Matrix
First central Exibhition of multiplied art
Matrix, curiously, is an English word connected to the concept
of industrial reproduction: matrix, die that reproduces its own
impression. But it is also a 'more ancient word, a Latin one,
that defines one of the most universal concepts, and
therefore primordially biological, of man: the one of the
mother, of the womb... the question is very intriguing...
A matrix leaves its own impression and this becomes a new
"thing" that is sign of the existence of its generatrix. But in
classic graphics, finished the printing, the mother is killed (is
crossed out). Nevertheless in the real competition among the
objects a multiplied work, is worth less than an unique
exemplar.
But are we sure that this is still true?
Is the originality still required in the same terms as in the
recent past? Which concept of originality can be given today,
when the reproducibility in general, even chemical and
biological, and virtuality compose our world? At the end, can a
sectorial glaze, a side foray in the mult!plied art, give some
lightenings for an interpretation of wider and more continental
phenomenon that are nowadays carrying out?
Which are the profound epochal reasons that join the
emerging trends in art under a common demand of anonymity
of the work, that really assumes an industrial aspect, an
intense cold of laboratory, a presence similar to an objective
document to certify the existing - only just born and already a
find of the present - even when you include the physical,
corporeal representation? If it is true that this particular
aspect of the work is obtained by the artists
through the employment of technologies conceived and
tested by different people to work in a different context, the
one of the mass-series (from the advertising pervasion, to the
7 photographic experimentation, to the electronic video
processing), then to investigate the roots of multiplication in
art (starting from the classic "graphics" and updating
biennially the engagement, as the Trieste Contemporanea
Committee intends to do), can maybe be useful to understand
the development of the contamination of the limits between
the sphere of the art and the one of the extra-artistic,
consolidated in the Sixties with the artistic representation of
mass-society, and the consequent keeping of the visual
artistic system thank to the incredible nowadays
"reconversion" that makes us read these multipliable
documents as unique testimonial works.
That's way, in the open shape of " notes" that can transmit
suggestions, starts today this exhibition patronized by the
Central European Initiative and coordinated by an international
committee that selected 15 artist of a geographic area that
has always privileged the experimentation and graphic search
and has always believed in the cultural wealth of the
comparison.
A sort of number zero outlining the direction of the work that
we intent to develop in the future two years and we hope it
can be helped with ideas and suggestions.
Giuliana Carbi
President
Trieste Contemporanea Committee
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