A brand new chapter has begun for Boccanera Gallery.
After having established itself in the past decade by working with and representing emerging artists from Eastern Europe, Boccanera Gallery is shifting direction towards the West while maintaining its radical and innovative approach.
Giorgia Lucchi Boccanera, the director and owner of the gallery, has focused her energy on consolidating an unshakable connection with the underrepresented contemporary art scene in Eastern Europe. Her method remains the same—to push forward on building a dialogue overseas. And with the same aim and mission, Boccanera Gallery will introduce artists from the Americas.
The gallery’s new agenda outlines its dedicated support, not only to emerging artists but also to midcareer artists with unconventional research.
For Artissima 2018, Boccanera Gallery will close the circle that began with “Dialogue” in 2017, from East to West, activating a link between the two hemispheres. Boccanera Gallery is pleased to present the work of Argentinean artist Daniel González and US artist Jared C. Deery with the project American Daily Future.
González and Deery have different approaches to the Natura Morte genre. Both artists use diverse sets of the language found inside contemporary art to speculate on the boundaries of still life while remixing the traditional 16th-century European canon with postmodernism and pop art.
Recipient of Pollock-Krasner Foundation grant 2017-18, Daniel González creates irrational and energetic worlds, areas of freedom in which existing conventions collapse, expressed through different media, public art installations, the so-called “ephemeral architectures”, paintings and performances. González looks at the traditional historical background of his Latino-American origins. In his paintings, he combines the classic craftwork of handmade textiles with the Memento Mori, coming from the Mexican traditional popular culture and oral subjects typical of northern European still- life paintings, while pushing it to the extreme of pop art. In his work, messages are embroidered on the canvases with sequins and pearls to create a private sketch book of personal experiences, expressing with lightness the deepest thoughts.
In “Imaginary Country” his most recent (up to day) public installation for the city of Milan, these slogans are taken to the streets under a shape of hashtags to create a dialogue with the contemporary form of social-network communication, looking at the traditional “pasacalles” street banners from Argentina.
Jared Deery’s revisitation of natura morte starts with the classical subject of unanimated oral composition. His work features the tangible presence of the great masters, such as Giorgio Morandi, Pierre Bonnard, and Odilon Redon. The in uence of recent American art history intertwines with the off-scale still lifes of Donald Sultan, the lyrical colors of Helen Frankenthaler, and the cartoonish irreverence of Philip Guston.
The introspection inside Deery’s art shows the self-analysis and contemplation of the elements that surround his methodical, isolated, and contemplative studio practice. Jared’s works bring aspects from his daily life to the insides of his paintings, remaster them, and to bring them back to the audience as an irreverent form of meditation. González’s artworks start from an opposite force. His still life has an immediate power of attraction that pushes out the energy of his imaginary world—an explosion. The subjects are turned into objects that are up for grabs. The craft aspect of González’s work maintains a link that connects the art piece to the functionality of the material and the manual labour that composes the artwork. His practice is irreverent, open and explicit, creating a parallel dialogue with a cartoonish aesthetic of Deery’s work.
Their research into their roots brings them back to Europe, but the recent history of both of their home countries pushes them towards building a strong presence in the moment, creating a solid base for the future. The dialogue starts from a silent introspection and leads to a deafening scream of self-awareness, pushing forward into a daily building of the future.
On display are some small collages by Brian Alfred in which the sign is given by the color of the paper itself. Here the images are deliberately very similar to digital drawings, made on the computer, but the tactile nature of the paper gives them a more intimate and sensorial identity. Alongside these works, some vintage photographs, also in small format by Vincenzo Castella, while the eclectic installations by Daniel González (La Casa del Tiempo, an ephemeral architecture created with objects from a traditional Veronese house in which the public will be able to physically enter a new material and temporal dimension) and Anna Galtarossa (Petit Trianon, a moving installation created for the occasion by the artist starting from a common shopping cart). The theme of the house, in the idea of an urban agglomeration, sometimes suffocating and oppressive, is also well represented by the works of Tracey Snelling and Hema Upadhyay. The first American, born in 1970, creates “sociological” sculptures, often integrated with video reproductions, in which environments and buildings from the artist’s personal experience are recreated on a small scale, bordering on voyeurism. The second, on the other hand, an Indian artist who died prematurely, develops the theme of immigration in his Killing Sites, often to large cities, in constant connection with urban chaos. His works describe the changes that have taken place in most of the metropolitan cities of Mumbai, a paradise for immigrants in India. In addition to the installation What happens in the room when the men leave? and to two large wall works by Alberto Garutti, in which the artist emphasizes the idea of ”lived space”, intended as a place of solitude in which being is measured against the world, is exhibited for the first time Igor Eškinja’s work at Studio la Città. On display Welcome, one of Eškinja’s most representative works from the beginning of his career, created with commonly used material, in this case cardboard assembled in strips. In the composition, created through the illusion of perspective, the artist gives life to the contradictory image of a house with an open door through which, however, one inevitably collides with the wall.
Sezione / Section: Dialogue
Artisti / Artists: Daniel González e Jared C. Deery
Hall: BLACK, Booth 14