Biennale Gherdëina 1

The works in this group exhibition, curated by Danila Serafini, encompass artistic approaches that are extremely diverse, yet today perfectly compatible and convergent.

In this sense, some more conceptual works, which employ the “already made” drawn from everyday life, coexist seamlessly with sculptures and interventions stemming from the artist’s skilled craftsmanship. In the act of creating, each of the five artists pursues their own perspective, their own world of references with which to engage.

The bronze casting by Lois Anvidalfarei, for example, presents the human figure as a point of reference. The body is conceived evoking a kind of transfiguration that accentuates its volumetric sense. Yet these figures, despite their spatial presence, emotionally suggest a sense of lightness and delicate harmony that takes the viewer by surprise.

Of a different register is the work of Markus Delago, who, on a two-dimensional surface, creates chromatic interventions of strong impact. The planes of color differ noticeably from one another, while the marks used appear energetic and intensely regressive. A white background sometimes serves as the backdrop upon which the chromatic presences stand out, more clearly isolated and highlighted.

In Aron Demetz’s sculptures, the human figure, in some cases, relates sensibly to reality, and at the same time one can perceive unsettling tensions running through it. The material used, the posture of the body, and the gazes of the depicted figures constitute the strengths upon which the overall emotional impact is built. In this context, the force of detail imposes a new balance on the compositional dimension.

Isabell Pitscheider’s interventions, on the other hand, focus more on conceptuality, developing from a particular engagement with everyday reality. Often her works convey a light and whimsical spirit, while at other times they express a need for poetic delicacy that engages and fascinates the viewer. Every element at play, every step in the conceptual process of the work, becomes an essential component in emotionally assessing the proposed intervention.

Thaddäus Salcher’s sculptures aim to highlight the definition of form in space. The environment in which the work is placed is thus engaged by new plastic tensions, in which rhythm, continuity, and the importance of volume constitute points of reference on which the viewer’s attention converges.

From a broad perspective, we can affirm that this group exhibition presents the viewer with five distinct creative strategies, differing from one another yet significant, precisely in their heterogeneity, within the complex and multifaceted historical moment we are experiencing.

Guido Molinari