INVITO-ORIZZONTI-BOTTINO

Spaziotemporaneo

April 27> May 21, 2016

Opening: Wednesday, April 27 at 18:30

Via solferino 56 /20121 MILANO

tel. 02 6598056 / spaziotemporaneo@tiscali.it /

www.galleriaspaziotemporaneo.it

The personal exhibition by Max Bottino 1:(X) VOLUME II / orizzonti di comparazione opens at Milan’s Spaziotemporaneo on April 27 2016. The exhibition centres on the relationship between memory and the way it is bound up, evolving and involving through signs, designs, textures, maps and layers, which from ancient drawings and tiny dots spawn a continuous stream of images and impressions that pour out into the walls, and in the eye and mind of the beholder.

A long, meditated and sensitive work unravels throughout long sequences of images that are at once light and strong, energetic and coy, curious and provocative, and which step by step follow time just like vital image stills of experience.

Where does it all begin? Everything starts with a gesture: a father kneading dough … a grandmother busy sewing … an image, a slice of life, a person, a story. In Max Bottino the present is always a pondered and hearkened time, because memories and reality in this case bear the same weight. Then the ongoing transcription begins, a lengthy succession of signs that fill up sheets of all sizes, large or small, but still these are beloved and precious papers, clear as the writing that fills them: there are many signs in this handwriting. Max’s signs have to do with the music, however: there are many kinds of signs and they are used not only for piano compositions, but in organic layers such as in a movement of a symphony, or in an ancient map of godforsaken, unreachable places. When appropriate the pace is dictated by frottage, which may be wide and stretched out, or thick and obsessive: an ideal base for sudden movements, which form multiple sequences of sheets, always different, that build around a recurring intuition until it fizzles out. Sometimes the rhythmic base is the writing, deleted and scattered throughout the signs that richochet onto the lines in an orderly way, absorbing elusive words from all around. Small life fragments are identified and bound up with queer and curious images.

And Max makes a particular and anti-historical use of these collections: as that time when, after having seen and photographed light reflections on the ceiling, he showed no interest in their origin but arranged for their transformation into a mathematical function. But all this is done neatly, every little real splinter of reality is carefully cataloged and set into the work, accompanied by long pages of writing, compared with other images, and furnished with a visual rhythm. Then, streamed onto the walls you’ll see a scrolling sequence of images that will envelop you: each of them contains a part of Max’s world, but all belong to the “narrator” and let you enter the intimate language of the artist so that you may understand him fully.

For Max Bottino
Patrizia Serra

Press release

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INVITO-ORIZZONTI-BOTTINO

Spaziotemporaneo

April 27> May 21, 2016

Opening: Wednesday, April 27 at 18:30

Via solferino 56 /20121 MILANO

tel. 02 6598056 / spaziotemporaneo@tiscali.it /

www.galleriaspaziotemporaneo.it

The personal exhibition by Max Bottino 1:(X) VOLUME II / orizzonti di comparazione opens at Milan’s Spaziotemporaneo on April 27 2016. The exhibition centres on the relationship between memory and the way it is bound up, evolving and involving through signs, designs, textures, maps and layers, which from ancient drawings and tiny dots spawn a continuous stream of images and impressions that pour out into the walls, and in the eye and mind of the beholder.

A long, meditated and sensitive work unravels throughout long sequences of images that are at once light and strong, energetic and coy, curious and provocative, and which step by step follow time just like vital image stills of experience.

Where does it all begin? Everything starts with a gesture: a father kneading dough … a grandmother busy sewing … an image, a slice of life, a person, a story. In Max Bottino the present is always a pondered and hearkened time, because memories and reality in this case bear the same weight. Then the ongoing transcription begins, a lengthy succession of signs that fill up sheets of all sizes, large or small, but still these are beloved and precious papers, clear as the writing that fills them: there are many signs in this handwriting. Max’s signs have to do with the music, however: there are many kinds of signs and they are used not only for piano compositions, but in organic layers such as in a movement of a symphony, or in an ancient map of godforsaken, unreachable places. When appropriate the pace is dictated by frottage, which may be wide and stretched out, or thick and obsessive: an ideal base for sudden movements, which form multiple sequences of sheets, always different, that build around a recurring intuition until it fizzles out. Sometimes the rhythmic base is the writing, deleted and scattered throughout the signs that richochet onto the lines in an orderly way, absorbing elusive words from all around. Small life fragments are identified and bound up with queer and curious images.

And Max makes a particular and anti-historical use of these collections: as that time when, after having seen and photographed light reflections on the ceiling, he showed no interest in their origin but arranged for their transformation into a mathematical function. But all this is done neatly, every little real splinter of reality is carefully cataloged and set into the work, accompanied by long pages of writing, compared with other images, and furnished with a visual rhythm. Then, streamed onto the walls you’ll see a scrolling sequence of images that will envelop you: each of them contains a part of Max’s world, but all belong to the “narrator” and let you enter the intimate language of the artist so that you may understand him fully.

For Max Bottino
Patrizia Serra

Press release