial sign to bring out the spontaneous trace of the organic and material components with which she makes her canvas interact, offering an example of instinctive practice that outlines the impermanence of nature.
A harmonious and subtle beauty that meets the stylistic canons of artist Yuxiang Wang, who instead uses rock, wood, ceramic, and steel to rethink the relationship between humans and the urban environment. Yuxiang's practice is rooted between architectural and public space and seeks to reflect the artist's intimate experience in contact with a population and the places that best represent it.
The deconstruction and reconstruction of objects that are symbolic of a culture are a way for the Chinese artist to appropriate and give back his own version of historical and cultural mechanisms unknown to him. Objects that represent an environment and that decontextualized and related to other elements take on new narrative value.
In the central room of the gallery, one realizes how the rappresentation of the cage led the two artists, so different and distant in tradition, to reason about similar themes. The dramatic act of enclosing someone or something in a cage is seen by both as a metaphor for the possible dangers that the conditions of freedom of thought can suffer while simultaneously observing the spatial limit as a possibility outside of it.
