Caterina Silenzi: Incessant Present January 23, 2013 - March 02, 2013

A special ’cabinet of curiosities’ will welcome the visitor entering into Várfok Project Room from January 23, 2013: an Italian guest artist, Caterina Silenzi’s sculptures will be exhibited as part of the official program series of the Italian – Hungarian Cultural Season.

Caterina Silenzi (1977) received her diploma in sculpture and photography at the Fine Art Academy in Macerata (I) in 2002, then her master degree at the university of Bilbao (E). She continued her studies at the Complections College of Makeup Art & Design in Toronto (CAN) where she received other two diplomas in Special Make-Up Film, TV, Theatre and Prosthetics and Animatronics. She moved back to Italy in 2008 where she recently works in the city of Fermo. In 2012 she represented Italy at the Santorini Biennale of Arts (GR) with her series IDEA, which will be shown now at Várfok Project Room. This is going to be her first exhibition in Hungary.

Animal bones, bizarre anthropomorphic creatures, embryos all embeded in the ancient Japanese technique called raku. This is the world of Caterina Silenzi, where the artistic creation can be apprehended as the result of an instinctive metabolism. Her characteristic way of working consists of walking in the nature and collecting bones of dead animals: she resuscitates them through ceramics cells giving them a new meaning. As a shaman during a ritual, that is raku technique, she calls them alive. The raku technique was born in Japan in the 1570’s and was traditionally used for the well-known tea ceremonies in the form of tea bowls. That’s how all the steps of the process are imbibed by a complex philosophy: the energy of the four elements – fire, air, earth and water – concentrates and consecrates the supreme material.
The exhibition in Várfok Project Room is following a specific conception. In the focus point stands the daughter of the artist, DEA who appears as a forest-divinity – as her name shows – coronated with a horn. Around her are the members of her cortege, such as different unidentified animal-human-like creatures, embodying mythological creatures of the Italian Renaissance such as fauns, nymphs, naiads.
The playful cavalcade is completed by the series IDEA. Embryos hanging in a net from the ceiling compose the guideline of this composition, completed with a cow-hip bone surrounded by two arms. This is the transformation of Dea, her way to be born to this world.
The title of the exhibition is Incessant Present. This evokes the absence of time, which surrounds Silenzi’s works and so the visitors entering in the hall. At this point rational time dissolves, there isn’t any past or future, only present exists where a perpetual metamorphoses takes place between human-animal-human, life-death-rebirth… This leads the spectator to a metaphysical plane. What else could be the motto of the exhibition if not the invocation of Ovid’s Metamorphoses: ’My soul is wrought to sing of forms transformed to / bodies new and strange! Immortal Gods inspire my heart, for / ye have changed yourselves and all things you have / changed! Oh lead my song in smooth and measured strains,/ from olden days when earth began to this completed time!’

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