London Art Fair (2013)
The Artist, As Viewed from the Outside presents five artists who considers how personal history and memory are reframed and skewed through one's own fallible and personal perspective. In (post)modern literature, the concept of the unreliable narrator operating from a omniscient perspective has become something of a cliché, yet in art, this idea remains relatively unexplored. How does the artist purposefully frame, contextualize, alter, hide and/or reveal a message for the viewer? Here, each artist recalls and questions instances of their own history and memory, but also aspects of importance to greater society, re-framing it for the viewer in a method that draws attention to its unreliability…one in which the artist is the sole source of information and truth.
While similar traces surface throughout art-history, it is perhaps most evident through the modernist movement of the 20th Century, where artists like Edoard Manet and latter-date modernists (if he can be labeled one) like Francis Bacon, explored the concept in greater detail. While Bacon was infamous for negating any extra diegetic readings upon his work, he nevertheless staunchly defended their issuance from a distinct point of view; in the ‘40s, he stated in Times that his art was only “to make a certain type of feeling visual...The pattern of one’s nervous system projected on the canvas”. To accept Bacon's statement as truth, an argument exists that the entire concept of 'art' might - in a sense - be viewed as the manifestation of the artist's conscience made tangible.
Fabio Lattanzi Antinori (in collaboration with Alicja Pytlewska) presents perhaps the least autobiographical work included; his method considers the macrocosmic over the individual, in which the big four (religion, politics, economics, and greater social ills) are translated into a system of visual systems. The Four Sisters is composed from shredded share-prices of the big four bank organizations in the UK, and the resulting work, almost shamanistic in its appearance, dislodges meaning through appropriation of symbols that have become ubiquitous and hereby made useless. Antinori’s mythology is a new form of evocative symbols, idols, customs, and traditions. The artists unveil a new work, (The Abyss, 2013) at Beers.Lambert Contemporary in Au, opening January 31, 2013 (until February 23).
In contrast, Gigi Cifali’s tondo-style photographs are wholly autobiographical: photographs of the Vesuvian landscape depict an attempt to reconnect with locale in which the artist grew up. Revisiting these areas as an adult, Cifali challenges their veracity by manipulating the typical ‘landscape’. Presenting the works as a ‘porthole’, almost like a reference to Lewis Carrol’s ‘looking-glass’, he accentuates the instability of the image. Here one is reliant on Cifali’s retelling of the natural world as fantastical and uncanny: skies are candy-colored, images have been carefully selected; the abandoned infrastructure floating almost dreamlike, surreal.
Roberto and Renato Miaz' award-winning paintings present halfrecognizable human forms, as though distilled or muffled by the passage of time or a lens of forgetfulness. The forté of these works is their ability to lure the viewer into their realm while maintaining a level of dispassion: one remains subject to what the artists choose to withhold or divulge. Their painting technique further confounds a simplistic reading, situated halfway between hyperrealism and pure abstraction…or is it painting, masquerading as photo?
Andrew Salgado’s work typically comments on personal-history, taking allowances with the reconstruction of the human form to turn memory into hyperbole through paintings that challenge the conventional reception of the figurative painting as abstract. Working with autobiography, memory, and stories garnered from friends, popular culture, and wholly fictional narratives, Salgado considers his paintings as political statements that counter and reconsider universal themes.
Lastly, Leonardo Ulian presents a series of symmetrical mandalas entirely made up of meticulously soldered computer components, circuitry and microchips. Informed by his past career as an engineer, Ulian references his 'past-life' by creating geometrical structures that draw upon on Hindu and Buddhist symbolism, to the idea that each articulation - no matter how insignificant it may appear - is part of a greater systemic whole. Referencing the microcosmic and communicative, Ulian monumentalizes the minutest aspect in an elegant amalgamation of autobiography, technology, and spiritual symbolism. Almost ethereal, the work operates on a series of levels more profound than may be immediately apparent. Ulian will have a solo exhibition at Beers.Lambert Contemporary in the fall of 2013.
FABIO LATTANZI ANTINORI (with ALICJA PYTLEWSKA) (b. 1971, Italy) Fabio Lattanzi Antinori's solo exhibitions include The Bay Window Project, London (2013); Vacanze Romane, Palazzo Libera, Rovereto, Italy (2009); Visions, Spazio Fupete, Rome (2006). Selected group exhibitions include Data as culture, Open Data Institute, London (2012); MoMA PS1 Summer School, New York (2012); Digital Futures, Sackler Centre, Victoria & Albert Museum, London; Tomorrow people, The Elevator gallery, London (2012); Rita Castellote, Madrid (2012); Mysteries, Beers Lambert, London (2011); Sample 10, The Printspace, London, (2010); WW Gallery, London (2011); Open Data Institute, London (2011); Villa Lagarina Civic Museum, Rovereto (2009); Crespina Civic Museum, Pisa (2009), and numerous others internationally, including Victoria & Albert Museum, the Benaki Museum (Athens), the Royal Institute of British Architects, the Biennal de Valencia, and the Gallery of Modern Art in Rome. From initial studies in philosophy, architecture, music and typography, he has developed an artistic-language that ranges from kinetic sculptures to screenprint, photography, video and installation. He lives and works in London.
