As usual, CAMeC director Bruno Corà curated the sixth edition of "Enclave. Progetti d'artista", calling three contemporary artists to confront each other within the Centre.
In Hôtel de l'avenir Giuliano Galletta aims to create a reflection on the theme of future and its announced 'vanishing', juxtaposing visual arts, literature, philosophy and daily life. The artist creates an installation which develops in height, subdivided into several spatial levels corresponding to as many conceptual levels. A first section is composed by the Galleria dei crepati, a Beckett-ish video installation which creates sort of a virtual cavern in which dozens of human faces materialize. Another section is dedicated to an astronaut-mannequin, hanging upside down from the ceiling, which together with a series of other photographic works represents the fake myth of the space conquest as it were experienced by the Soviet regime. Eventually, a Ragazza dalla giacca a vento rossa (Girl with the red raincoat) who turns towards the visitors and waves at them from far away is the protagonist of the last microstory. The catalog constitutes a work on its own, organized as a visual novel created through writings, images and quotations plowed through an anti-academic work which represents the artist's latter 30 years of work. For the opening, Franca Fioravanti from the Teatro delle Nuvole read excerpts from Majakovskij.
Sequenzeluce is the series of works Bruno Querci created specially for CAMeC. The Centre's second floor also displays a wide selection of his most significant works from 1985 on. Critics defined his work as very rigorous, essential, radical, energetic. "Querci's painting, with its obsessive black and white bicromy, lives on a non-linear space-timeline: in this case it mirrors a dimension, namely the collapse of distances and the time breakdown, which is peculiar to our time, in which present, past and future constantly meet." (Francesca Pola, featured in the catalog). "The big surfaces in black and white show the conquest of a dimension which is not just inside the paintings, but which also attracts the white walls of the room on which they are hanging and the whole volumetry around the visitors" (Bruno Corà, featured in the catalog).
Opere 1973 – 2007 from Gianfranco Zappettini is an overview of his work starting from his Analytic Painting period, during which he was a protagonist, even besides his own art. From 1976 his painting was also accompanied by photography, but always "thinking about it in terms of painting". 1980 is a radical change: he moves to S. Andrea di Rovereto and isolates himself from the international art circles, and some years later he enters a phase of spiritual research which will have a strong influence on his art as well; he gives up conceptual distances and irony in his art and focuses on works which get inspired by symbolism and Sufism. From 1991 he stilistically returns towards his late '70s works, and in '94 his canvases, after being painted, get totally covered by a layer of initially grey and later grey-blueish acrylic, mixed with marble and quartz powder, as if a thick layer of dust came to cover the shapes and the colors of his paintings. In his most recent works the surface is less material, even contours disappear and the 'blue element' pervades the whole surface, and only the canvas threads give it a rhythm, as infinite as the weaving shuttle's movement on the threads of cosmos.