"archaeology of the layers" catalogue

Archaeology of the Layers

Leandro Lotticiand

Fabio Mariani

Archaeology of the Layers14th May - 4th June 2015

Leandro Lottici and Fabio Mariani curated by Miguel Mallol

Everybody’s life is an archaeology of symbolic layers, one above the other. Every second, every day, every year, period and experience is a layer that gradually builds up our character. We, whoever we are, are in continuous change. Every decision that an individual takes in their life is conditioned by these strata because without a single one of them, nothing would be the same. The first layer of this exhibition was formed eleven years ago, in a small Italian village called Arrone. Leandro Lottici and Fabio Mariani, two emerging artists, met for the first time when both travelled to this village to receive an award. They did not become friends in this first encounter and they certainly would not have expected to be on the same path again in 2015 but, there was a third element that connected the two artists. That element was a shared approach to the unique use of the material. There are contrasts between the two artists, in some ways they can even be opposites. They play and express themselves with the materials that they adore and it is this which brings them together. I consider them to be the two sides of the same coin because of their method, but at the same time everything in them suggests they are attracted to each other as opposite poles. After researching for the exhibition I found out that my assumptions about their work were lacking details. A single conversation with them made me realise that some of my preconceived ideas had been clearly dismantled. Fabio Mariani explained that he follows spontaneity and paints with no pattern or idea. He loves the mysterious and metaphysical side of paintings. He leaves the subconscious free to guide his brush and his hands. Fabio chooses the colours first and then transfers them to the canvas in a battle against the material; overlaying, scratching and dissolving them both. Leandro Lottici’s artworks are, as he described them, the result of long meditations. Everything starts with a drawing and could be described as a physical, even violent act where he attacks the paper which sometimes suffers and surrenders to Leandro’s power. When he starts a painting he knows exactly what he wants and the materials he is going to use. In his own words, the final result is like “a chess game against myself”. They use these methods to send a message. A message that has been developed during the course of their careers

Archaeology of the layers

has become sharper and more defined. Leandro Lottici explains how in his paintings you can perceive all the visual noise of Boccioni’s The City Rises (1910). He is being influenced by contemporary artists like Rosie Leventon or Somaini and architects like Zaha Hadid or Santiago Calatrava. Leandro is fascinated by the act of building; he loves the architectonic giants, as he calls them. He likes to visit, admire and assimilate the constructive lines, as well as the volumes and geometric figures, which he depicts in his paintings. He frequently uses construction materials, not aiming to recycle or re-use them, to represent his beloved urban realities. He wants to construct his buildings properly onto the canvases, as he considers himself to be a sculptor not a painter. Fabio Mariani develops a study of the self that includes research of ancient masters like Tiziano and contemporary artists like Dali or De Chirico to help him dig deeper into his soul. Music is another of Fabio’s passions because, as he said, there is a relationship between the feelings that colours can provoke in the viewer and what music can transmit. Fabio considers that “an orchestra is a stratification of sounds; melodies that are interweaved and overlapped like the colours in a canvas”. Matt materials always frame his artworks and the subject is subtly modified to the point of its disappearance. Fabio Mariani has made the journey from portraits to self-portraits believing that the deeper he delves into himself, the less recognizable the elements are. In his research he found a great chasm which he is no longer able to explain through the use of real images. The figure dissolves slowly in the mist of the colours. It seems that there is no denunciation or chaos in Fabio’s paintings because he considers that it is pointless to add yet more images to a world already flooded with them. People are uncomfortable with silence and calm, and this is exactly what you will find in his paintings. He condemns the destruction of the earth by the humans it hosts, as well as the loss of values in a frenetic world. He uses the material and colours as symbols to represent his interior landscapes. The next layer is being written now. They have found the way to work together, stimulating each other in a fruitful artistic exchange. They have grown up and developed with each other realising that, despite their differences, they have a similar vision of the artistic world that surrounds them. Front of mind for them now is the importance of continuing to build and represent the real world with material and colour, as they have always done.

