The possibility of observing the world in a realistic manner does not exist in itself, but requires certain actions. This is what appears to be suggested by Action at a Distance, Elia Cantori’s second solo show at the CAR DRDE gallery. A sense of altered faithfulness, stemming from the synthetic and documentary qualities of form, runs through the exhibition and attracts every mental digression in the material and concrete field of a physical and historic dimension.
In 2008 Cantori realized Stanza (Room), a sphere 90 cm in diameter into which the artist condensed, in one go, the materials obtained from the destruction of his studio. The production space was thus represented as a large mass which, lit by his original neon, affirmed its own potential energy. Several years on, Cantori is opening Action at a Distance with Untitled (Double Hemisphere Room), his wish seemingly being to break that sphere into two parts, indicating a more complex interest in the energies of space and matter.
The artist produced the sculpture by placing in the middle of his studio a fibreglass hemisphere enclosed in a box with a pinhole. The concave of the form, to which photosensitive gel was applied, recorded on the object one half of the place in which it was produced. The process was then repeated with the twin object turned towards the other half. In the exhibition, viewers find themselves in the middle of two hemispheres that appear to be attracting each other like polar opposites. The synthesis of the whole does not erase the traces of what has happened, but instead enhances them, showing every technical step through the signs of the production process: from the manufacturing of the fibreglass to the application of the gel and the bath in developing acids.
The work further extends Cantori’s reflection upon the potential of artistic practice, which, though relatively limited in comparison to the world, acquires a wider value when it is considered that every place, even the apparently two-dimensional one of paper, obeys the same physical laws. A room, an object or a sheet of paper must therefore be understood as recording rooms; closed spaces where the artist can intervene to chart the propagation of a phenomenon and to formalize its perception. Matter – whether sculptural or photographic makes no difference – is the elected instrument for certifying the degree of truth of the work, the form of which would have no reason for existing if deprived of the purpose of understanding its surrounds. What is involved is a three-dimensional notion of sculpture in the broadest sense of the term, central to which is the awareness that everything that exists cannot but lie in a reality and observe its rules.
Action at a Distance thus speaks of the absence of instantaneousness, of the need to think of the sensitive as the reflex of curved, periodic and discontinuous dimensions. The series titled Full Moon consists of five works on paper. The series has been realized during a lunar perigee. Cantori performed a contact print of digital images of the ‘’big moon’’ on photosensitive light paper. The exposure time is one night for each image, so the light that enables the image to appear coincides with that reflected form the object of the photo. Also in this case, the artist’s work is strongly linked to the duration of a phasic phenomenon. In this sense, Untitled (Gunshot) can be seen as a counterpoint of Full Moon, simply a pistol shot on photosensitive light paper. In this work, the artist is interested on the metaphisical homegeneity between the hole of the bullet and the light expressed by the explosion. In Cantori’s research any object appears with a loop of its positive and negative aspect. Gunshot (Bullet Trajectory) is a shot on a plasticine cube. The melted pond finally smelts the bullet with his trajectory.
Elia Cantori (1984, Ancona IT). He currently lives and works in Ancona and London.
His work has been widely shown in a number of solo exhibitions including those at the CAR DRDE in Bologna, LUMI project in Rome, Hilary Crisp London\L.A. in London.
He has also participated in several important collective exhibitions at various venues including: ”La Camera. On the Materiality of Photography” curated by Simone Menegoi Palazzo De’ Toschi, Bologna (2016); ”Zodiac” Hopstreet Gallery, Bruxelles (2016); ”Spin-Off. Works from Sandretto Re Rebaudengo Collection” Centro de Arte Contemporanea de Quito, Montevideo y Luis Davila, Ecuador (2015); ”L’immagine del tempo. Anatomie dell’immateriale” Rita Urso Gallery, Milan (2014) ”Focus on Contemporary Italian Art” MAMbo – Museo d’Arte Moderna Bologna (2011); ”21×21: 21 artisti per il 21° secolo” curated by Francesco Bonami Fondazione Sandretto Re Rebaudengo, Torino (2010); ”Italian Open” Annet Gelink Gallery, Amsterdam (2009); ”La fioritura del bambu” Viafarini DOCVA, Milan (2009).