#LIS10WHATNOW

 

#01 – LET ME SHOW YOU A STORY

curated by Domenico de Chirico

until June 13, 2020

Carter Mull

Hannah Sophie Dunkelberg

Jack Otway

Lisa Tiemann

Rafal Topolewski

Robert Roes​t

Online | Navigable 3D Exhibition

 

Project

#LIS10WHATNOW

LIS10 Gallery is pleased to present its project of cultural exhibitions born in and for the web, unpublished for technology, approach or use.

Exhibition

#𝟬𝟭 | LET ME SHOW YOU A STORY

curated by Domenico de Chirico

A navigable 3D exhibition where the figure of the independent curator is asked to conceive and develop an exhibition project, in the total absence of physical interactions, using only digital tools.

Available on all Apple Store and Play Store.

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ENGLISH | Press release and Curatorial text

What now?
We’ve all been asking ourselves that a little bit.
#iorestoacasa, #lartenonsiferma, viewing rooms, tour virtuali and more: ​live, direct, ​daily contents dispensed and enjoyed in Decameronian style. During this quarantine the art, and its protagonists, haven’t stopped on the contrary, they began to develop online projects and initiatives, tackling (in)voluntarily the theme that for yearsnowhasaffectedalmostallsectors:digitalization.
What are the heavy limitations of a physical sector such as that of art and what are the great pros? We went from the total rejection of the dematerialization of art works, to the desperate refuge in it.

Thus, on the long tail of a historical period that will probably mark an inevitable social revolution, the LIS​10 Gallery, as a gallery of visual arts but also of production and cultural experimentation, decides to start #LIS10WHATNOW​ , its project of exhibitions expressly and exclusively born in and for the web.

Wednesday April 29, 2020 at 6.00 pm the virtual app will be presented to its collectors and loyal people, downloadable on all A​pp Store​ and​ Play Store​ in the following days.

The project was born from the desire to investigate, in all its different media, the integration of art into the world of new digital technologies, with the aim of understanding its potential and negligence. The initiative will include a series of cultural productions and experiments in terms of technology, approach or use.

The #01 – first appointment – isLET ME SHOW YOU A STORY​, a ​navigable 3D exhibition, created in collaboration with Creathieves Agency and curated by Domenico de Chirico, ​where the figure of the independent curator is asked to design and develop an exhibition project, in total absence of physical interactions, and using only digital tools.

LET ME SHOW YOU A STORY

Curatorial text

by Domenico de Chirico

What, but above all how, to show something in a historically tragic moment, in which the now very popular Covid-19 continues its ruthlessly frantic race, blowing up on multi-directionally along the wide world, forcing us to a typical Joycian situation “of anguish, of rampant atrophy, mired in the most grim sloth”?

This collective exhibition, entitled “Let me show you a story”, tries to respond at the same time and in a jagged way to this “how and what”, trying to give visibility to a possible story or to a set of stories intended as – not already – prose of a becoming but rather as hints of monologues open to an investigation of the world and image.

The advantage of having a tool like the web that in the past, in cases of the spread of epidemics and related restrictions, was impossible even to conceive, is indisputable and it constitutes a very important aspect for contemporary society, becoming a constitutive element of our daily lives. Investigating how information is circulated, the transmission of the image and visual stratification is vital, because they are all persistent aspects in the works of this interactive exhibition. Thus, from Carter Mull​’s critical reflection on the decentralization of mass communication, we move on to the research done by ​Hannah Sophie Dunkelberg on the limit point of separation of space, occupied by the body and its density. Continuing with ​Jack Otway‘s study of the distortion of optical and tonal depth, “touching with eye” Lisa Tiemann‘s research on the volatile relationship between form and meaning, to the to then enter in small steps in to the intimism of​ Rafał Topolewskis figurative works as well as his abstract critic of the incompleteness of the work. Finally, with ​Robert Roest​, we explore the relationship between painting and digital media and the perception that the online image springs in all of us. A journey, that of “Let me show you a story”, as if it was a crossroads, extraordinarily composed of multiple piled radiations, whose sound carpet is deciphered by a score of common languages and whose notes touch the material projecting its shape on different layers communicative.

 

ITALIANO | Comunicato stampa e Testo curatoriale

E ora?
Ce lo siamo chiesto un po’ tutti.
#iorestoacasa, #lartenonsiferma, viewing rooms, tour virtuali e ancora: ​live, dirette, ​contenuti quotidiani dispensati e fruiti in pieno stile decameroniano. Durante questa quarantena l’arte, e i suoi protagonisti, non si sono fermati anzi, hanno iniziato a sviluppare progetti e iniziative online, affrontando (in)volontariamente la tematica che da anni ormai riguarda un po’ tutti i settori: l​a digitalizzazione.

