Lisa Dalfino ^ Sacha Kanah

Transcription

1 Lisa Dalfino ^ Sacha Kanah

2 Lisa Dalfino (Como, 1987) studied at Accademia di Brera in Milano. Shows include L'universo dentro, Chiesa di San Carpoforo, Milano (2009); T'ho vista andare via e mi sei piaciuta, Motel Lucie, Milano (2010); Legami di sangue, Castello di Nocciano, Pescara (2010); Chiesetta di San Sebastiano, Alessandria (2011); Carte Blanche, Unicredit studio, Milano- Trento (2011); Exploding Fluid Inevitable, Piscina Caimi, Milano (2011); Anonima nuotatori, Museo Pecci, Milano (2011); Abbazia di San Remigio, Alessandria (2011); Fuoriclasse, GAM, Milano (2012); Mostra personale, Spazio Fanta, Milano (2015); Ai, Home-for-Hall, Rikuzentakata (2016); Studio Valentina Garbagnati, Milano (2016). Sacha Kanah (Milano, 1981) studied at Accademia di Brera in Milano and at Politecnico di Milano. Shows include Greencity Forum, Fiera Milano (2010); , Spazio Porta Nuova, Milano (2010); Mi/ Arc, Politecnico di Milano (2013); Riformare Milano, Triennale di Milano (2014); Proiezioni fuori rotta, AFF, Padova (2014); Miaw, Politecnico di Milano (2014). The duo was born in Their work has been shown at Biennale Giovani, Monza (2017); Gattacornia, Progetto Altalena, Maccagno (2017); Minuto blu, Clima Gallery, Milano (2017); Malgrado, Polis/Bbq, Bologna (2018). The work of Lisa Dalfino and Sacha Kanah explores the expressive and cognitive limits of language through the sculptural genesis of imaginative natures. Their research develops from a polycentric inquiry on the conditions of possibility that informal matter can acquire in a system, revealing unknown apparatuses and potentials of interaction. The dynamics of materialization are conveyed through physical actions and intellectual and discursive practices related to corporeal life and material phenomena, including the inorganic world, technologies, and nonhuman organisms and processes. This is aimed at formalizing narrative presences of unpublished environments and ecosystems, questioning relational spaces culturally suspended in an archaic pre-linguistic area, between reality and fiction, between materiality and meaning. Testing the boundaries of space and matter with the production of sculptures, drawings, sounds and photography, Dalfino and Kanah investigate the possibilities of knowledge and relation through non-codified forms and approaches, where each element is proactive in the production of phenomena and experience. The concept of biomimesis, addressed to unknown natures, is applied as the main tool for understanding and learning forms of intelligence that are implicit in each materical entity, animated and not. The basis of many explorations starts from the use of an ongoing material archive, made up of collections of 'expert' materials from a variety of scenarios, with which alphabets and chance leading systems are developed.

3 Malgrado, Polis/ Bbq, Bologna_ Installation view

4 Notte, 2018 Iron, audio recording 7h18m28 Ø 54 cm

5 Minuto blu, Clima, Milano_ Installation view

6 Quixo, 2017 Bone porcelain, face powder 9 x 2,2 cm

7 Fachiro, 2017 Alpha calcium sulfate, super extra ex sand 129 x 9 x 3 cm

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9 Passeggiando con Megamayon (detail), 2017 Lead, mixed materials 120 x 96 x 13 cm

10 ۯᴒ Ϡϡ, 2017 C-print 60 x 80 cm

11 Ο τζίτζιρας ο μίτζιρας ο τζιτζιμιτζιχότζιρας ανέβηκε στη τζιτζιριά στη μιτζιριά στη τζιτζιμιτζιχοτζιριά να φάει ένα τζίτζιρο μίτζιρο τζιτζιμιτζιχότζιρο, 2017 Iron 255 x 270 x 30 cm

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13 (..'.), 2017 Steel, extra fine Playa Grande's sand, Panamanian moth's dust 255 x 270 x 30 cm

14 Almagu, 2017 Bone porcelain, face powder 11 x 12,5 cm

15 (..'..), 2017 Steel, extra fine Playa Grande's sand, Panamanian moth's dust 90 x 23 x 3 cm

16 There is no silence here either. Listen... There's a lot of noises... For sure, complete silence in nature doesn't exist. In the night perhaps? There are many sounds at night: the cats prowling, the owls... No, I didn't mean at night. Just before dawn there is a minute of silence. The day birds haven't risen yet and the nocturnal birds have fallen asleep. And then? Then, there is silence. 'A momentary apparition' is the idea behind the title of the show, Minuto blu, a moment in nature in which absolute silence can be observed. The works exhibited at Clima are sculptural presences of various kinds that define environments, ecosystems and spatial models: new alphabets coexisting in a dimension of deep peace. The exhibition is the result of some of the materic and narrative researches addressed by the duo, as a methodical and experimental study on issues concerning physics, chemistry and architecture. The works are installed in the Gallery like a zen garden, searching for an ideal balance, defining precise energetic boundaries. Every work is governed by its own laws and by their distortion, up to a subtle limit of resistance.

17 Gattacornia, Progetto Altalena, Maccagno_ Installation view Gattacornia was a residency hosted in a small medieval town on the lakeside of Lago Maggiore in Italy, Over six months, three six-days vacations-meetings were organised. The participants were invited to put together an exhibition in a 1200 A.D. prison.

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19 Picnic sotto al letto, 16kg (omaggio a Maurizio S.), 2017 Calcium sulfate, sepiolite, diamond wax, extra ex sand, okumé, fire, metal salts, ironstones 90 x 27 x 30 cm

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21 Picnic sotto al letto, 59kg (omaggio a Maurizio S.), 2017 Calcium sulfate, mercurochrome, diamond wax, wild fur, extra ex sand, okumé, fire, ironstones 20 x 41 x 43 cm

22 Hasabdaippipiugñdagņaeryṡbambaotye iῡ, Biennale Giovani, Villa Reale Monza_ Installation view at Piermarini's Rotonda /Series of 64 floating sculptures Mixed materials, Ø 8 x 3 m, 2017

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30 The work exhibited in Piermarini's Rotonda is made by 64 floating sculptures installed according to the principles of a new tectonics, with the idea they could gather in an ethereal space thanks to the force of environmental currents and their architectural matrix. Models of natures and imaginative landscapes lay as the primal setting for novels never written by Ernst Haeckel, entwined in various scales, characterized by 'expert' materials coming from different collections, reprocessed. This series questions formal aspects on the design of biomimetic strategies applied to understand invented matter, in terms of intelligence and sculptural potential.