CATEGORYDIY | Participation | Participation
DURATIONapril - may
On April 17th 2018 we inaugurate at Casa Morra the new workshop and exhibition project conceived and coordinated by the artist Cesare Pietroiusti. The School of drawing and painting in the absence of talent, in collaboration with the Academy of Fine Arts in Naples, consists of a project that retrospectively retraces elements of Pietroiusti’s artistic research, and will be composed of two distinct yet related moments: a performance-workshop and a conclusive exhibition. The workshop, with the participation of a group of students from the Academy of Fine Arts of Naples, will consist in retracing the techniques that Cesare Pietroiusti used (between 1982 and 1986) to realize his first (and almost only) pictorial works, starting from the preparation of the canvases and leading to the copying of images projected through slides, creating the new works in the most faithful way possible to the originals. The students will also be able to design and realize one or more series of large quantities of drawings made with heterodox techniques and materials (fire, beer, salt water, etc.), according to methods already used by the artist for “free productions and distributions” of drawings since 2005. All the works realized will be the object of the final exhibition. The performing workshop and the exhibition will follow each other temporally on the monumental staircase, and in the adjacent spaces, of the Palazzo Cassano Ayerbo D’Aragona – Casa Morra.
Casa Morra is thus transformed into a theater of operations similar to a factory: a multifocal situation is put in place, in which the different tasks occur simultaneously in distinct points of the space, underlining the natural performative vocation of the staircase itself. On the School of drawing and painting in the absence of talent In addition to the laboratory and performative elements, Cesare Pietroiusti addresses the theme of the retrospective in a lateral way, reflecting on how it might be possible to operate on the history of one’s artistic career without having to exhume one’s works of the past in a conventional or fetishistic way. While facing the taboo of remaking a work of another time, the artist proposes a new interpretation of the concept of contemporaneity that, in a dialectical re-examination with the past, becomes the simultaneous and convergent presence of different times and meanings. The author’s hand tends to disappear, in an operation where one contemplates the non-necessity, for an artist, to possess a talent that can be expressed with a manual and technical skill. On the other hand, this project reflects the same lack of talent of Pietroiusti himself, which, in his time, led him to use a slavish way of copying slide projections onto canvas and paper.