Ingresso gratuito
La struttura Pirelli HangarBicocca ha una mostra permanente e varie mostre che si susseguono negli anni
LA MOSTRA :
A cura di Vicente Todolí, è la prima mostra in Italia dell’artista Cildo Meireles che lavora sulla multisensorialità.
Atraves
Abajour
Marulho
Atraves
Olvido
Nei grandi spazi di Pirelli HangarBicocca vengono esposte dodici installazioni in cui il pubblico sarà fisicamente coinvolto.
27 marzo – 13 luglio 2014
Inaugurazione 26 marzo 2014
Cildo Meireles, Através, 1983-1989
Photo Eduardo Eckenfels; Courtesy Cildo Meireles
Pirelli HangarBicocca presenta dal 27 marzo al 13 luglio 2014 Cildo Meireles, Installations, la prima mostra in Italia dedicata a uno dei più importanti artisti del panorama internazionale.
-Curata da Vicente Todolí, la retrospettiva comprende grandi installazioni prodotte dal 1970 a oggi, in cui il pubblico sarà fisicamente ed emotivamente coinvolto.
“La mostra in HangarBicocca – spiega Vicente Todolí – permette di conoscere in maniera approfondita l’aspetto fisico, sensoriale e poetico delle opere di Cildo Meireles, che mettono in discussione e spesso rovesciano le idee precostituite e i luoghi comuni. La sua arte propone
-sfide percettive e concettuali attraverso il meccanismo della giustapposizione, dell’accumulazione e della metafora per giungere a una completa sovversione poetica.
L’artista utilizza l’elemento della seduzione per attrarre il visitatore all’interno delle installazioni come in una tela di ragno. E con una significativa capacità ironica e critica offre la possibilità di sperimentare nuovi pensieri e comportamenti”.
Il percorso all’interno di Pirelli HangarBicocca si snoda attraverso dodici opere, installazioni di grandissime dimensioni oppure sculture in scala microscopica, che
–coinvolgono interamente le capacità di percezione del pubblico. Parzialmente coprodotta con il Museo Nacional Centro de Arte Reina Sofía (Madrid, Spagna) e con il Museu de Arte Contemporânea de Serralves (Porto, Portogallo), la personale di Cildo Meireles rappresenta
-un’occasione unica per confrontarsi con lo sguardo lirico di questo straordinario conoscitore dei linguaggi artistici, capace di restituire una visione del mondo eterogenea e mai scontata.
E’ la minuscola scultura Cruzeiro do Sul (1969-1970) che, provocatoriamente, apre la mostra, in contrasto con il grande spazio e in dialogo con le altre imponenti installazioni: l’opera è un cubo di 9 millimetri in legno di pino e quercia, gli alberi sacri degli indigeni d’America.
Através (1983-1989), un’opera tra le più monumentali e complesse, consiste in una grande installazione in cui i visitatori si trovano a camminare su un pavimento di vetri rotti, incontrando nel percorso barriere, recinzioni, sbarre e tralicci.
-Il rumore prodotto dai passi e le limitazioni visibili rinviano alla possibilità di spezzare queste e altre barriere. Come ha chiarito l’artista in occasione della retrospettiva alla Tate Modern di Londra nel 2008:
–Stai rompendo metaforicamente ogni pezzo di detrito, ogni proibizione e ostacolo. Il vetro infranto crea una metafora continua per lo sguardo che riesce ad attraversare tutto” (Cildo Meireles, cat. Tate Modern, Londra, 2008).
Anche Entrevendo (1979-1994) costituisce un tentativo di esplorare la percezione umana nella sua totalità. Il visitatore è invitato a entrare in una struttura di oltre otto metri a forma di imbuto alla cui estremità è collocato un ventilatore di aria calda.
–All’ingresso gli vengono offerti due cubetti di ghiaccio da mettere in bocca, uno dal sapore salato e l’altro dolce. Mentre ci si avvicina alla fonte di aria calda, il ghiaccio si scioglie dando concretezza al fenomeno della sinestesia: la medesima stimolazione sensoriale viene dunque percepita come una duplice esperienza, creando straniamento.
La poetica sovversiva di Cildo Meireles ritorna in Babel (2001), un’altissima torre di radio accese su canali diversi a formare un ambiente visivo e sonoro fortemente evocativo. L’opera ha richiesto undici anni di disegni preparatori prima di essere prodotta ed esposta nel 2001 a Helsinki.
Cinza (1984-1986) è creata da un pavimento di pezzi di gesso e di carbone disposti in due stanze differenti che la presenza del pubblico tende a mischiare tra loro, mentre Eureka/Blindhotland (1970-1975) mette in discussione la normale percezione visiva invitando lo spettatore a sperimentare il peso reale di 201 palle di gomma apparentemente identiche.
Abajur (1997-2010), tra i lavori più recenti dell’artista, è formato da un lightbox cilindrico in movimento con immagini di un veliero coloniale in mezzo al mare mentre il suono di gabbiani in volo aleggia nello spazio. Allo sguardo dello spettatore si svela, in un secondo momento, il meccanismo che fa muovere l’opera, costituito da alcune persone che azionano una dinamo che a sua volta ne fa roteare il perno centrale.
