FLUSSI – Licia Galizia
curated by Isabella Indolfi
in collaboration with composers Michelangelo Lupone and Laura Bianchini
18 Apr 2018 – 26 May 2018
FLUSSI is a personal exhibition of Licia Galizia. It is the gallery’s first time exploring the language of multimedia art. The spaces will be flooded with a liquid art, made up of interweaving disciplines, perceptive dimensions and sinusoidal curves.
Licia Galizia, whose work has developed from the beginning of the 90s between form and matter with adept manual skills and a sense of balance, starts her research into conceptual art and arte povera. It is from her encounter with the composers Michelangelo Lupone and Laura Bianchini that her work takes on a new dimension of dialogue with space and public.
Through the creation of sculptural-musical adaptive works, Licia Galizia integrates plastic forms with music, thanks to a sound technology called “Planofoni®”, created by CRM Centro Ricerche Musicali of Rome, which allows the visitor to interact with the work and produce multiple musical variations based on touch.
The show features environmental installations and medium size sculptures which give shape to a site-specific exhibition project that tells, with a rhythm made of movements and pauses, an ideal story on the infinite visual and sound forms of water.
The visitor is welcomed by a large interactive musical installation entitled Mare oscuro, which interprets the gloomiest and most tragic aspect of the Mediterranean Sea. Men, women and children flee every day from poverty, conflict and violence, risking their lives in an attempt to reach Europe by sea. This hope for a better future too often falls into disastrous consequences, which Licia Galizia recounts with thousands of slabs that surface, overlap and rise more and more from the bottom of the structure, from low and sharp they become wider, longer and protruding up to fall to the ground, to “flood” the hall and force the public to an uncomfortable and forced path.
The small yellow wall sculpture, Fonte gialla, on the other hand is inspired by the extreme, harsh and desolate volcanic area that identifies the city of Dallol in Ethiopia, one of the hottest and inhospitable areas of the Earth. Here there is only one apparent source of life: a strange and suggestive yellow fountain in the lake, caused by the gases emitted from the subsoil that make the water toxic, but at the same time fascinating.
The Acqua and Diluvio installations mark a gradual process of clarification of matter, of sublimation of purity, until reaching Fontanile, the work that concludes the exhibition’s itinerary with an optimistic message.
The sculptures and electronic music live in perfect symbiosis integrating forms, sounds and new technologies into a single sculptural body, hybrid, sensitive and complex, able to respond to external stimuli, be they the heat of the sun or the vibrations of a hand that touches the surface. And as organisms, the most advanced machines, these works learn and memorize, so that their responses to interaction are unpredictable and always different.
Licia Galizia (Teramo, 1966) graduated with a painting degree at the Academy of Fine Arts in L’Aquila, then went on to specialize in Historic-Artistic Heritage. She lives and works between L’Aquila and Rome.
Her research is characterized by a continuous reference to aesthetic-conceptual issues that revolve around the perception and understanding of space-time.
Since 1992 she has participated in numerous exhibitions in public and private spaces, including: Mara Coccia gallery, Rome; Palazzo delle Esposizioni, Rome; A.A.M. Architettura Arte Moderna gallery; Temple Gallery University, Rome; GCAMC Galleria Comunale d’Arte Moderna e Contemporanea; Museo Laboratorio di Arte Contemporanea “La Sapienza” University, Rome; Castello Cinquecentesco, L’Aquila; Goethe Institut, Rome; Livio Nardi Gallery, Nuremberg; Ministry of Foreign Affairs, Rome; Italian Cultural Institute, Belgrade; X Venice Architecture Biennale; Ara Pacis Museum, Rome; Parco della Musica, Rome; Palazzo dell’Emiciclo, L’Aquila; Italian Consulate, Istanbul; Benaki Museum, Athens; Vèra Amsellem gallery, Paris; Bilotti Museum, Rome; MACRO, Rome; Tomie Ohtake Institute, Center for Contemporary Art, São Paulo, Brazil; Museum of Musical Instruments of the National Academy of Santa Cecilia, Parco della Musica, Rome; National Gallery of Modern Art, New Delhi.
In 2005 she started an artistic collaboration with the composer Michelangelo Lupone and the CRM, Centro
Ricerche Musicali in Rome, giving life to works conceived as interactive environments, places of multi-sensorial experience, which integrate plastic forms to music and allow the visitor a participatory experience.
ANNA MARRA CONTEMPORANEA
Via Sant’Angelo in pescheria, 32