Scoglio di cielo – Retro-traditionalism # 2

Un ritorno al realtà degli oggetti, che conforta lo spettatore / consumatore / amatoriale e le sue domande.

Comunicato stampa

SCOGLIO DI CIELO

R e t r o - t r a d i t i o n a l i s m # 2

Opening

29 | 08 | 2014 h 18

Sofie Haesaerts

Xavier Mary

Cécile Noguès

Curated by KOMPLOT

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Retro-traditionalism: The love for small animals? Attraction for painting or any kind of art object that can fit a living room? This return of the tradition is visible in the smaller art spaces looking for a recognition for themselves and the artists they show. This attempt or desire or ambition is emerging at a time of insecurity and precarity when one is not sure of the future. On the other side, underground aesthetics re-emerged in the big places as the « sommet du chic ». Now incorporating the underground as an aesthetic while promising the guests to be part of the establishment is looking so cool. What is wrong with contemporary art? Is it the property of a happy few ? Fascination for the rich? There have been lots of attempts to sell to the masses… Meanwhile you have the re-qualification of the art as an object. As a reaction to the dislocation of the art object and the art space, we live a re-qualification of the white cube and its content as an ensemble of well finished products. Dematerialisation left the place to super-materialisation ; A return to the real true good object that will comfort/question the viewer/consumer/amateur. You can admire all those goods in immaculate spaces radiating their speculative power. Suggesting a long research, a specific process, a poetic wandering ? Yes, but still it’s hard to feel the move toward the radical shock. A friend said last night « influences » instead of references, it’s more elegant.

La riqualificazione della tecnica di un oggetto, come una reazione alla dislocazione dell'oggetto d'arte e lo spazio d'arte, viviamo una riqualificazione del cubo bianco e il suo contenuto come un insieme di prodotti ben rifiniti. La dematerializzazione ha lasciato il posto alla super-materializzazione; un ritorno al realtà degli oggetti, che conforta lo spettatore / consumatore / amatoriale e le sue domande. Si possono ammirare tutti quei beni in spazi immacolati che irradiano il loro potere speculativo. Suggerendo una lunga ricerca, un processo specifico, un vagabondaggio poetico?