GIGI CIFALI (b. 1975, Naples). Gigi Cifali’s recent solo exhibitions include: Absence of Water, Galleria Marconi Cupra Marittima Ascoli Piceno (2012); Step 09, Museo della Scienza, Milan (2012); Absence of Water, Rob Shazar Gallery Benevento (2011). Group exhibitions include Contemporary Visions at Beers.Lambert Contemporary (2012); Underscore, Spazio Blanch, Naples (2012); Multiplied, Christie’s South Kensington, London (2011); Della Natura, Spazio Farini, Milan (2010); AOP Association of Photographers Awards, AOP Gallery, London (2009). He is recipient of AOP Award 2009, IPA Lucie Foundation Awards 2009 and Calumet Assistant Photo Awards 2008. His works have been featured in Good Magazine (US), Insight (UK), Fourdays Magazine (UK/Germany), Watch (Russia), Interni Architecture (Russia), The Balde Pais Basque (UK), and Independent Magazine. He holds a Master‘s in Photojournalism from Westminster University. Cifali currently lives and works in London.
ROBERTO & RENATO MIAZ (b. 1965 – 1968, Italy) Colloquially regarded as ‘The Miaz Brothers’, they have had solo exhibitions including Masters Series solo exhibition Spazio Thetis, Arsenale Novissimo Venezia (2012); and they are Winners of the highly regarded 2011 International Arte Laguna Prize; and Winners of the 2010 Amposta Museum of Contemporary Art International Biennial Prize, Barcelona (2010). Other selected exhibitions include Timecode Galleria Iperspazio Milano (1996); Piercing Galleria ViaFarini Milano (1996); New Age, Ambient Installation, Paradiso Club, Rimini (1995); Safe Box, Ambient Installation, Insomnia Club, Pisa (1994); The Artists, Ambient Installation, Cocorico Club, Riccione (1994); graduate Milan IED, College of Art. They first exhibited with Beers.Lambert Contemporary at the annual Contemporary Visions open submission exhibition (August-September, 2012). They currently live and work in Valencia, Spain.
ANDREW SALGADO (b. 1982, Canada) has exhibited in the United Kingdom, Germany, Australia, Venezuela, Thailand, Canada, and the USA, including solo exhibitions in Vancouver, Canada (2008); Oslo, Norway (2010); New York, (2011); Busan, Korea, (2012); and in London, with The Misanthrope at Beers.Lambert Contemporary (2012). Forthcoming solo exhibitions include The Acquaintance, his first institution-based solo exhibition, Art Gallery of Regina, Canada (2013); The Smallest Heart's Desire, La Petit Mort Gallery, Ottawa, Canada (2013); and solo exhibitions in 2014 at One Art Space, New York City; and his third solo exhibition at Beers.Lambert Contemporary. Salgado’s paintings have hung in London’s Courtauld Institute of the Arts (2010) alongside Tracy Emin and Gary Hume, was the highest-grossing work ever donated to Canada’s esteemed Art For Life (18th Annual) Charity Auction (2011); included in the Merida Biennale of Contemporary Art (2010), the NordArt Carlshutte Biennale (2012); and has been featured in The Globe and Mail (Canada), METRO, The Independent, Shortlist, Yatzer! And others. In 2011 he was featured in the Channel 4 documentary What Makes a Masterpiece alongside artists Anish Kapoor, Howard Hodgkins, and Bridget Riley (2011). He lives and works in London.
LEONARDO ULIAN (b.1974) Although trained as an engineer, Ulian’s career as an artist has been brief and prolific; his solo-exhibitions include Flames, Roses, and Wires, Shaft Gallery, London, (2010); Iperuranio, Kobo Art Space; in Udine, Italy (2009). Selected group exhibitions include: Salon 2012 at Matt Roberts and Griffin Gallery, London, (2012-2013), Motion 1, SyZyGy, London (2012); Bow Art’s Open (2012); Bermondsey Project Space, London (2012); Condensation, Immaginare il tempo, Clauiano, Italy (2011); Umlaut, Hales Gallery, London (2009); Three by Three, Yinka Shonibare's Project Space, London (2009). Ulian was awarded the Owne Rowley Award in London (2009), as well as the Stamps of the XX Century (National Prize) in Udine, Italy (2000). Ulian's forthcoming solo exhibitions include Time Wave Zero, Gallery Espacio Valverde, Madrid, December 2012; and a forthcoming solo exhibition at Beers.Lambert Contemporary in the fall of 2013.