High Gospel. Solo Show Alberto Tadiello 30/11/2012- 17/02/2013. Villa Croce, Genova. Installation shots. Photo Simona Cupoli

Inaugura oggi High Gospel, mostra personale di Alberto Tadiello a cura di Ilaria Bonacossa

A Genova l’artista presenta una serie di nuovi lavori: i nstallazioni sonore, grandi sculture e disegni. Esemplare è l’opera Tarantolata, una grande scultura rotante composta da  una betoniera portatile e da una raggiera di stecche metalliche e liste di mdf, che girando si trasforma in un cardo ferroso che avvolge e risucchia lo spazio circostante. Similmente, le due installazioni sonore realizzate attraverso la rielaborazione digitale di alcune campionature audio modificate, torturate, capovolte e rallentate dall’artista, danno vita a esperienze sonore magnetiche e avvolgenti. Le due serie di disegni sembrano esperimenti per il rilascio di forza pura, tracce di un segno feroce, buchi neri composti dall’ostinazione compositiva dei loro molteplici strati. I lavori presentati in mostra sono degli organismi attivi, che inesorabili, minacciosi e stridenti, restano prigionieri di processi inutili che li trasformano in enigmatiche presenze che girano, muovono, suonano, disegnano o tagliano cariche di melanconica energia. High Gospel rivela una profonda ossessione per la Natura e uno sguardo sempre radicato e volto ai suoi funzionamenti.

È interessante il fatto che, benché Alberto Tadiello sia nato nel 1983, i meccanismi e i materiali industriali al centro del suo linguaggio non siano fantascientifiche mostruosità digitali, ma al contrario si compongano di agglomerati elettro- meccanici, di chilometri di cavi elettrici, di sistemi audio e scarti di metallo. Diventa importante il fatto che queste installazioni non siano il frutto di un processo di produzione semi-industriale, ma vengano create in prima persona dall’artista attraverso ore di lavoro in cui taglia, piega, monta e salda materiali diversi.  Erede della tradizione ‘poverista’ nell’uso dei materiali e nel rapporto tattile, e non solo concettuale, con gli oggetti di cui si appropria, Alberto Tadiello crea sculture classiche nel loro uso dello spazio, vitali nella loro capacità di catturare energia e inquietanti nell’infiltrarsi fino a sotto la pelle di chi sta loro di fronte. (da CS)

Dal 30 novembre 2012 – 18 febbraio 2013

High Gospel. Solo Show Alberto Tadiello 30/11/2012- 17/02/2013. Villa Croce, Genova. Installation shots. Photo Simona Cupoli

High Gospel, Alberto Tadiello’s solo show Curated by Ilaria Bonacossa Villa Croce, Genoa  November 30, 2012 – February 18, 2013    

Through environmental installations, sculptures and drawings Alberto Tadiello analyses how time and space relate. Questioning the relationships that exist between the visual and acoustic dimensions, his poetical-engineering interventions create utopian machines that come to life in a sort of continuous dysfunctional functionality. His projects have developed in different directions: in 2005 he rielaborated the sound frequencies of the Venetian tides into a abstract and hypnotic musical script; in 2008 he created a minimalist wall-sculpture of small mechanical carillons, that accelerated beyond their limit, deformed their melodies into a cacophonic environmental installation. Similarly in 2009, mounting together

a drill, a biro and a compass, Tadiello invented an instrument for fractal drawings, that reproduced the organized randomness of particular movements; whilst in 2011 he aligned inside a series of mdf bells a rhizome of door-bells, as a way of representing the atomic configuration of the atom, as well as diffusing a vigorous sound wave.

In Genova the artist presents a series of new site-specific works, created in response to the classical rooms of the villa. Sound installations, large sculptures, drawings, crawlers imprisoned in their useless mechanical obsolescence, reveal a form of reverse Luddism. Representative of this mode of working is Tarantolata, a large rotating sculpture constructed from a cement mixer and a radial of metal slats and mdf splints, that when set in motion transforms itself into a metallic thistle, that wraps itself around the room. The brutal beauty of this sculpture becomes hypnotic when through its rotation it seems to contract the surrounding space. Similarly, the two new sound installations, born from the obsessive and perverse digital re-elaboration of audio samplings, transform sound into a looming, magnetic and engulfing three- dimensional sculptural element. Finally the two series of small abstract drawings become cathartic experiments for the release of energy, traces of a fierce sign, black holes that emerge from the stubborn overlapping of multiple layers.

The menacing, relentless and jarring mechanisms’ of the works presented at Villa Croce are stuck in their own disfunctionality, enacting useless processes that transform them in enigmatic presences ripe, in their constant turning, twisting, moving, playing and drawing, of melancholic energy.

High Gospel reveals a profound obsession with nature and its mechanisms. The title derives from the juxtaposition of two different universes. In the artist’s words: «High stands for tall, intense, uplifted, acute. Gospel, which I use as a specific musical term, delineates a creed. It’s a chorale of thoughts, impressions, temperatures that have expanded and condensed, solidified around ferrous lumps, tractions and tumbles. High Gospel is a line that runs high up; a Dolomite skyline.

It reminds me of celestial music and the psalm, while dialectically playing with the telluric energy that connects the works». Even though Alberto Tadiello was born in 1983, the mechanisms on which he focuses are not monstrous phantasmagorical digital creations but industrial materials and machines that are built from electro-mechanical agglomerates, kilometres of electrical cables, sound systems and scraps of metal. Furthermore the artist makes these installations in first person, consciously preferring hours of intense physical labour (cutting, folding, welding and mounting his components) to a process of semi-industrial production. This is surprising as Tadiello belongs to a post-digital generation, in which machines are no longer the continuation of our muscular system but have become the extension of our nervous systems, dematerializing the perception of our bodily limits, and allowing us to live suspended outside time and space. Emerging form the Arte Povera tradition, though, Tadiello manifests a profound tactile and conceptual relationship with the objects and materials he appropriates, creating sculptures that are classical in their use of space, vital in their capacity of channelling energy and uncanny in the way they metaphorically enter under the public’s skin.