L’icona della distesa d’acqua come spazio senza confini viene proposta anche in Marlulho (1991-1997) che consiste nella riproduzione di un lungo pontile di legno che sovrasta un tappeto di 17 mila libri con immagini del mare. Per attirare l’attenzione dello spettatore, voci diverse ripetono la parola “acqua” in varie lingue.
Un mare di ossa (tre tonnellate), di banconote americane (6 mila) e di candele (7 mila) formano invece l’opera Olvido (1987-1989) esposta per la prima volta all’interno della project room del MoMA di New York nel 1990. La tradizionale tenda dei nativi dell’America settentrionale, ricoperta di denaro, si staglia in mezzo all’enorme quantità di ossa bovine che emanano un odore pungente.
All’interno del percorso espositivo, altre tre opere risultano importanti per l’artista. Para Pedro (1984-1993), dedicato al figlio dell’artista, è costituita da due pareti oblique che si restringono fino all’estremità dove sei televisori proiettano un’immagine indistinta e grigia. Amerikka (1991-2013) gioca sulla contrapposizione tra un pavimento di 25 mila uova di legno e un soffitto sovrastante di 55 mila proiettili. Atlas (2007) è un omaggio al lavoro Base del Mondo di Piero Manzoni, e consiste in una fotografia contenuta in una light box che ritrae Meireles durante una performance in Danimarca (2007).
L’artista
Conosciuto per essere uno dei pionieri del movimento internazionale dell’arte concettuale, Cildo Meireles (Rio de Janeiro, 1948) ha con il tempo superato i limiti di qualsiasi tendenza artistica.
–Sperimentando strategie di pensiero e tecniche differenti, utilizza nelle sue sculture e installazioni un’ampia varietà di oggetti e materiali scelti per il loro significato simbolico. Esplora la percezione umana nella sua totalità, affrontando temi universali anche drammatici come la dittatura, il colonialismo, la globalizzazione e la repressione dei diritti umani. Sono diventate celebri le incursioni artistiche degli anni Settanta vissute in quegli anni come un vero e proprio sistema di controinformazione in Brasile: sul vetro delle bottiglie vuote di Coca-Cola, destinate poi a essere riempite e messe in vendita, venivano per esempio stampigliati con vernice bianca messaggi critici nei confronti della dittatura militare. Analoghe scritte erano impresse con un sistema di timbri sulle banconote in circolazione. Cildo Meireles è stato uno dei primi artisti brasiliani a partecipare a una mostra al MoMA di New York (1990) e il primo in assoluto ad avere avuto una mostra personale alla Tate Modern di Londra (2008). Annovera diverse partecipazioni nelle più importanti rassegne come Documenta a Kassel (2002) e la Biennale di Venezia (2009).
Il programma espositivo di Pirelli HangarBicocca
L’esposizione Cildo Meireles, Installations si colloca all’interno del programma di mostre firmato da Vicente Todolí insieme ad Andrea Lissoni. Il progetto espositivo è presentato in concomitanza con la mostra personale di Micol Assaël allestita nello spazio espositivo dello “Shed” fino al 4 maggio 2014.
–Il calendario di Pirelli HangarBicocca proseguirà con le mostre di Pedro Paiva e João Maria Gusmão (giugno 2014), Joan Jonas (settembre 2014), Céline Condorelli (ottobre 2014), Juan Muñoz (febbraio 2015) e Damián Ortega (marzo 2015).
Pirelli HangarBicocca
HangarBicocca, lo spazio per l’arte contemporanea di Pirelli, è il naturale proseguimento di una lunga tradizione di attenzione verso la cultura, la ricerca e l’innovazione che accompagna l’azienda fin dalla sua fondazione avvenuta oltre 140 anni fa. Grazie all’impegno di Pirelli, HangarBicocca rende accessibile al pubblico una programmazione di alto livello e una serie di attività per ragazzi e famiglie, ed è diventato ormai un punto di riferimento per la Grande Milano e per il pubblico internazionale. Nell’ultimo anno HangarBicocca ha accolto oltre 200.000 persone, coinvolgendo 2.000 studenti delle scuole di ogni ordine e grado e più di 4.300 bambini e ragazzi.
Scheda info
Artista Cildo Meireles
A cura di Vicente Todolí
Inaugurazione mercoledì 26 marzo 2014, ore 19.00
Periodo di mostra dal 27 marzo al 13 luglio 2014
Luogo HangarBicocca
Indirizzo Via Chiese 2 Milano
Orari Giovedì – Domenica dalle 11.00 alle 23.00
Ingresso gratuito
Laboratori Per bambini tutti i weekend (11.15 – 15.30)
Main Sponsor Pirelli
Tel per il pubblico 02.6611.1573
Info per il pubblico info@hangarbicocca.org | www.hangarbicocca.org
P.S. tutte le foto sono gentilmente fornite da Pirelli HangarBicocca .
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