Hiva Alizadeh, Paolo Cavinato, and Leonardo Ulian operate and translate the ancient tradition and impeccable manufacturing into contemporary art.
Hiva Alizadeh (1989, born in Tehran, Iran. Lives and works in Karaj, Alborz, Iran) relates to the nomadic tradition of Persian rugs, creating tapestries made of synthetic shiny hair.
Paolo Cavinato (1975, born in Mantova, Italy. Lives and works between Copenhagen and Mantua) reproduces the Renaissance technique of perspective drawing through intricate three-dimensional webs of fishing wires, subsequently painted.
Leonardo Ulian (1974, born in Udine Italy. Lives and works in London, UK) makes traditional Tibetan mandalas contemporary by replacing sand (silica) with copper wires, electronic components, microchips and semiconductors (silica) . He will be preparing an unreleased unframed large artwork specifically made for the booth.
Since there’s a tight connection in the meticulous methods of constructing their works, this three artists combination would offer, from our point of view, an interesting variety of how skill can be applied to the making of a contemporary artwork.
Born in 1989 (Tehran, Iran). Lives and works in Karaj, Alborz, Iran
The landscape can be an extremely volatile and ephemeral subject. The sky is constantly changing, nature is never still, colorus are repeatedly transforming and, consequently, our perception is also affected.
Often, when we have the impression of having caught a static image, it has already become something else. It can happen almost imperceptibly, but it is a relentless dynamic.
Sometimes we remember the smells of the landscape, the noises of the place, our body temperature when we were immersed in it, the emotions that gave us. All this leads us to create an overall idea of the scenario we have experienced, which is not always a precise picture of what we have actually seen. What appears in our minds is an internalized vision.
This feeling seems to emerge from the works of Hiva Alizadeh, who offers us not merely a reproduction of some landscapes belonging to his native land, rather the perception he had in observing and walking through them.
The artist features works which, although intended to be hung on the wall, have an actual sculptural character. These are canvases on which strands of synthetic hair of infinite shades of colour are hand-sewn. Weaving is a traditional and ancient practice, but it belongs here more than ever to the present, because of the material used, which is definitely not canonical and undoubtedly related to our contemporary era.
There are countless overlaps made by the artist in the arrangement of the coloured threads, and it is precisely this that gives a marked three-dimensional effect to the works.
The sensation is the one of being in front of changing, vibrant and almost visionary landscapes, landscapes that, although speaking of emotions and personal sensations, are endowed with a strong and suggested tactility. Sceneries, those of Hiva, that even though they seem impalpable are the result of a dense material combination and that, despite the shocking and almost pop colours, express all the delicacy of an interiority that wishes to make itself manifest.
Born in 1975 (Asola, Italy). Lives and works in Mantova ( Italy).
Paolo Cavinato’s artistic research uses different medias.
This artist’s work explore the concept of space as it is highlighted in the area of the architectural perspective and takes inspiration sometimes from the Italian Renaissance.
Thus, the observation of matters such as the illusionary the ephemeral and the metaphysical are the regular basis in this artist’s creative process. Lately, the observation of geometrical elements or of plain lines and their use , have taken in his latest production a further dominant role which has defined now a quite diverse configuration from the entire production.
The notion of an absolute space, where the viewer might be attracted or absorbed plays the fundamental role in the construction of Cavinato’s creations. Those earlier works represented sites or ambients, and resumed synaesthetic, livable places or thresholds or territories. Sometimes they described a kind of “limbos”, in a context of timeless continuous flow, or simply silent void.
In the latest series Iridescence the artist investigate on how our perception of space could generate enigmatic, ambiguous forms of space and how we could get an access to different dimensions from the ordinary one where we live .Then In this latest series the concept of rhythmic forms, their reflection, and duplication of patterns disagrees with the concept of consolidated traditional perspective, and orientate our attention towards portion of space and precarious points of observation that shift.
Through motifs that recall to the observer textile patterns such as the one of a curtain or a blanket ,( two-dimensional objects whose function is also to protect or prevent the observer ‘s view), Cavinato alludes to something that exists beyond the visible space, a space that is precluded to our vision and is constantly evolving .
All these artworks are handmade by Cavinato in each single part and the material he uses is wood, metal foil, paint and polycarbonate floss, ( similar to the regular fishing line ).
After graduating from the Accademia di Belle Arti di Brera since 2001 Paolo Cavinato has exhibited in several solo exhibitions in Milan, London, Berlin, New York, Santa Fe.Since 1997 his work was exhibited in Paris, Brussels, Istanbul, China and in the USA).
In 2005, “Home”, an event hosted by the Istanbul Biennale and in 2008, he received the 3rd Prize by the Fondazione Arnaldo Pomodoro in Milan. Cavinato has also been awarded by the Royal British Society of Sculptors of London, where he presented a solo show in 2011, and has recently completed an artistic residency at the Swatch Art Peace Hotel in Shanghai. The artist’s works have been acquired and exhibited in numerous public and private spaces, including: the Boghossian Foundation in Brussels, Artphile in Foundation in Liechtenstein, The Italian Institute of Culture in Copenhagen, Van der Velden Studio in Amsterdam, Galila’s Collection at Brussels, Civic Gallery in Modena, Ducal Palace Museum in Mantua, Farnesina Collection (The Ministry of Foreign Affair and International Co-operation) in Rome. Civic Museum in San Sepolcro, Italy. Italian Embassy Art Collection in Qatar.
Born in 1974 (Ruda, Italy). Lives and works in London (United Kingdom)
In his sculptural works, Ulian explores the relationship between technological objects and the immaterial.
By depriving the electronic components of their original meaning they become ephemeral objects, and in doing so Ulian wants to pose questions on our relationship with the contemporaneity and the constant rising of the new technological hopes almost comparable to new forms of technological spirituality.
Ulian likes to activate the Technological Manda las with ephemeral powers that go behind the actual nature of the materials they made of.
Interestingly, the most common question people ask Ulian about the nature of the Technological mandalas is: “do they do something?”, this because they look like the electronic circuits, and he likes to say: "yes, they are supposed to trigger minds with thoughts, images, connections and so on”, as the traditional electric circuits do, but in Ulian case they work on a different level of consciousness.
There is an inner desire for the artist to make sense of the everyday things and concepts that sometimes are difficult to grasp, as the ‘contemporaneity’ for instance.
Ulian says: “As Will E. Coyote the cartoon character, it is always trying to catch the roadrunner by creating utopian beautiful machines, but sadly, this never happens, the plan goes always wrong, but it tirelessly keeps on its mission.”
The ‘Contemporaneity’ is as the Roadrunner, when you are close enough to grasp its meaning, it quickly disappears in a cloud of smoke… The theme of impermanence is also dear to Ulian, theme that also occurs in the Mandalas made of sand in the Buddhist tradition, but at the contrary, artist’s technological mandalas are not swept away at the end of their making process, but rather are well fixed almost to become a sort of fetish reminder.
Ulian’s working process is, in a way, comparable to that of a mad machine programmed to find a solution to a problem, that will actually never be solved.
By compulsively connecting different objects Ulian’s practice rises possible questions on meaning and relationship among objects and concepts we attribute to them, and to do so he creates his own web of connections where the possibilities are infinite. Similarly to the internet, even if a point is broken within the complexity, another path can be tracked and rediscovered, and a new possible meaning and connection are found.