Giorgio Andreotta Calò: ACP Green Art Award

20 May - 30 June 2022
  • Senza titolo (in girum imus nocte) Senza titolo (in girum imus nocte) Senza titolo (in girum imus nocte)

    Senza titolo (in girum imus nocte)

    Untitled (in girum imus nocte) is a sculpture created by Giorgio Andreotta Calò in 2016. The genesis of the work is linked to the period and to the research carried out by the artist in Sulcis Iglesiente, in south-western Sardinia, starting from 2013.
    The wooden element from which the work Senza titolo (in girum imus nocte) originates is used by the miners in the film in girum imus nocte (2015) and in the action it documents, a night walk from the Carbosulcis mine to the island of Sant'Antioco (south-western Sardinia).
    The work was presented together with the film at the High Line in New York on the occasion of the group exhibition Wanderlust, curated by Cecilia Alemani and held between 2016 and 2017. In this context, the work was available for visitors to use during their walk. The work also recalls the shape of the stick, evoking the ritual aspect of the action of walking in the artist's practice in its primordial meaning.


    Senza titolo (in girum imus nocte)

    2016, aluminium, 160 x 3 cm

    © ACP - Art Capital Partners | Giorgio Andreotta Calò

  • Pinna Nobilis Pinna Nobilis Pinna Nobilis

    Pinna Nobilis

    The sculpture named Pinna Nobilis derives its appearance from the shell of the bivalve mollusc Pinna Nobilis, the largest in the Mediterranean waters.
    The presence of these organisms, endemic to the Mediterranean, is threatened by many human activities. Paradoxically perhaps, several colonies of Pinna Nobilis have once again proliferated in the Venice lagoon, where they had disappeared, as a consequence of the lagoon fauna repopulation program run alongside the ongoing construction of the huge MO.S.E. (acronym of MOdulo Sperimentale Elettromeccanico) architectural work, consisting of a dam of mobile sluice gates to fend off high tides from Venice.

    Made in bronze, the sculptures produced by Calò from 2014 onwards portray specimens of Pinna Nobilis in their actual size. Next to the central body formed by the shell, the metal casting channels and the "embouchure" are integral parts of the sculpture, traces of the lost wax casting process and, at the same time, supporting elements of the work itself. In some cases the original shell is contained within the bronze, emphasising the coexistence of the natural and the anthropic element, the alchemical transmutation between them.

    Each Pinna has a naturally symmetrical shape: two lateral valves almost identical to each other make up the shell. The same symmetrical structure appears in several of the artist's sculptures and interventions, for example his Clessidre [Hourglasses] series (1999 - ongoing).

    In 2017, Giorgio Andreotta Calò created a series of Pinna Nobilis in white bronze for the environmental installation Senza titolo (La fine del mondo) [Untitled (The end of the world)] exhibited at the Italian Pavilion during the 57th Venice Biennale. Organically integrated into the scaffolding structure on whose poles they "cling" like capillary ramifications, these works populated the lower level of the installation. While adding to the figuration of a dark, submerged environment, they transpose into sculptural form and anticipate the mechanism of reflection that the entire work activates at its upper level.4 At the top of an ascending staircase, a dizzying, alienating and at the same time clear and calm vision appears to the public, with the untouched Arsenale architecture reflecting its volumes onto a large pool of water. The same process of these sculptures' mimesis with the surrounding environment occurs in the "CITTÀDIMILANO" exhibition installation, in which twenty-six examples of Pinna Nobilis integrate organically with the building's architecture and with the other works on display: some are placed on pillars in the space, others lay on the ground near the core samples from Produttivo [Productive] (2018-19).

    The Pinna Nobilis series brings to light many themes that are recurrent in the artist's practice: notably, his view of the landscape, in particular the Venice lagoon, from which Andreotta Calò extracts fragments and reworks them into objects that possess a strong, symbolic and evocative charge. The symmetric form of Pinna Nobilis also recalls the symbology of the double as a vehicle of investigation for the present, suspended between reality and virtual representation.

     

     

    Pinna Nobilis (M)

    2017 - 2018, white bronze, 70 x 24 x 14 cm

    © ACP - Art Capital Partners | Giorgio Andreotta Calò | Ph: Studio Giorgio Andreotta Calò

  • Carotaggio (Venezia) Carotaggio (Venezia) Carotaggio (Venezia)

    Carotaggio (Venezia)

    In geology, the term “core sampling” refers to a method boring to analyze the physical or chemical characteristics of the earth. Extracted from underground using a hollow drill, the material samples are an almost perfect cylindrical shape. Since 2014, Giorgio Andreotta Calò has been using these elements as sculptural forms in a series of works called Carotaggi [Core samples]. In his personal way, these works appear to continue the minimalist, conceptual rigor of environmental works such as Walter De Maria’s The Broken Kilometer (1979) and The Vertical Earth Kilometer (1977).
    As well as the more recent pieces from Sulcis Iglesiente in Sardinia, the Carotaggi extracted by Andreotta Calò from the Venice lagoon bring to light layers of material offering a representation of the geological time of a specific area. Presented for the first time in 2014 in the solo exhibition “La scultura lingua morta (I)” [The dead language sculpture (I)] at the Wilfried Lentz Gallery in Rotterdam, the elements that make up this series are single cores (specimens from a single vertical survey, in turn split up into several “carrots”) or a group of several samples. After having selected the samples, the artist presents them on the floor in a meticulously defined position. Arranged parallel to one another, the cores are slightly staggered to reveal a diagonal configuration that reproduces the progression of the extraction layers. Indeed, their longitudinal arrangement reflects their original underground depth: the verticality of geological time is therefore transposed into a horizontal and linear dimension that is spread out in space. The origin of the various levels of the soil may also be gleaned from the material’s variety of shades and colors. Sometimes the artist further intervenes on the chromatic aspect, baking the clay in the cores. In some cases the Carotaggi are sheathed in steel or PVC pipes, the “environmental cores” used for extraction. The artist then slices themin half to reveal their contents.
    Unlike the cores from Sardinia, which the artist selected from an existing archive, in Venice the artist commissioned a company specializing in geognostic and geotechnical surveys to extract the first series of cores, with the intention of probing for caranto clay beneath the lagoon seabed. Caranto (from the Latin caris, “stone”), the material of which these cores are largely composed, is a silty-sandy clay that is ocher-grey in color; it makes up the extremely compact layer on which Venice’s foundations rest and has been sinking for the last century. Below the topmost layer of caranto is in fact a layer of fresh water, on which its upper levels “float”. The phenomenon of subsidence—i.e. the sinking of the caranto layer and therefore of the entire city—has been significantly accelerated by human activity, mainly linked to the drainage of the aquifers (for the purpose of supplying the cooling systems of the industries of the Marghera petrochemical pole, nearby Venice, or irrigating the growing land in the surrounding area). Because of the configuration of the material from which these cores are made — caranto — and their characteristic cylindrical shape, for the artist these Carotaggi are “a metaphor of the city’s backbone and semantics”, an instrument for reading the lagoon context and the interaction between human activity and natural processes.


    Carotaggio (Venezia)

    2014 - 2022, caranto clay from the Venice Lagoon,  PVC tube, semi-cylindrical steel tube

    176,2 x 9 cm

    © ACP - Art Capital Partners | Giorgio Andreotta Calò