Gallery/Dealer Details - leandro di prinzio
I consider myself an exception to the group of artists emerging from Italy's Abruzzo region (see list below for a selection of exhibitions). Rather than concern myself with restoring the lost landscapes of rural Italy, I address the changes brought about by globalization and the impossibility of fixing provenance. Things no longer have a place, but rather their place is always changing. This movement is the new essence of things. "Re-Moving Art", in which each image is comprised of movable magnetic canvases, asks what is the status of cultural icons once they have been removed from the very cultures that granted them significance. If art loses its origins, how can the work itself be said to be fixed? And what does it mean to fix art? As one playfully (re)affixes these canvases to the board, one discovers that fixing art also means deconstructing it, to repair art is also to destroy it.
To be sure, globalization promises a convergence of cultures--what one might call a magnetic attraction among cultures, but such unity or uniformity is undone by the very displacement of things. Things no longer reside where they once did, and things also are no longer what they once were. Everything comes together whimsically just as the art works in this series are reconstructed according to the personal preferences of the one who arranges and re-arranges the pieces. Each Mondrian painting, for example, contains the possibilities of thousands of other Mondrians. But is it then still a Mondrian? Who then is the artist-- Mondrian, di Prinzio, or the active spectator? And what changes when a Pollock painting--or for that matter, any abstract painting--is fragmented and even ripped apart? Even if the pieces are always re-placed, is it the same work it once was?
While none of these questions are unfamiliar ones, "Re-Moving Art" is intended as a warning that they may simply be moot ones. The apparent freedom gained by replacing one image with another only occurs within the strict limits of a calculation; there are only so many pieces and thus a fixed number of possibilities. The most instructive example is "Folded Flag" in which the flag individual canvasses are piled in a square in front of the canvas. While the spectator can attach and move the stars and stripes of the American flag to invent different versions of the flag, such freedom always only occurs under the sign of America. The nervous question I want to pose is: does America as the global super power now set the bounds within which anything--even art works that preceded America's global reach by decades if not centuries-- can exist and move? Any answer my work might offer would necessarily be a part of that calculation. Instead, I challenge the spectator to participate or not to participate, to re-make the image or let it remain as is. By opening up the possibility that the spectator might not re-place the artwork, I suggest that uncertainty or disavowal upsets the calculation. That is to say, "Re-Moving Art" reminds us that the space where art no longer is or is about to no longer be, that space might be the only space resistant to the calculations of globalization.
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