MOROSO catalogo 224 pagine 6 BIANCA (1 sedicesimo + 1 quartino e ottavo accavallato) USOMANO
165
Making Room (Spaces of Anticipation), acuradi/curatedby
E.Guidi,L.Sandoval,Ar/GeKunstGalerie,Bolzano
Portrait of the Artist as a Young (Wo)Man, acuradi/curatedby
M.Beccaria,CastellodiRivoli,Torino
MAXXI Prize 2014, acuradi/curatedbyG.Ferracc,MAXXI,Roma
Set in Motion,acuradi/curatedbyD.GurArie,A.Feldman,PetachTikvaMuseumofArt,TelAviv
Performative Resistance, as part of Arena,acuradi/curatedby
K.Gregos,CoCA-CentreofContemporaryArtZnaki Czasu,Torun
Ir para volver / Leaving to Return,acuradi/curatedby
J.CrivelliVisconti,M.Moscoso,12BienaldeCuenca,Cuenca
2013
Agora,4thAthensBiennial,NationalBankofGreeceBuildingandCAMPContemporaryArt
MeetingPoint,Athens
Leisure, Discipline and Punishment as part of Interruption,acuradi/curatedby
N.Sivavec,30thBiennialofGraphicArts,Ljubljana,InternationalCentreofGraphicArts,Ljubljana
Leisure, Discipline and Punishment as part of Play! Recapturing the Radical Imagination,
acuradi/curatedbyK.Gregos,GöteborgInternationalBiennialforContemporaryArt,
RödaStenKonsthall,Göteborg
Leisure, Discipline and Punishment,acuradi/curatedbyJ.Fabricius,Contour2013.
6thBiennialoftheMovingImage,Mechelen
The Second Lore,acuradi/curatedbyM.Belaief,M.Fontolan,CUACContemporaryArt,SaltLakeCity
Screen Between Europe and Asia,VIIShiryaevoBiennialeofContemporaryArt,acuradi/curatedby
M.Schibli,VictoriaGallery,Samara
The 338 Hour Cineclub,acuradi/curatedbyR.Doubal,A.Steadman,E.Vincent,FondazioneSandretto
ReRebaudengo,Torino
Maretti Prize IV,PAN,Napoli
Benzine,acuradi/curatedbyC.Perrella,LaTriennale,Milano
How to Tell a Story,acuradi/curatedbyE.Guidi,DEPO,Istanbul
2012
OFFENAufAEG,acuradi/curatedbyC.Gehre,Nürnberg
Where Is the Here If the Here Is In There?,acuradi/curatedby
P.Murnaghan,PallasProjects/Studios,Dublin
Under A Tinsel Sun,acuradi/curatedby
K.Becker,IIIMoscowInternationalBiennialforYoungArt,Moscow
La ciudad como conflicto,acuradi/curatedbyR.Mateos,CentrodeArteDosdeMayo,Madrid
Art practices and social imaginaries,acuradi/curatedby
R.Gavarro,11thHavanaBiennial,CentrodeArteContemporáneoWifredoLam,LaHavana
Visible Award,acuradi/curatedbyM.Lucchetti,J.Wielander,SerpentineGallery,London
2011
Dublin Contemporary 2011,acuradi/curatedbyJ.Castro,C.Viveros,EarlsfortTerrace
The Power to Host,acuradi/curatedbyM.J.Ciric,ISCP,NewYork
Sotto quale cielo?,acuradi/curatedbyD.Bigi,RISO,Palermo
ILLUMInazioni,acuradi/curatedbyB.Curiger,54.BiennaleInternazionaled’Arte,Venezia
Pleure Qui Peut, Rit Qui Veu,acuradi/curatedbyA.Cramerotti,E.Pethick,PremioFurlaperl’Arte-
VIIIEdizione/8.FurlaPrize,PalazzoPepoli,Bologna
2010
videoREPORT ITALIA 2008_09,acuradi/curatedbyA.Bruciati,GC.AC,Monfalcone(GO)
Persona in meno, acuradi/curatedby
A.Campens,E.Cooke,C.Fitzpatrick,PalazzoReRebaudengo,Guarened’Alba(CN);
PalazzoDucale,Genova
Sonrisas y lagrimas, acuradi/curatedbyS.Blas,MuseoNavaldeFerrol,LaCoruña
SI Sindrome Italiana, acuradi/curatedbyY.Aupetitallot,Magasin–CNAC,Grenoble
Critica in Arte 2009 – 2010. Marinella Senatore,acuradi/curatedbyD.Bigi,MAR,Ravenna
Neither From, Nor Towards…,acuradi/curatedbyA.Mayaca,I.Bago,ArtPavillion,Zagreb
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Becoming-Intense
