Adriano Nardi Personale Alto paesaggio La Giarina Arte contemporanea













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cm 200 x 135

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Comunicato Stampa


a cura di Lorenzo Canova

Adriano Nardi, nella sua seconda personale presso la galleria La Giarina, approfondisce il suo lungo e complesso lavoro di ricerca sui meccanismi della rappresentazione, attraverso opere che fondono pittura e digitale e divengono il tramite per una riflessione sull’ordine e gli inganni della percezione.

La dimensione analitica che segna da sempre il lavoro di Nardi viene qui condotta su un binario sospeso dove il corpo femminile può paradossalmente trasformarsi nelle forme di un paesaggio mentale, sfidando le nostre certezze e raggiungendo un territorio di indagine concettuale dove la bellezza viene scomposta e riordinata attraverso un metodo rigoroso di studio della visione e delle sue coordinate. La pittura assume dunque consistenze differenti, si trasforma in un’epidermide rugosa o in un medium dalla presenza lievemente materica, si smaterializza nei fluidi rivoli dei pixel e ritorna ambiguamente per sviare le sicurezze del nostro sguardo. In questo cortocircuito tra occhio e mente, la figura umana ritrova così misteriosamente una nuova forza per occupare lo spazio dell’immagine attraverso il sistema paradossale della sua apparente dissoluzione, mediante il suo smembramento e la sua scomposizione, dialetticamente risolti però nelle metamorfosi della sua struttura che scoprono il nuovo ed enigmatico valore della sua presenza fisica e simbolica.





















sede: La Giarina Arte Contemporanea
Via Interrato dell'Acqua Morta 82, 37129 Verona
phone+fax +39 045 8032316



periodo: 2 febbraio-5 aprile 2008
orario: dal martedì al sabato 15.30-19.30, mattino, lunedì e festivi su appuntamento
sabato 2 febbraio -ore 18.30

testo in catalogo:

leggi il testo di Lorenzo Canova: ”Tra corpo e paesaggio


Lorenzo Canova - Between body and landscape”

Adriano Nardi combines the attention for quality in painting with the research devoted to communicative and perceptive mechanisms, mixing different elements into a rigorous and common speaking on painting and its possibilities for renewal in today's contest of contemporary art. The artist has chosen to address his work to that direction where technique transforms into a linguistic research in connection with suggestions from mass communication. In this sense we understand his intention of conceiving his works in a conceptual way where painting is like suspended in an apparent "unfinished" and elaboration is shown through a refined fiction machine. The artist, in fact, carries on his research through a double binary, where painting is sometimes seen as a medium of "hot" communication, deliberately rich of pieces of information, signed by a stratification of references, solicitations and iconic samples. At the same time, in different occasions, the artist moves his painting into a "colder" direction, where his work meets pauses of emptiness and communicative silence, needed to support the more complex and complementary parts, in a dialogue in which reduction amplifies the visual messages through synthetic and minimal codes. The artist in this way plays with the demon of precision, which constantly reveals itself in his way, putting strain on him through his own constructive system. His process is rigorous so to compose a sort of open work where mutations modify the initial assumption. Variations on the initial theme take their place in suspense between the severity of mathematics and the aspiration to discover the formal necessity for disorder, which rectifies the project's roughness, the sense of a controlled chaos, transforming the final result of the work-piece. This intent is developed through a project combining the manual drawing with computer intervention, a mode denouncing its double nature, used to give shape to a work piece where our eyes are accompanied into a fictitious labyrinth, in which they are not always able to distinguish the pre-existing digital assumption from the pictorial intervention, even when the presumed colour density could make us figure out a particular tactile presence in that portion of the painting. The concept of tactility, however, concurs in the out coming of these work pieces, given its ambivalence connected to the artist and spectator's hand and senses, suspended between the physical flux of the paintbrush and the sensorial involvement of the electronic and, in particular, digital environments based on a tactile relation.1 It's not a case that in his recent cycle, Adriano Nardi, has deepened his long and complex work on images, through work pieces that develop the relation between painting and digital work and become a medium for meditation on glance's order and deceit. The analytic dimension of Nardi's work is conducted on a suspended binary where female body can transform itself into the shapes of a mental landscape, challenging our certainties and reaching a territory of conceptual research where beauty is dismantled and rearranged through a rigorous study method of its vision and coordinates. Nardi reflects on the chances offered by the pictorial illusionism to find a new meaning for the survival of painting, based on the possibility that the circumspection of this medium offers in the contradiction and sometimes the subversion of velocity, which sets the basis for the expressive power of mass communication. Nardi, as a consequence, makes use of mass media samples after revising, transforming and introducing them into a parallel and slackened worldliness where those mechanisms of persuasion are exposed and the artist can help the spectator to walk through a deeper perceptive path. Therefore, painting assumes different consistencies, transforms itself into a wrinkly skin or into a slightly presence of matter, it vanishes into the fluid trickles of pixel and returns to deviate our glance's certainties. Nardi's works avoid, however, the risk of a formal interest and discover themselves endowed with an evasive mystery, they enrich with an enigma hidden in the interstices developing between glance and thinking, in the stylistic tension of a representation, which seems to strive for its own destruction. Driven by a dynamism acting as a cooling wind, colours and shapes revive of a new vitality, painting vibrates with a new mental and stylistic lightness and figures announce an early renewal arousing from the geometric shapes of meditation and rigour. The feminine figure finds like this her strength in order to occupy the image space through the paradoxical system of her apparent dissolution, through dismantling and reconstruction, which are resolved into a metamorphosis of a structure discovering its value in a physical and symbolic presence.






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