Galleria Christian Stein is happy to announce the Marco Bagnoli exhibition Nel Paesaggio di Xvarnah, opening on February 10 at Corso Monforte 23, Milan.
Bagnoli’s occasion-specific environmental set up consists of three works: Nel Paesaggio di Xvarnah, 2019; Il Giardino degli Specchi, 2020; Dove Porta, 2021.
The title work, Nel Paesaggio di Xvarnah [In the Land of Khvarenah], consists of an inseparable collection of seven drawings primarily based on Persian miniatures from the Nizami Manuscript, which the artist found within the Museum of Turkish and Islamic Arts in Istanbul (Türk ve Islam Eserleri Müzesi) after an extended search.
The photographs conjure the Mazdean Khvarenah, the sunshine pervading the legendary land of origin. Khvarenah could also be conceived because the timeless actual world whence historical past unfolds and smart worlds emerge. It’s the eighth world previous and mendacity above the opposite seven: the karshvar.
One among Bagnoli’s salient traits is the distant gaze of his quest, ranging over far territories—primarily Jap, the Indo-Iranian world. His work embodies a convention that unites artwork, philosophy, and science.
“That which is imaginative and prescient for the mystic is expressive materials for Bagnoli” writes Fulvio Salvadori. The exhibition relates Bagnoli’s potential to defamiliarize the gaze, to mine the imagery of metaphysical territories, and strikes alongside the road the place the seen and non-visible meet.
In honor of this panorama of the refined—alive solely to those that know the way to see—the exhibition additionally options Il Giardino degli Specchi [The Garden of Mirrors]. Impressed by a visit to Iran in 2010, it was first conceived for the backyard of the Italy Pavilion in Auroville, India. That work featured vegetation round a central fountain; in Isfahan, Iran, the fountain is ringed by acoustic jars. Within the model for the Galleria Stein, parabolic mirrors and crimson bands are the constituent parts in a gradual method to an illuminating dimension. The work pertains to its encompassing house “not [based] on an objectified metric system, however on the light-second, a really modern unit of measurement” (Celant G., Marco Bagnoli, Skira, Milano 2018).
Though altered in look and type, the backyard is at all times composed as a quincunx, i.e., 5 gadgets organized just like the 5 on a die. Bagnoli typically makes use of this association as a metaphor for absolute concord (see Calasso R., I geroglifici di Sir Thomas Browne, Adelphi, Milano 2018).
Dove Porta [Where Door] marks a transition level within the exhibition: an ineluctable boundary, place of ingress or egress relying on the place the observer stands. The work echoes La Porta [The Door], exhibited at Documenta in Kassel in 1992, now within the assortment of the Castello di Rivoli Museo d’Arte Contemporanea. La Porta includes a valuable alabaster mosaic with an elliptical parabolic type on the heart crossed by a crimson band. The geometrical motif of the inlay suggests Aleph, a recurring topic in Bagnoli’s oeuvre. Dove Porta pays tribute to Pavel Florensky’s Le Porte Regali [The Royal Doors]: “These two worlds—the seen and the non-visible—are in touch. Nevertheless, the distinction between them is so massive that the issue of the boundary the place they meet, each distinguishing and uniting them, can’t be prevented.”
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