(1) Marco Stefanelli
Orogenesi (2019, concrete, resin, acrylic)
A black sliver, echo of a primeval volcanic eruption, as representation of the world and the forces that govern it in. The surface folds and breaks, compresses, creates peaks and valleys, canals, ridges, hills. The submerged telluric forces, generated by a thrust that forms, deforms and shapes, give rise to a tactile and plastic wave. The printed matter keeps the memory of wood to symbolize the plant world that invades and pervades the ground with its roots, keeping everything together. The color, as artificial element, breaks in and draws the line with everything that is not natural: it tells the story of human involvement, rationality and the will to control the seeming chaos of the world.
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Comment 1
The curatorial text accompanying the images of “Orogenesi” offers a compelling narrative of the artwork series. The piece intertwines natural forces with human intervention, presenting a vivid portrayal of the dynamic processes that shape both the physical world and the human experience. I found that the most intriguing point of view and an urgent interrogative we need to face today. The use of materials such as concrete, resin, and acrylic creates a tangible connection to the earth, while the incorporation of statistical data adds a layer of intellectual depth to the series.
I believe the text successfully drives the reader to intend the complexity of Orogenesi, but I personally would have appreciated a more articulate description and I believe this could the artwork achieve an even greater impact.
The role of color in the artwork is introduced as an artificial element that contrasts with the natural forms, symbolizing human intervention. This concept is interesting: could it be expanded to explore how different colors represent specific data points or themes, for example? This would not only provide a richer understanding of the artwork but also emphasize the interplay between art and science.
The process of using three-dimensional scans and 3D printed elements is mentioned, but it leaves me the curiosity to know more about the actual process and the connection between these techniques and the artistic intent. Here follows a couple of questions, as an example, which might offer a reader the chance of a deeper understanding of the process: how does the use of technology enhance the viewer's understanding of the artwork? What about the dynamics and relation between the organic forms of nature and the calculated intervention of human-made structures?
The text could also benefit from a deeper exploration of the possible philosophical implications such themes could lead to address. What does it suggest about the relationship between humanity and nature? How does it challenge or reinforce our understanding of this relationship? Quotations from relevant thinkers, such as Bruno Latour's discussions on the Anthropocene could provide a theoretical framework that enriches the interpretation: “The “anthropos” that is pushed center stage by geologists is not the same passive entity that used to populate the older narrative full of “natural” causal agents. It is a being that is inevitably endowed with a moral and political history. To the great surprise of those who had tried to paint the human agent as a bag of proteins, computerized neurons and selfish calculations, it is as a moral character that human agency is entering the geostory of the Anthropocene. Its entry on the scene staged by geologists is also its exit from the scene of “natural history” (Anthropology at the Time of the Anthropocene - a personal view of what is to be studied, B. Latour - LINK)
That being said, it is also possible that a more structured approach may not align with the author’s intentions, who may prefer to maintain a more open and generalized discourse regarding “Orogenesi”.
Comment 2