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Salvatore Arancio: Fragments

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“Fragments,” curated by Irene Biolchini, investigates how ceramics are restored and preserved, reflects on the history of ceramics, its durability, and the dignity of the silent work that takes place in the lesser-known places of an institution.

With this project, Arancio continues his fascination with the medium of ceramics, this time through an investigation of how ceramics are restored and preserved. In collaboration with the MIC in Faenza, the artist proposes a dialogue with areas hidden from the public in the museum. A work composed of different elements created using the languages of video and sculpture, developed during different stages of research and production.

Initially, the artist worked on a video, proposing a poetic reinterpretation of the storage department and restoration workshop, where for years, tecnicians have been working to reconstruct ceramics from the museum’s collection damaged during the wartime bombing. The video consists of images of the places, works, and fragments, along with moments of work, stories, methodology, and stimuli that inspire the restorers.

At a later stage, the artist created a new series of sculptures exhibited in dialogue
With video. The glazed ceramic sculptures, were made during a series of workshops, in collaboration with MIC restorers, nullifying any hierarchical order between artist and craftsman. Elements created by different hands have been assembled, shaped from an imaginative interpretation and linked to the memory of works restored in the past by the MIC laboratory. Reversing the usual roles, this time it will be the artist who will reassemble together the fragments created by the restorers, giving shape to the sculptures, without prior knowledge of the work that initially inspired the shapes of the “fragments.”

The project as a whole, thus aims to address themes related to fragility and memory, while narrating how Italian excellence and “know-how” is used to rearrange chaos, giving a second life to works that would otherwise be forever lost or locked up in storage rooms. A tale that, through the artist’s eye, reflects on the history of ceramics, its durability and the dignity of the silent and careful work that
happens in the less visible and known places of an institution. A choral work in which individual parts listen to each other and meet.

 

Result of the ministerial call Cantica 21. which also includes collaboration with MAMbo in Bologna.

 

The exhibition is set up in the Project Room and the Faenza exhibition halls.

 

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