Actingasbothcuratorandparticipant,the
artistNamsalSiedleckirecentlyorganizeda
curiousGroup Show:displayinghisownscul-
ptureswithinanexhibitionofartworkscom-
posedbyanimals.Thepaintingssurrounded
aseriesofunfiredclayblocksthatthehuman
artistrepeatedlybitinto,brutishlymaking
hismark,anatavisticattemptataccessing
basicstates,pureprimordialpotential.The
artistostensiblypresentsanuancedcompa-
risonbetweentheanimalsseeminglyemu-
latinghumanexpression,andhisownmode-
lingofhisaestheticarticulationfromthe
gesturesofbeasts.Thus,Group Show (2014)
doesnotsimplycontrasthumanandanimal
butratherchartsazoneofproximitybetween
seeminglyincongruouspositions,notdisco-
veringasynthesis,butratherregisteringmo-
mentsofmutualandcontinuoustransforma-
tion. In many of Siedlecki’s works, one
encountersphenomenainintimatecontact,
producinginterchangesthaterodeexpected
binaryoppositionssuchaspast/present,na-
tural/artificial,real/simulation,andhuman/
non-human.
InVolver (2012)Siedlecki,endeavoringto
‘allowsalttobecomeseaagain’,features
dualpedestalsmadeoficewithhunksof
rocksaltproportionaltothesubstances’nor-
maldistributioninsaltwater.Thesaltac-
celeratesthemeltingoftheicefusingthe
elementsandonceagainstagingareciprocal
relationshipbetweenobjectsandtheirsup-
ports.Whilethiscombinationreturnsthe
rocksalttoitsoceanicpast,entropyand
changeareshowntobeirreversible.Thisin-
compatibilityisevenmorepronouncedin
theattemptatfusioninBullet (2013),where
Siedleckiusedahomemadepotatocannon
toshootanironmeteoriteintoaplateofin-
dustrialsteel.Giventhatbothalloysareasto-
traccediunodegliultimicappellai,edèri-
mastoperunbreveperiodoascuoladalui,
perdivenirecustodediunapraticaartistica
in via d’estinzione. Similmente alla con-
fluenzatrans-storicadeimaterialidiOlla,
l’artistaimpiegaunmetododiproduzione
antidiluvianopergenerareunoggettocon-
temporaneo,rinnovandoildesigndelcap-
pelloperrenderlocompatibileconl’attuale
trend.Capacedimantenersibracealungoe
senzamoltocalore,questomaterialeera
usatonelpassatopertrasportareilfuocoper
lunghedistanze.Comeisuoiantenati,ilcap-
pellodiSiedleckipuòesserevistononsolo
comeunabbracciodiunatradizione,maan-
checomelapossibilitàditrasportareenergia
attraversoiltempoelospazio.InExothermic
Reaction (2013)l’artistaestraedaunvecchio
televisoreisuoicomponentidirame.Dopo
averestratto2kgdimaterialepuro,eaver
prelevatoenergiadalmetallo,l’artistahain-
dottounareazioneesotermica,producendo
solfatodirame,notodisinfettanteefungi-
cida.Spruzzandolasostanzachimicabluver-
dastrosuunatela,l’artistacreaunamono-
cromiachenonsolosostituiscel’esteticacon
lafunzionalità,mettendoinrelazionel’atto
dicospargereleviticoniltoccodelpennello,
maevocaancheunaconsiderazionemate-
rialisticadell’arte,pulendoeproteggendola
teladacontaminazioni.
IllavorodiSiedleckirappresentasoprattutto
glistatidellamateriaedilmovimentodel-
l’energiaattraversoiltempo,lospazioei
processi.Accentuandoireciprociprocessi
deldiveniresianegliumanicheneimateriali
edagenticoniqualiinteragiscono,l’artista
dissolveglioppostiearticolailmotodal-
l’unitàallacomplessitàeviceversa,comead
evitarechiusureosoluzioni,diqualsiasima-
terialesidisponga.
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