Quali i grandi limiti di un settore fisico come quello dell’arte e quali i grandi pro? Siamo passati dal rifiuto totale della smaterializzazione delle opere d’arte, al disperato rifugio in essa.

Così, sulla coda lunga di un periodo storico che probabilmente segnerà un’inevitabile rivoluzione sociale, la LIS​10Gallery, in quanto galleria di arti visive ma anche di produzione e sperimentazione culturale, decide di avviare ​#LIS10WHATNOW,​ un ​progetto di esposizioni espressamente ed esclusivamente nate nel e per il web.

Mercoledì 29 aprile 2020 alle ore 18.00 verrà presentata ai propri collezionisti e affezionati ​l’app virtuale, scaricabile su tutti gli ​Apple Store e​ P​lay Store​ nei giorni a seguire.

Il progetto nasce dalla volontà di indagare, in tutti i suoi diversi media, l’integrazione dell’arte al mondo delle nuove tecnologie digitali, con il fine di capirne le potenzialità e le negligenze. L’iniziativa prevederà una serie ​di produzioni ed esperimenti culturali inediti per tecnologia, approccio o fruizione.

Il #01 – primo appuntamento – èLET ME SHOW YOU A STORY una ​mostra 3D navigabile, creata in collaborazione con ​Creathieves Agency e curata da Domenico de Chirico, ​dove viene interrogata la figura del curatore indipendente chiamato a ideare e sviluppare un progetto espositivo, in totale assenza di interazioni fisiche, e avvalendosi di soli strumenti digitali.

LET ME SHOW YOU A STORY

Testo curatoriale

a cura di Domenico de Chirico

Cosa ma soprattutto come mostrare qualcosa in un momento storicamente tragico in cui l’ormai popolarissimo Covid-19 continua la sua corsa spietatamente forsennata, impazzando pluridirezionalmente lungo tutto il globo terracqueo, costringendoci ad una situazione joyciana tipica “dell’angoscia, dell’atrofia dilagante, impantanati nell’accidia più bieca”?

Questa mostra collettiva, intitolata “Let me show you a story”, cerca di rispondere contemporaneamente e in maniera frastagliata al come e al cosa, tentando di donare visibilità ad un possibile racconto o ad un insieme di racconti intesi non già come prosa di un divenire ma piuttosto come accenni di monologhi aperti verso un’indagine sul mondo e sull’immagine.

Il vantaggio di avere a disposizione uno strumento come il web che in passato, in casi di diffusione di epidemie e di relative restrizioni, era impossibile perfino concepire, è indiscutibile ed esso costituisce un aspetto molto importante per la società contemporanea divenendo elemento costitutivo della nostra quotidianità. Risulta dunque di vitale importanza l’indagine sulla modalità di circolazione delle informazioni e soprattutto sulla veicolazione dell’immagine e della stratificazione visiva, aspetti tutti persistenti nei lavori di questa mostra interattiva. È così che dalla riflessione critica condotta da Carter Mull ​sulla decentralizzazione della comunicazione di massa, passando per la ricerca compiuta da ​Hannah Sophie Dunkelberg ​sul punto limite di separazione della regione dello spazio occupata dal corpo e da quella non occupata dalla sua densità, osservando lo studio della distorsione di profondità ottica e tonale compiuto da ​Jack Otway​, “toccando con occhio” la ricerca di Lisa Tiemann ​sulla volatile relazione che intercorre tra forma e significato, per poi entrare a piccoli passi nell’intimismo dei lavori figurativi di ​Rafał Topolewski ​nonché nella sua critica astratta sull’in-compiutezza dell’opera, arriviamo infine con ​Robert Roest ​all’esplorazione della relazione tra pittura e digital media e della percezione che l’immagine online scaturisce in tutti noi. Un cammino, quello di “Let me show you a story”, fatto di tappe che fungono da crocevia, straordinariamente composto da irradiazioni multiple accatastate le une sulle atre, il cui tappeto sonoro è decifrato da uno spartito di comune linguaggio e le cui note toccano la materia proiettandone la forma su differenti strati comunicativi.

Carter Mull

(1977 Atlanta, Georgia)

American artist lives and works in Los Angeles. Mull took his BFA in Painting from Rhode Island School of Design in 2000 and MFA from California Institute of the Arts in 2006. Fluency across mediums, collaboration, and material production engender the work of Carter Mull. Reflecting critically on the decentralization of mass communication by establishing speculative archives within his own prodigious output, Mull performs multiple roles within culture at large engaging both the production and the circulation of images. From painter and photographer, to collector and curator, to designer and publisher, Mull’s practice treats the boundaries around segments of culture like parts of a montage, to be at times delineated, and at other times joined in an illicit union. Working from a deep history of artists who deal with the image on theoretical terms, his artistic language takes into account the social drive and dimension of the contemporary subject. Sensitive to the relationship between time and subjectivity, his project speaks to the basic units by which we trade personal desires and emotional responses.

