Ernesto Neto returns to Italy with a brand new project

The First Art Newspaper on the Net    Established in 1996 Sunday, March 3, 2024


Ernesto Neto returns to Italy with a brand new project
Installation view. Photo: Lorenzo Palmieri.



BERGAMO.- Mentre la vita ci respira – SoPolpoVit’EreticoLe is the title of a solo exhibition by the renowned Brazilian artist Ernesto Neto (Rio De Janeiro, 1964) hosted in Bergamo’s Palazzo della Ragione: the first of a new three-year cycle curated by Lorenzo Giusti for the evocative Sala delle Capriate, GAMeC’s summer venue for the fourth year in a row.

Twenty years after the artist’s debut participation at the Venice Biennale (2001), curated by Harald Szeeman, when he was invited by Germano Celant to represent Brazil in the section given over to the national pavilions, Ernesto Neto returns to Italy with a brand new project, a prelude to the exhibition Nothing Is Lost. Art and Matter in Transformation, to be staged at the GAMeC in the autumn of 2021.

Neto’s multisensory installations pervade the space, immersing the visitor in evocative environments in which materials, essences, and forms take on multiple connotations. Everything in Neto’s work contributes to the creation of new universes of meaning, conceived as tools for healing the wounds of contemporary society.

Seen from the other side, the large central installation, entitled SoPolpoVit’EreticoLe, looks like a kind of agroglyph: a drawing with an organic form, a sort of octopus traced on the floor of the large room, the tentacles of which move simultaneously in different directions, also reminiscent of the movement of the boa to be found in many other projects by Neto.

Part octopus, part sun, part cell, the drawing has a circle in the center of the figure that seems to evoke the presence of a navel. The navel is a form of cross-cultural symbolism that projects the analogy between the universe and the body onto the very concept of the center.

Closely bound up in human physiology is the consideration of the navel as the generating hub par excellence. Hence the “life” evoked by the title of the installation, which in fact takes the form of an acrostic created from the initial syllables of the Italian words for “sun”, “octopus,” “life,” and “heretic”, put together following the rhythm of the words so as to transmit a sense of musicality and movement.

Conceived in actual fact as a bed, one of the many natural resting places recreated in the space of Palazzo della Ragione, on which to lie down or sit and share the experience of taking a break, Neto’s work makes use of locally sourced materials, such as stones and straw, plants, spices, and medicinal herbs, placed in handmade bags using the crochet technique, so as to stimulate all of the five senses.

The installation combines an attention to the themes of ecology, rituals and spirituality, characteristic of Neto’s research, with visions and suggestions evoked by comparison with the medieval origins of the palace and its centuries-old history.




It was in fact during the final phase of the so-called Dark Ages that, even in Northern Italy, many free women who lived in close contact with nature—thus spontaneously picking up the legacy of animist and pantheist cultures still thriving in popular society at the time—were accused of witchcraft, persecuted as heretics and burned at the stake.

As recent studies tell us, witches embodied the wild side of nature, everything in it that appeared autonomous, unconditional, out of control, and therefore in contrast with the orderly vision of the world as promoted by official doctrines. It is worth remembering how the etymology of the word “heretic” derives from the Greek word for “choice” without implying any immediate positive or negative connotations. However, this term soon became indicative of a specific choice: that of abandoning a thought until then deemed as valid in order to offer a new interpretation in its place.

Neto’s work therefore invites us to rethink this crucial passage in the history of the West, which affected not only the “Old Continent” but also the lands conquered overseas by European colonizers, where the persecution of women became one of the cruelest means of subjugation and exploitation of indigenous populations.

The artist literally invites us to put on new clothes—indeed also presenting some outfits in the exhibition—that might place us in relationship with the natural world, with the spirits of our ancestors and the non-Western epistemologies to which he is linked.

The installation constitutes a powerful hymn to life, to nature in its most ancestral dimension, as well as an invitation to reconsider the importance of a non-functional, non-anthropocentric vision of the universe, together with the principle of a holistic conception of the world and of the substantial materiality of everything.

For this reason, Neto’s installation is a prelude to the exhibition Nothing Is Lost. Art and Matter in Transformation, the second chapter of a long-term exhibition project around the theme of matter. After Black Hole. Art and Materiality from Informal to Invisible, the second exhibition of the trilogy – curated by Anna Daneri and Lorenzo Giusti – turns its attention to the work of those artists who, at various times, have investigated the transformation of matter to develop a reflection on change, on the passing of time, and on the future of the planet.

Ernesto Neto (Rio de Janeiro, Brazil, 1964; lives and works in Rio de Janeiro).

