Luzia Simons, Detail of Stockage 186, 2020, Lighjet print / Diasec, framed, framed with museums glass, 142 cm x 100 cm, 55.9 in x 39.4 in, Edition 1/5 + 1AP
PRESS RELEASE
OPENART is pleased to present:
Canticle of the Creatures
Online Group Exhibition
Curated by Brunno Silva
September 17 – December 30, 2020
Artists:
Luzia Simons | Gisele Camargo | Goia Mujalli | Gabriel Pessoto
”Laudato si, mi Signore, per sora nostra matre Terra, la quale ne sustenta et gouerna, et produce diuersi fructi con coloriti fior et herba.”
“Praised be You, my Lord, through Sister Mother Earth, who sustains us and governs us and who produces varied fruits with coloured flowers and herbs.” -St. Francis of Assisi”
Canticle of the Creatures is a poem written by St. Francis of Assisi in 1224. The text was originally written in Umbrian dialect, during a time before Italian unification had brought about a shared language on the peninsula. St. Francis is one of the most well known saints in the Catholic Church and is largely recognised for his ability to speak to animals and his general affinity with the natural world. Through his devotion to a life of poverty, he also became an example of modesty and to this day is venerated by many for his values.
As an exhibition, Canticle of the Creatures creates a cross-temporal space for dialogues between the work of four Brazilian-born artists and four elements of Italian architecture found in Galatina, in the region of Puglia, Southern Italy. While most elements are from the Late Baroque period, a time when the region had a strong economic power, Galatina also has the splendid Basilica di Santa Caterina di Alessandria, a XIV century romanesque construction full of period frescos in diverse states of conservation and restoration. These unexpected pairings will be utilized to explore aspects of art making and history keeping: an interplay between past and present where we will be able to unravel the different meanings of both.
The suspended existence between the ancient and the new is perhaps a crucial point between these elements. Whilst contemporary art largely engages with the novelty surrounding what has not been made or seen, today’s artistic creations are still irremovable from the context of art history. Simultaneously, art and architectural historic works that still remain to be seen, can’t escape from the contemporary eye and its unique take on aesthetics and what can render beauty and meaning.
In this scenario, the online exhibition becomes the ideal format for this juxtaposition, where late baroque elements begin to converge with contemporary artistic practices that, in response, enables different and unique takes on such works, the underground and everlasting influences that Italian art has in the art world at large become much more visible. Although considering such influence, it is important to also recognise the importance of Italian migration to Brazil in the late XIX century and its influence in Brazilian culture at large. With this, Canticle of the Creatures also becomes a space for cultural sprints across different regions and time.
Throughout this exhibition, micro and macro aspects will be examined simultaneously to trace a form of exploration which allows a new way of viewing both the contemporary artworks and the architectural elements of Galatina’s churches.
Contemporary eyes are bound to see classical artworks through their own perspective. If it is impossible to travel through time and see 17th century artworks as they were meant to be seen, all one can do is learn how to better observe these works today. In this interplay, contemporary artworks are not only often formed by this aggregate knowledge and almost infinite source of inspiration, but also translate and carry these ideas to us whilst opening our eyes and minds to new ways to observe art and the world that we live in today. Present day and historical creatures dancing together in harmony, existing in a canticle outside of time.
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Image courtesy of the artist.