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Madre - Donnaregina Museum of Contemporary Art verified

Naples, Campania, Italy closed Visit museumarrow_right_alt

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Jan Fabre - The man who measures the clouds
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Lucio Fontana - Spatial Concept, Waits
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Jannis Kounellis - Without title
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Anish Kapoor - Dark Brother
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Michelangelo Pistoletto - Venus of the rags
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Jeff Koons - Without title
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Andy Warhol - Beuys by Warhol
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Agostino Bonalumi - Without title
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Getulio Alviani -  Vibrating texture
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Giovanni Anselmo - Invisible
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Gianni Piacentino - Dark Prussian – Blue Portal IV
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Francesco Clemente - Ave Ovo
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Giovanna Bianco; Pino Valente - The sea does not wet Naples
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Daniel Buren - Axis / Offset
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Léa Lublin - Without title
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Fausto Melotti - The love
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Sol LeWitt - Scribbles
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Gianfranco Baruchello - My cinema
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Giulio Paolini - Dilemma
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Emilio Isgrò -
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Mimmo Paladino - Without title
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Paul Thorel - "Passage of Victory"
Jan Fabre - The man who measures the clouds
Lucio Fontana - Spatial Concept, Waits
Jannis Kounellis - Without title
Anish Kapoor - Dark Brother
Michelangelo Pistoletto - Venus of the rags
Jeff Koons - Without title
Andy Warhol - Beuys by Warhol
Agostino Bonalumi - Without title
Getulio Alviani -  Vibrating texture
Giovanni Anselmo - Invisible
Gianni Piacentino - Dark Prussian – Blue Portal IV
Francesco Clemente - Ave Ovo
Giovanna Bianco; Pino Valente - The sea does not wet Naples
Daniel Buren - Axis / Offset
Léa Lublin - Without title
Fausto Melotti - The love
Sol LeWitt - Scribbles
Gianfranco Baruchello - My cinema
Giulio Paolini - Dilemma
Emilio Isgrò -
Mimmo Paladino - Without title
Paul Thorel - "Passage of Victory"

Other works on display

Description

Starting from a real image, the artist breaks down its recognizable line into horizontal, lateral and oblique lines, creating a rarefied and indefinite panorama, which only a "distant" and visionary gaze, as opposed to the hyperrealism of the photographic medium, can recomposing imperfections or vibrating shading effects, real figures and faces, immersed in their context: Portraits, such as those presented on the occasion of personal exhibitions at the Swabian Castle of Bari (2002), the MANN-National Archaeological Museum of Naples (2003 ) and the Institut Français in Florence (2009). "If you get too close, you don't see." The distance of the vision, the suggestion of the gaze, the primitive intuition of the figuration, be it a face or a landscape, constitute the vocabulary of this very personal abstraction: those that at first glance seem to be just a succession of digital strokes. broken down, they are recomposed in a transversal way, making something unexpected appear before our eyes: the horizon of a subliminal and hypothetical figuration. Perception and intuition, transversality and obliquity, television and computer movement as opposed to photographic stasis are the fundamental concepts in Thorel's research. “The oblique gaze is a gaze that escapes and that leads you to put yourself on the side of things in order to lose that lucidity that would not give space to chance. Do not be too lucid, lose concentration, perceive rather than look, leave room for apparitions, are an integral part of my work tools like the camera and the computer ”. As Greta Travagliati writes, Thorel's research constitutes in this sense a moment of synthesis in the “experimentation and reflection on the role of photography in contemporary culture”. The transit from digital decomposition to the real recomposition of the gaze, "the passage" from the absence of vision to intuition are the interpretative elements that in the site-specific installation Passage of Victory, created especially for the Mother, are manifested in their most emblematic meaning. , constituting the most accomplished work created to date by the artist.

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