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Hannah S. Dunkelberg

(1987 Bonn, Germany)

Currently lives and works in Berlin, Germany. Her works play with the intersection of materialities and imagery while deliberately staging painting and photography in the sculptural field. The desire for drawing reveals itself in the moment of struggling for its volatility. The moment when drawing becomes a model – the beauty in the failure of surfaces.

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Jack Otway

(1991 Winchester, UK)

Jack lives and works in London.
Graduated in Fine Arts from the University of Leeds in the United Kingdom and Jan Matejko Academy of Fine Art, Krakow, PL.
His recent monochrome paintings display distortions in tonality and optical depth. Otway’s ‘Smooth Spaces’ series explores small destructive gestures as creative acts and foregrounds an economy of subtraction and interference over methodologies of addition. What is emptied out and what we are left with are two key questions here. Immediacy is replaced by mediation and we are left with indirect painterly effects. Initial applications of paint and marks made are treated unsentimentally and as values that are not fixed. Simple repeating patterns are smoothed over, dragged across and pulled back again from all angles. Otway is interested in the processes and gestural transformations in painting (or of information/ image making) after the fact. He finds a productive space in the ability to go backwards, similar to digital editing techniques. It is the bare bones, the constituents of painting that Otway is dealing with: viscosity, absorbency, friction, drying time, and tonality. Otway explores how focusing on these fundamentals and their manipulation can incidentally create surprising material effects and distortions. 
Conceptually, the obfuscation of what is initially laid down becomes an act to open the surface up to new compositions and effects. It permits qualitative change and generates textural affects: a sense of motion or touch. Graphite paint across low friction, low absorbent gesso surfaces takes on the appearance of a mushroom cloud, white noise or the aluminium powder in an Etch a Sketch.

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Lisa Tiemann

(1981 Kassel, Germany)

Lisa lives and works in Berlin. Artist that uses form, materiality and colour in her sculptural work to address universal questions. Her creative process is motivated by philosophical inquiry that resonates in her work and leaves a personal fingerprint. Instead of searching for definite answers and creating a static sign system she is interested in challenging existing paradigms that attribute a constant value to all things. The underlying theme of her work is the volatile relationship between form and meaning. In this sense her sculptures are snap-shots demonstrating a momentary status quo within a dynamic environment.

With her sculptural series Couplesshe centres on the relationship between two elements of different materiality. The artist outlined a series of basic forms that she translated into respective sculpture couples. Each one consists of one clay and one paper object that have joined together both taking on the same predefined form. While the two elements are closely nestled together and can be perceived as a unity they remain separate entities. The space between the two elements is where attracting and rejecting forces generate creative friction and where balance can be manifested. Tiemann’s chosen forms do not appear as constructed or complete poses but rather represent a transitional position within a continuous course of movement. The elements have a subjective quality and seem to have bent and stretched themselves into their position of their own accord.

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Rafal Topolewski

(1983 Grudziadz, Poland)

He lives and works in Lisbon. Rafal Topolewski is working both with figurative images based on memory of his personal childhood, and on non-figuration that is intuitive and uncertain, questioning the identity and provisionality in art.
The non-figurative works are oscillating in a loop of self criticism and on the rejection of paint. They are numerously reconstructed and redirected by the application of paint and removal of it. This process of constant disapproval, puts the work of art in a temporary state, questioning where the art work starts and what defines the finished art work. Alongside oil paint, provisional elements like masking tape and tissue paper become a permanent part of the work.
The representational paintings refer to childhood memories, to the moral system that has been applied by religion and by ethics. Questioning the restrictions that help to construct a child’s morality, which often are negated by actions of authorities. There is an interest in ethical reevaluation, pushing the boundaries of tension and aggression back and forth.
In the work ‘’Knife between chin’’ Rafal touches the subject of morality and violence by depicting a boy with a knife. However this is a direct reference to a game that was popular amongst boys during the artist’s childhood, called Pikuty. The rules of this game are that the knife has to be thrown from several parts of body to the ground (such as fingers, elbows or chin) and aim so that the blade sticks into the ground, in order to progress to another part of body, finishing with the top of the head throw. There is a certain danger and anxiety, an edge of playfulness and aggression in this game.

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Robert Roest

(1992, Netherlands)

Robert Roests practice of painting is visually rooted in both the contemporary world of new media as in the history of painting. In his work Roest explores painting in relation to digital media. His work is structured in a series of about 5-15 works. This serial method provides him to explore the possibility of his themes from different angles, and deploy multiple styles, as well as to keep his work open and not be pinned down too quickly on a particular idea or perspective. The series exist next to each other, in the same way different roles of an actor coexist. The work is much about the physical experience of seeing and also on our perception, about the impact images have on us, not at least the images we see online.

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