gianluca codeghini
2019
Si spiega ma non si spezza
Gianluca Codeghini
December 14 2019 - January 18 2020
Publication with texts by Terry Atkinson and Gianluca Codeghini
Special thanks: Emilio and Timotea Prini - Terry Atkinson - Elio Grazioli - Sebastiano Dell’Arte - Chiara Bertoni.
Galleria Six - Piazzale G. Piola 5 - 20131 Milano
Galleria Six is pleased to present "Si spiega ma non si spezza", the second solo exhibition by Gianluca Codeghini (Milan 1968) in own spaces.
A selection of works on painting and estrangement, with an explicit propensity for gesture as a strategic element. A project stimulated by Emilio Prini in the early 90s with a personal solicitation to perpetual displacement. An exhibition in which ideas and forms are exhorted to move, rethink and still in the process of being defined. So Codeghini takes the painting behind him, now orphaned by the painter.
It all begins with a frontal confrontation, a duel and a reciprocal study, in which techniques are deployed in search of a tactic. The exhibition is entitled "Si spiega ma non si spezza" because folding and explaining are like closing and opening, folding the image on itself to facilitate its transport means giving in to words. A defused vision, but still with the growing consistency of an arsenal on which to rely to rekindle the fuse from time to time, here and there, so that the image is confused with the detonation.
A radical project that does not want to make alliances, reaffirm logic of meaning, winking, consoling or taking prisoners, but rather the opposite. Every work would like to communicate immanence always close to an end, but not to lead back to an end.
"I still do not know if it was the right time, the right one, but in fact I have now accepted the invitation made to me by Emilio Prini in the early '90s, I shared it with Elio Grazioli, with whom I retraced those exchanges in a short interview (which became a small publication published by laciecamateria), I talked about it to Sebastiano Dell'Arte who invited me to focus the process in an exhibition and, more recently, to Timotea Prini who joined the game, and then passed the baton to Terry Atkinson, who shuffled the cards in the catalogue. A further relaunch will follow in January, with a publication in the precious Segnature series, edited by Paola Lenarduzzi".
Gianluca Codeghini
SULLA PITTURA
E SOTTO LA SCULTURA (On painting and under sculpture, 2019)
This isn’t really a board game, although many people consider it to be a game played at home. We consider it a solipsistic game. Having said that, we can start playing, one at a time, in turns, sliding on the surface of a painting until we enter the interstices of a sculpture.
The aim of the game is the game itself, while the end of the game has never been found.
It’s now clear that in Sulla pittura e sotto la scultura, each player, in order to achieve the painter’s or the sculptor’s purpose, has to recognize these variables that must remain unchanged, even if their behavior, as extensions of the same rules of meaning, will be produced differently.
In other words, different rules of meaning may have pictorial or sculptural extensions whose results are identical.
The pictorial or sculptural meaning comes from the sum of gestures that bring the player closer to the nearest ending of the game, to the point of creating, in the player’s memory, the doubt of having produced useful gestures or of not having produced any at all.
Gianluca Codeghini
December 14 2019 - January 18 2020
Publication with texts by Terry Atkinson and Gianluca Codeghini
Special thanks: Emilio and Timotea Prini - Terry Atkinson - Elio Grazioli - Sebastiano Dell’Arte - Chiara Bertoni.
Galleria Six - Piazzale G. Piola 5 - 20131 Milano
Galleria Six is pleased to present "Si spiega ma non si spezza", the second solo exhibition by Gianluca Codeghini (Milan 1968) in own spaces.
A selection of works on painting and estrangement, with an explicit propensity for gesture as a strategic element. A project stimulated by Emilio Prini in the early 90s with a personal solicitation to perpetual displacement. An exhibition in which ideas and forms are exhorted to move, rethink and still in the process of being defined. So Codeghini takes the painting behind him, now orphaned by the painter.
It all begins with a frontal confrontation, a duel and a reciprocal study, in which techniques are deployed in search of a tactic. The exhibition is entitled "Si spiega ma non si spezza" because folding and explaining are like closing and opening, folding the image on itself to facilitate its transport means giving in to words. A defused vision, but still with the growing consistency of an arsenal on which to rely to rekindle the fuse from time to time, here and there, so that the image is confused with the detonation.
A radical project that does not want to make alliances, reaffirm logic of meaning, winking, consoling or taking prisoners, but rather the opposite. Every work would like to communicate immanence always close to an end, but not to lead back to an end.
"I still do not know if it was the right time, the right one, but in fact I have now accepted the invitation made to me by Emilio Prini in the early '90s, I shared it with Elio Grazioli, with whom I retraced those exchanges in a short interview (which became a small publication published by laciecamateria), I talked about it to Sebastiano Dell'Arte who invited me to focus the process in an exhibition and, more recently, to Timotea Prini who joined the game, and then passed the baton to Terry Atkinson, who shuffled the cards in the catalogue. A further relaunch will follow in January, with a publication in the precious Segnature series, edited by Paola Lenarduzzi".
Gianluca Codeghini
SULLA PITTURA
E SOTTO LA SCULTURA (On painting and under sculpture, 2019)
This isn’t really a board game, although many people consider it to be a game played at home. We consider it a solipsistic game. Having said that, we can start playing, one at a time, in turns, sliding on the surface of a painting until we enter the interstices of a sculpture.
The aim of the game is the game itself, while the end of the game has never been found.
It’s now clear that in Sulla pittura e sotto la scultura, each player, in order to achieve the painter’s or the sculptor’s purpose, has to recognize these variables that must remain unchanged, even if their behavior, as extensions of the same rules of meaning, will be produced differently.
In other words, different rules of meaning may have pictorial or sculptural extensions whose results are identical.
The pictorial or sculptural meaning comes from the sum of gestures that bring the player closer to the nearest ending of the game, to the point of creating, in the player’s memory, the doubt of having produced useful gestures or of not having produced any at all.