CHIARA CORDESCHI
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Parallel, Wien - 2020

Exhibition at Parallel 2020, contemporary art fair in Vienna. Project curated by Oscarito Sànchez in collaboration with Israel Martìnez, Cecilia Miranda and Adela Goldbard.

Arboreal The human Tree (2020) is a project by the Italian artist Chiara Cordeschi. The body of work investigates the relationship between bodily presence, nature, and light. Cordeschi uses a hybrid metaphorical language in which both human and natural forms are presented to reflect on life. In works such as Even the Trees Cry (2020) and Spring - Self-portrait (2020), the vegetation is poetically used to bridge contemporary ways of navigating existence with distant powerful archaic imaginaries. The body of work also includes site-specific interventions: since this year's Parallel location is a post-industrial building that has been partially re-inhabited by mosses and plants, the artist decided to absorb and conceptualize some of these living organic material in the installation project. The spontaneous symbolism that links life and the form of the tree both in time and space opens to ontological connections that are stimulated by immersive sensational works. The contemporary human presence witnessed by the objects, artifacts, and photos are now organically melted in natural shapes, phonic landscapes, and tactile textures. The result is a vibrant tension between what could appear as opposites: natural origin and artificial production, temporary presence and everlasting significance, object and immateriality, truth and lie.

Together and in an open dialogue with this project, the works of three Mexican artists expand Cordeschi's thematics into a more architectural and social framework. Cecilia Miranda presents 2 pieces: One Gram (2020), as a miniaturized brick that rests on soil, and Comex (2020), cans containing colors distributed by the Mexican government to the lower social classes. Therefore, the seemingly playful colors contain social distance and violence, creating a new awareness of how human habitats are built in contemporary society. Adela Goldbard's Plutarco (2015) is a photographic materialization of a massive full-scale restaging of violent political events. In between truth and fiction, the cluster of parallel chronicles alludes to the constant loss of certainty and expands the ambiguity of artistic mediums in helping our understanding of life. In Memorian (2012) by Israel Martìnez is equally dualistic. The work appears as the combination of a picture of the Culiacán cemetery - a place in which social life and physical decay are together - and an audio track in which an artificial synthetic voice lists fragments of elegies, epitaphs, and other messages written on the tombs. The posthuman texture of the voice builds a way by which the impossible communication between what is dead and what is alive becomes somehow real.

Critic text by Kevin Bellò.
Parallel, Wien - 2020
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Parallel, Wien - 2020
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Parallel, Wien - 2020
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Link
https://www.chiaracordeschi.com/parallel_wien_2020-r13598

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