Since the mid-1990s, Ernesto Neto has produced an influential body of work that explores constructions of social space and the natural world by inviting physical interaction and sensory experience. Tension, weight and empty spaces are decisive elements in Neto’s work, unfolding in installations, sculptures and drawings. Using mostly textile and organic materials, his work is done by hand under a meticulous exercise that seeks to activate the five senses.

Noteworthy recent solo shows include: Mentre la vita ci respira: SoPolpoVit’EreticoLe, GAMeC (Bergamo, Italy, 2021); SunForceOceanLife, The Museum of Fine Arts (Houston, USA, 2021); Soplo, Malba (Buenos Aires, Argentina, 2020) and Centro Cultural Palacio de La Moneda (Santiago, Chile, 2020); Sopro, Pinacoteca do Estado (São Paulo, Brazil, 2019); GaiaMotherTree, Zurich Main Station, presented by Fondation Beyeler, (Zurich, Switzerland, 2018); Boa, Museum of Contemporary Art Kiasma (Helsinki, Finland, 2016); Rui Ni / Voices of the Forest, Kunsten Museum of Modern Art (Aalborg, Denmark, 2016); Aru Kuxipa | Sacred Secret, TBA21 (Vienna, Austria, 2015); The Body that Carries Me, Guggenheim Bilbao (Bilbao, Spain, 2014). Over the years Neto has participated in significant group shows such as: the Venice Biennale (Venice, Italy, 2017, 2003 e 2001), Lyon Biennial (Lyon, France, 2017), Sharjah Biennial (Sharjah, UAE, 2013), Istanbul Biennial (Istanbul, Turkey, 2011), and Bienal de São Paulo (São Paulo, Brazil, 2010 and 1998). His work is present in the following international collections: Centre Georges Pompidou (Paris, France), Inhotim (Brumadinho, Brazil), The Solomon R. Guggenheim Museum (New York, USA), MCA (Chicago, USA), MOCA (Los Angeles, USA), MoMA (New York, USA), Museo Reina Sofía (Madrid, Spain), SFMoMA (San Francisco, USA), Tate (London, UK), and TBA21 (Vienna, Austria) among others.










Today's News

June 13, 2021

How a family transformed the look of European theater

Hauser & Wirth Zürich opens an exhibition of new and recent work by Guillermo Kuitca

Treasures of a Storied Manhattan Collection: Christie's Online Auction June 15- July 1

New display at The Fondation Beyeler explores the relationship between nature and culture in art

ARCOmadrid 2021 celebrates its return with a view to reactivating the art market

An onscreen chat with Hito Steyerl, art's great screen skeptic

Gottfried Böhm, master architect in concrete, dies at 101

Christie's and amfAR announce 'From the Studio: Part Two'

Lunds konsthall opens an exhibition devoted to the internationally renowned artist Runo Lagomarsino

US gold coin sells for record $18.87 mn at Sotheby's auction

The Frye Art Museum presents a new yearlong thematic presentation of the collection and archival materials

Galerie Nathalie Obadia presents a group of Roger-Edgar Gillet's figurative paintings from the early 1960s

Li Hongbo's third solo exhibition with Eli Klein Gallery opens in New York

Dix Noonan Webb to sell large collection of 19th century Sheffield tokens and badges

Hearing the city, too, at an outdoor Berlin film festival

Juilliard students protest tuition increase with marches and music

ConnectiveCollective on view through June 27 at the Neuberger Museum of Art

'Supernatural America: The Paranormal in American Art' premieres at the Toledo Museum of Art

Polaroid celebrates Pop artist Keith Haring with exclusive collaboration

Kate Frances Lingard's first solo exhibition opens at arebyte Gallery

Ernesto Neto returns to Italy with a brand new project

Designing Motherhood exhibition opens at the Mütter Museum

Wanrooij Gallery in Amsterdam opens a surreal solo exhibition of Dutch mixed media artist Leon Keer

The Stedelijk Museum exhibits the single-channel video installation SaF05 by Charlotte Prodger




Museums, Exhibits, Artists, Milestones, Digital Art, Architecture, Photography,
Photographers, Special Photos, Special Reports, Featured Stories, Auctions, Art Fairs,
Anecdotes, Art Quiz, Education, Mythology, 3D Images, Last Week, .

 



Founder:
Ignacio Villarreal
(1941 - 2019)
Editor & Publisher: Jose Villarreal
Art Director: Juan José Sepúlveda Ramírez

Royalville Communications, Inc
produces:

ignaciovillarreal.org juncodelavega.com facundocabral-elfinal.org
Founder's Site. Hommage
to a Mexican poet.
Hommage
       

The First Art Newspaper on the Net. The Best Versions Of Ave Maria Song Junco de la Vega Site Ignacio Villarreal Site
Tell a Friend
Dear User, please complete the form below in order to recommend the Artdaily newsletter to someone you know.
Please complete all fields marked *.
Sending Mail
Sending Successful