HE FAILED TO SAVE THE ONE HE LOVED MOST
Private visits on reservation
On Monday, April 12th, 2021, the solo exhibition of the artist Iulia Ghiță entitled HE FAILED TO SAVE THE ONE HE LOVED MOST, curated by Marta Silvi, opens at AlbumArte, an independent space for contemporary art.
Exactly one year ago AlbumArte issued the press release of an exhibition that the first lockdown would then have forced to cancel, relegating it to the ether of suspended projects. However, Iulia Ghiță’s work has not been interrupted, but has strengthened her questions and enriched the possibility of her answers, deepening themes and arguments in a nutshell to the work itself, making them particularly adherent to the reflections arising in this difficult and dilated time.
We wrote this, unaware of the storm that would soon hit mankind: “Iulia Ghiță’s work has a strong installative character, even when she uses drawing and painting, as well as photography and video. The artist is interested in the relationship / conflict / tension that is triggered between the limit of human measure and the attempt to give a finite form to incomprehensible things.”
Human measure and incomprehensible things are the characterizing binomial, the two poles of tension that generate the field of research on which the artist has always investigated and which, this last year with greater evidence, has become the horizon and limit of daily considerations. Iulia explores ways of knowledge that are difficult to accept as such: dreams, revelations, premonitions, prophecies, visions. The artist questions the form and location that boundless themes such as trust and knowledge can assume.
The exhibition develops around three bodies of works: two multichannel video installations that capture different corners of nature, “LANDSCAPE2” (2017/2018) and “LANDSCAPE4” (2018-20), and numerous drawings on wallpaper that intersect at times with the same projections, “Life from herself (understood)” (2016/20), “Closed circle” (2018-20), “Untitled” (2020), “There was a beautiful vase at her home/the truth resides in the object, not in the word” (2019).
The works, regardless of the medium used, exasperate the admired gaze towards the surrounding nature as an alternative way of knowledge to investigation and the claim of empathy. A way of seeing and understanding life “as it is” later found by the artist in the theories of the Swiss philosopher Paul Häberlin, who in the same way recounted human existence.
In addition to the original project, the exhibition has been enriched with a strong pictorial and narrative component arising around the theme of treatment, therapy in the etymological sense of the term, inspired by the deepening of a figure to whom Iulia Ghiță has been turning her attention for some time: Archbishop San Luca, to the world Valentin Feliksovič Vojno-Jasenetsky, who lived in Russian territory between 1877 and 1961, known for his important scientific achievements in the medical surgical field and for the profound “pietas” that accompanied his life and his actions, which inspires the large canvas “THEY BELIEVED THAT THE MERE TOUCH WOULD HELP THEM HEAL FROM ANY ILLNESS”.
What can art do in front of critical situations of physical need? The artist seems to ask herself an existential question that is as simple as it is fundamental. The answer is neither obvious nor univocal and must be stimulated collectively.
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