SAN GIMIGNANO, ITALY13 May 2017
Asmalımescit Sanat Galerisi’nden Can Yaraş ve Gaye Yaraş İtalya’da olan Antony Gormley sergisinin açılışında yer alıyor. Bedenin mekanla olan ilişkisini kıran sanatçı Antony Gormley bugün San Gımıgnano da Gallerıa Continua’nda yeni sergisinin açılışını yapıyor. Şu an hala İtalya’da olan Can Yaraş’tan gelen fotoğraflar ve aktarımları sanat severlerle paylaşıyoruz. Büyük bir ilginin olduğunu ve farklı yerlerden gelen sanat severleri karşılayan sergi ve Antony Gormley’nin aktarımları ve ilgisiyle devam eden sergi tüm sanat severleri sergisinde bekliyor.
CO-ORDINATE, GALLERIA CONTINUA, SAN GIMIGNANO, ITALY, 2017
Opening: Saturday 13 May 2017, via del Castello 11, 6pm-12 midnight
CO-ORDINATE brings together a series of works that consider the linear mapping of space: internal, perceptual and architectural. The exhibition takes its title from the coordination of mind and body in the everyday act of walking. The first work we encounter, MEAN III (2016), acts as a diagnostic tool against which the viewer is invited to measure him/herself. It is paired with the lead work, INTO THE LIGHT (1985): an early attempt at mapping the surface of the body using the co-ordinates of a geographer’s division of the surface of the Earth.
Throughout the show the mapping of body and space interrogates both architecture and our own moving state. The exhibition’s principle work, LOST HORIZON II (2017), foregrounds the co-ordination of all perceptions in the negotiation of an environment. The installation uses 21 kilometres of silk-wrapped bungee to make an interactive zone, inviting physical exploration and allowing the viewer to become the viewed. In negotiating LOST HORIZON’s forest of 5000 vertical, taut silk lines, the viewer’s field of vision becomes confused. Their passage has to adapt into a willed movement through a space that both resists but also remembers the trajectory of the journey: a trace of vibrations lasting many minutes after that journey has ended. The varied thickness of the bungees confuse the distinctions between foreground, midground and distance, producing an optical field that, like MATRIX (2014), is impossible to bring into focus. This gives rise to feelings of dislocation and vertigo in the viewer.