Strutture di contenimento at Whitenoise / Rome

Strutture di contenimento
Lisa Sebestikova, Mar Hernandez

Curated by Eleonora Aloise and Carlo
Maria Lolli Ghetti

18.06.2020 – 31.07.2020

White Noise Gallery
Via della Seggiola 9 – Rome

A confinement structure is a system built
to stem a construction or a phenomena and to make the unstable and ambiguous

defining a space and a time, enclosing what is inside them as shells protecting
the inside from the outside and vice versa. As narrated in the Nonexistent
Knigh, those armours often come to life keeping their shape and memories
regardless their current content.
Mar Hernandez and Lisa Sebestikova
focus their artistic researches on the space intended as a mold of memory.
Their work develops around the concept of negative and positive, of containers
becoming contents. Both the artists narrate what happened inside the spaces
through the emptiness left behind but they do it following two opposite
trajectories: Mar Hernandez by adding layers of memory into empty places and
Lisa Sebestikova by creating artificial emptiness in saturated environments.
Mar Hernandez presents a series of
new works that are a natural evolution of her historical research over memory
layering. Using a delicate pencil draw, the artist adds imaginary furnish,
inspired by her life, over pictures of abandoned buildings. There are often no
real connections between those places and the elements added by Mar; the
stories narrated by those artworks are always plausible but never real. The
idea of the domestic environment conceived as a confinement structure has never
been more universally shared. In this context the idea behind Mar’s research,
where the space becomes the sole keeper of our everyday life, explodes with
unbelievable strength. An old radio, a ruined frame or a shabby calendar on a
wall becomes the symbols of a personal time, suspended over circumstances.
Lisa Sebestikova conceived the
series of works for her first show in Italy after visiting Rome for the first
time. The result comes from the collision between the human and architectural
history of the city and her research based on the analysis of the space and the
cancellation. The sculptures featured in the show are the result of this
urgency united to the fascination of the artist towards the stone, primordial
element of the city of Rome. Hanging structures of brushed aluminium softly
occupy the space containing fragments of amber coloured soap-stone, both hard
to touch and soft to sculpt. Those fluctuating shapes, reminiscent of the
retaining armours enclosing the most fragile of the monuments, keep the visible
trace of what they used to contain in the negative shape impressed over the
stone fragments. Lisa Sebestikova revolutionizes those structures by depriving
them of their function and changing their nature: the armour becomes the body
and what was created to keep static suddenly become dynamic. Every sculpture is
conceived to be in motion like Calder’s Mobiles and has an undetermined shape;
they are all opened to be changed and re-assembled like open diaries telling
infinite stories