Morris Adjmi Morris Adjmi Architects

MA Art Presents:

War & Peace: Gianlorenzo Gasperini, Fausto Rossi, & Vera Rossi

July 27 – September 16, 2017 

 

 

 

Morris Adjmi Architects is pleased to present the work of Gianlorenzo Gasperini, Fausto Rossi, and Vera Rossi. The theme War & Peace is directly dictated by their collective work and speaks to each of us in a unique way. We are delighted to bring together sculpture, photography, and painting to tell stories of love and war, battles and joy…as interpreted by three great Italian artists.

 

 

 

 

 

 

 

 

 

 

Gianlorenzo Gasperini

Excerpt from essay by Paola Servillo


 

Gianlorenzo Gasperini’s sculptures explore the relationship of the works themselves with space and time, identifying a formal level and an existential one, in a fine balance between past space-time and present space-time.

 

Beyond the abstract, monumental nature of classicism, the tragic fixedness of Gasperini’s sculpture is the split-second revelation of a state of mind condensed into matter, becoming a dynamic support for light. There is a solidity in these isolated sculptures that is evident in their immobile, earth-rooted stance; they are strong and massive, despite the passage of time and, in fact, the external disintegration is slow. A secure past (in memory) and a precarious present, in constant search of equilibrium.

 

The story of the past is told in the experimentation with matter and the disintegration technique. Precariousness, revealed in the constant signs of support and the effort to retain balance, tells of contemporary uneasiness. In the end, the objective is to create images that are at the same time strong in structure yet inconstant. Images of the world’s unfolding, in which the classical elements, whilst determining the sculpture and marking its time, are disintegrating and live – in other words – in a psychological space that vacillates between the ancient past and the present.

 

 

 

 

 

 

 

 

 

 

 

 

Fausto Rossi

Artist statement translated by Giulia Guadenzi


 

It’s always been difficult for me to rationalize the meaning of my work.  As a kid, I read “La famosa invasione degli orsi in Sicilia” written by Dino Buzzati.  The text was also illustrated by the author himself.  One of the drawings was representing little soldiers in their uniforms, with rifles and flags.  They were fighting against bears.  Struck by that image, I started to draw battles, and I have never stopped. I have been passionate about the American Civil War history since I was young.  Years ago I stumbled upon a book on this subject, written by Bruce Catton and published by Cepim in 1975.  The book contains not only beautiful full-page illustrations of war scenes but also diagrams of strategies used for the main battles.  All this was a source of inspiration for me. My drawings show troops deployed in parade and armies of enemies that engage in both organized and disorganized battles.  However, there is always an intrinsic discrepancy between the dramatic subject and the light and detached graphic language.  Soldiers fight, collide, kill one another, but the drama is always kept at a distance through a series of formal elements: the little figures move inside a flat imaginary space, wearing their antiquated uniforms and forming geometric modules, in a game that only belongs to the mind.  My works are a series of drawings with many variation that always refer to the need to both represent the conflict and assume a removed point of view.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Vera Rossi

Excerpt from essay by Angela Madesani


 

Vera Rossi’s images, the titles of which include Varco verde (Green Opening), Finestra (Window), A flower blossoms for its own joy, I fiori di Amira (The flowers of Amira) and Interior with blue vases, possess a common element: the presence of a window, those old iron windows, in which the glass is caged by squares.

 

We find ourselves on the threshold: we are always on the inside. Beyond are shapes that we are not always able to decipher. The panes are the panes that were in use a hundred years ago. Parts of them are dense and blurred, other parts are clearer. It is a game of grades of transparency, of real presences balanced by implied absences.

 

The images are Vera Rossi’s personal memories.  In Vera’s photos, like silent extras, objects appear as a  record of the passing of time.  For Vera Rossi, it is an exercise in the art of seeing, which induces us to imagine the beyond.  What fascinates her is the unknown. It is like a timeless rite in an atmosphere in which everything seems suspended.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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