From today 25 March to 27 November 2022 installed Antonio Evolilla (1952, Benevento) Paranzaedited by Virginia ParadelIt will be hosted by Thetis space“L”center For contemporary art found in the ancient Venetian arsenal surrounded by a lake: a work that evokes the hull of a coastal fishing boat, the ripe fruit of the poets of the Samnite sculptor who understands the work as a wreck and Diary The organizers explained.
As Virginia Bardell wrote in the text accompanying the exhibition project,Paranza It’s a boat wreck that was a little thing in itself even when it went out to sea, and nothing more than a vehicle used over and over again. But it was the bread and life of the families of the hunters, and here the sculptor made it a material for art, renewing its form. Invoking its structure, it raises this wreck into a monument filled with memories, suggestions, and warnings. at Paranza […] The extreme tension of curves in space, the skeletons of boats, and the material bouncing back are controlled by the erosion – erosion – of time spent at sea; A propitiatory relic of marine deities but also a votive pulpit of human action, to the arduous ingenuity of an ancient craft made of sacrifice and struggle, filtered into memory, in Betas And in longing.”
Paranza – The organizers added – «It is a coastal fishing boat, wide hull, short bow, and wide stern; It has a mast with a trailed sail and a bow carriage with an arm.’ Virginia Paradel asserts: “The expressive impulse derives from an anthropological dimension discovered and amplified in the morphological mutation, in the spatial and communicative expansion of something belonging to folk archeology and Mediterranean temperament.”
“As often happens in the iron and copper works of Ievolella, the disintegration of the parts occurs in a way that expands in space and acquires a geometric character. at Paranza The reel gains formal independence from the side, acting as a counterpoint to the boat: it is inserted into a circular hull, largely surrounded by iron panels, and arrives at a plastic, chromatic and geometric complexity that balances the boat with its compactness and stability,” the press release reads.
“Paranza – Bardell writes again – it has a strong geometric nature in the skeleton of the ship, in the seat of the pulley and in the vertical height of the “two trees”, geometric axes that symbolically become grandiose banners. Indeed, it is geometry that promotes the balance between the two plastic forms side by side, it is a play of lines that defines the constructive directions of iron pipes. Yet the abstract hardness of geometry, already frustrated by the rusty realization of iron, meets the nasty material of debris, corroded wood, and oxidized copper, creating an amalgamation of those poetic seeds that repeat in Ievolella’s sculptures, far away. Time and the present have a reason for getting to know each other and entering into new poetic alliances.
«Spazio Thetis, since its inception, has been promoting and supporting contemporary art, organizing exhibitions and meetings at its headquarters in the ancient Arsenal of Venice. Over the course of more than fifteen years of activity, Spazio Thetis has collaborated with important institutions, museums, galleries, associations and studios of Italian and foreign architecture. Organizers noted that it has developed specific expertise in sustainable development and environmental engineering, working in the Venetian lagoon, the only social, economic and environmental system in the world that has preserved its identity through change.”
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