Ilija Wyller, Niels Trannois, Alina Vergnano
Curated by Maria Chiara Valacchi
18 January – 17 March 2018
Studiolo
Via Alessandro Tadino 20
20124 Milan
Studiolo
is pleased to present the group show of artists Ilija Wyller, Niels
Trannois and Alina Vergnano curated by Maria Chiara Valacchi.
is pleased to present the group show of artists Ilija Wyller, Niels
Trannois and Alina Vergnano curated by Maria Chiara Valacchi.
Modulated
on the multiform declensions of painting, the exhibition starts off
from pure drawing to then expand itself towards more all-encompassing
forms such as the collage, the typographic monotype and the
intervention on marble. The pictorial act, always lucidly released
from any formal pressure, becomes for the three artists the
transposition of their own experiential universe and the
kaleidoscopic container of tireless mental associations; a flux of
subjective and objective forms and concepts.
on the multiform declensions of painting, the exhibition starts off
from pure drawing to then expand itself towards more all-encompassing
forms such as the collage, the typographic monotype and the
intervention on marble. The pictorial act, always lucidly released
from any formal pressure, becomes for the three artists the
transposition of their own experiential universe and the
kaleidoscopic container of tireless mental associations; a flux of
subjective and objective forms and concepts.
The
executive rigour of Ilija Wyller, often characterised by chromatic
experimentation, transforms itself into the informal research of
landscape; a literary—more than geographic—panorama, which does
not suggest places but rather imaginary and dreamlike spaces, aquatic
and atmospheric condensations. For Studiolo she realises two large
canvases of a different character but united by prof use work in the
backgrounds, where the gesture has the function of giving colour a
new value and suggesting mental associations that combine cosmology,
social anthropology and chaos; an intellectual abstraction enriched
also by the choice of titles in the form of poetry. The action shifts
from the canvas to nature itself by the means of a small sculpture in
pink Norwegian marble. Defined by rhythmic chiselling and concluded
onto the surface with a superimposition of layers of pastel in wax,
Wyller’s work bestows the inert with a new anamorphic and animal
nature.
executive rigour of Ilija Wyller, often characterised by chromatic
experimentation, transforms itself into the informal research of
landscape; a literary—more than geographic—panorama, which does
not suggest places but rather imaginary and dreamlike spaces, aquatic
and atmospheric condensations. For Studiolo she realises two large
canvases of a different character but united by prof use work in the
backgrounds, where the gesture has the function of giving colour a
new value and suggesting mental associations that combine cosmology,
social anthropology and chaos; an intellectual abstraction enriched
also by the choice of titles in the form of poetry. The action shifts
from the canvas to nature itself by the means of a small sculpture in
pink Norwegian marble. Defined by rhythmic chiselling and concluded
onto the surface with a superimposition of layers of pastel in wax,
Wyller’s work bestows the inert with a new anamorphic and animal
nature.
For
Niels Trannois, too, the work of art operates like a time machine
adept at satiating the historic amnesia surrounding some events dear
to the artist. Every graphic superimposition, never casual, is part
of a weave of memories allowed to emerge thanks to a complex
compositional layout. On show are recent works such as “Dolores del
Rio (From Liberty to Brainfeeder)”, which do not betray his current
poetic research; in this tapestry work, the superimposition of three
layers—a painting on white silk, a liberty fabric and a Xerox
printing illustrating a tennis field—recounts the life of Dolores
del Rio, famous Mexican actress of silent cinema from the 20s and
30s, who Trannois seeks to restore to collective memory. His practice
emerges also in “B. (Hands in a Chinese cookie jar)”, a large
tapestry mounted on a wooden box in which interventions in oil,
monotypic printing and collage co-exist.
Niels Trannois, too, the work of art operates like a time machine
adept at satiating the historic amnesia surrounding some events dear
to the artist. Every graphic superimposition, never casual, is part
of a weave of memories allowed to emerge thanks to a complex
compositional layout. On show are recent works such as “Dolores del
Rio (From Liberty to Brainfeeder)”, which do not betray his current
poetic research; in this tapestry work, the superimposition of three
layers—a painting on white silk, a liberty fabric and a Xerox
printing illustrating a tennis field—recounts the life of Dolores
del Rio, famous Mexican actress of silent cinema from the 20s and
30s, who Trannois seeks to restore to collective memory. His practice
emerges also in “B. (Hands in a Chinese cookie jar)”, a large
tapestry mounted on a wooden box in which interventions in oil,
monotypic printing and collage co-exist.
That
which brings Alina Vergnano to painting is her preparatory state.
What appears to be sinopia are in fact large paper collages,
which,juxtaposed, define a multi-faceted texture on which lie signs
in graphite that describe bodies, hands, arms, legs, without ever
revealing physiognomies; livid intersections, played on the natural
bichrome of utilised materials and enriched only from the palpability
of the paper and the traces of afterthoughts. At Studiolo she chooses
to compare herself with Wyller and Trannois through the work
“Within”, a suspended composition composed of three drawings of
different dimensions and mounted on a series of thin sticks that,
exploiting the superimposed area of the papers, emphasise the
physical mixture and ideological fragmentation of the subject.
which brings Alina Vergnano to painting is her preparatory state.
What appears to be sinopia are in fact large paper collages,
which,juxtaposed, define a multi-faceted texture on which lie signs
in graphite that describe bodies, hands, arms, legs, without ever
revealing physiognomies; livid intersections, played on the natural
bichrome of utilised materials and enriched only from the palpability
of the paper and the traces of afterthoughts. At Studiolo she chooses
to compare herself with Wyller and Trannois through the work
“Within”, a suspended composition composed of three drawings of
different dimensions and mounted on a series of thin sticks that,
exploiting the superimposed area of the papers, emphasise the
physical mixture and ideological fragmentation of the subject.