Ex Elettrofonica is pleased to present Rio, a solo show featuring Davide D’Elia and curated by Elisa Del Prete, on Friday, 3 April 2020.
Davide D’Elia’s “RIO” is an exhibition that, already from its title, sounds exotic, aquatic, and simultaneously warm and cool. From above to below, from outside to inside, from cold to hot, the artist leads us on a journey into perception, along the liminal balance between organic and inorganic, a fundamental inquiry in all of his artistic research.
A line, bringing only apparently sedimented wall layers to the surface, traces the perimeter of the gallery. The exhibited works are included on, and sometimes cling to, this timeline.
With the exception of the “Estati” (Summers) series, all D’Elia’s works in the exhibit are new and initiate a research inquiry featuring aquatic objects. The entire exhibit comes from a close collaboration with the company Allufer Tempesta, which produces yacht accessories. It is there, at its Sezze factory, that the artist linked his imagery to real objects. Now decommissioned, but interesting for their nautical purposes, these are mostly fixtures that, “reinvigorated” as precious sculptures, contemplate crossing in themselves.
A state of “apnoea” is key to the exhibit, where time gets shorter. Time is certainly a central theme in all of Davide D’Elia’s work. Before now it has been examined in its slow passage, but here it becomes urgently instantaneous, almost as if the artist wanted to address the precision of a moment, an opening, the crossing of a threshold, which has a margin of duration, albeit slight.
Apnoea, a metaphor, if you will, for an obligatory condition of survival, can thus become a space of freedom, once sought, drawn between one inhalation and the next.
Without any mythology commonly connected to the sea, the rio is a small waterway halfway between nature and artifice, obstinacy and control. The timeline that supports the works dictates its flow, almost as if it were the score of its constant noise.
Like all of D’Elia’s work, “Rio” plays on the ambiguity of perception to show us the short circuit of a cooling aesthetic of drowning.