Miguel MallolCurator and Art Critic

Miguel Mallol is a curator and art critic based in London. After earning a degree in History of Art at the University of Valencia and at the Lancaster University, he worked at the Fondazione Querini Stam-palia collaborating with curator Chiara Bertola, both for the Conservation and Exhibition Departments. Among other exhibitions, he was involved in the organization of the exhibition “Where is our place? By Ilya & Emilia Kabakov”. After this experience he worked at the Venice Biennale 2003 with Paolo Cimarrosti and in January 2004, he was involved in the production of the Carnival shows at Piazza San Marco. The same year, he became director at Matteo Lo Greco’s Art Gallery, where he collabo-rated at the organisation of the exhibition “L’Aoristico by Matteo lo Greco” at Galleria Internazionale di Ca’ Pesaro in Venice. In 2005, he moved back to Spain where he curated several private exhibitions. Among them, together with curator Carlos Pérez, the exhibition “Dos siglos de industrialización en la Comunidad Valenciana” displayed at the MUVIM in Valencia, where he also started a collaboration as writer and art critic with El Mundo newspaper. In 2007 he returned to Venice. He collaborate with the artist, Gaspare Manos for a solo exhibition “Urbis” at the Diocesan Museum of Venice; with artist Marcos Tagliapietra at an installation at Container Art and in 2008, at the Venice Architecture Biennale working at the Spanish Pavilion. He collaborated with Mausi Viladomiu and the Fundació Ramon Llull for the Official Opening of the first Catalan Pavilion at the Visual Arts Venice Biennale. He moved in London in 2011, where he worked for several galleries as Fold Gallery and Cul de Sac Gallery just to name a few. He has curated independent projects displaying over 100 works by emerging artists at the Hoxton Arches as well as at ARTROOMS 2015, a new International Contemporary Art Fair for independent artists. Since December 2014, he is Exhibition Curator at Le Dame Art Gallery at Meliá White House Hotel.

Miguel Mallol

Archeologia degli strati: un titolo che si addice al modus operandi di questi due artisti, Leandro Lot-tici e Fabio Mariani, i quali, seppure in modi e con risultati molto diversi, hanno una preoccupazione particolare per la materia e la sua stratificazione. L’archeologia è la scienza che studia le civiltà e le culture umane del passato e le loro relazioni con l’ambiente circostante, mediante la raccolta e l’analisi delle tracce materiali che hanno lasciato. La principale tecnica di indagine è quella dello scavo stratigrafico, che consente di rimuovere strati di terreno rispettando la successione cronologica e di documentare i materiali che vi sono deposti, collo-candoli in una precisa sequenza relativa. Preliminare allo scavo è l’esame del territorio che si avvale sia della tradizionale ricognizione archeologica di superficie, sia dell’interpretazione attraverso diverse indagini strumentali.Un modo di operare e produrre che davvero richiama e sintetizza la pittura -perché di pura pittura si tratta- di Lottici e Mariani. Il loro lavoro è figlio di chi cerca, di chi raccoglie e poi custodisce, conserva. E’ un’indagine, un’analisi, quasi una ricognizione, fatta attraverso la materia e i suoi strati. Come l’archeologo intento nella rimozione degli strati di terreno durante lo scavo, così entrambi rimu-ovono strati materici, affiancandoli o sovrapponendoli in una sequenza pittorica, che si compie efficace-mente, pur conducendo ad effetti e conseguenze differenti. Diverso è, infatti, l’oggetto della loro ricerca e quindi anche il risultato finale. Qui la ricognizione cede il passo all’interpretazione, tenendo bene in testa che ogni artista è a suo modo un interprete, un commentatore, un esegeta e anche un critico. La ricerca pittorica di Lottici, che manipola la materia prima di tutto come scultore, è proiettata verso l’universo urbano. E’ un artista del paesaggio contemporaneo, quello delle città, delle metropoli e delle industrie. Nei suoi lavori si vedono grattacieli dalle forme regolari e simmetriche che si stagliano su fondi brillanti, quasi lucidi: pannelli d’alluminio e plastiche accolgono immagini in cui però l’armonia di questi edifici viene contrastata da scorci e altezze che disorientano il senso della percezione, non lasciando spazio per la presenza umana che non trova spazio e collocazione o è mutata in un’ombra

Archeologia degli strati: un’indagine pittorica

scura, come se non potesse essere altro. Lavora prevalentemente con materiali edili: il catrame, usato per delineare le forme dei palazzi, e la plastica, ci lasciano percepire le sovrapposizioni degli strati materici, in una ricerca che fa sentire l’eco lontano di Giuseppe Uncini, il quale appunto sosteneva che “chi fa arte deve riflettere a fondo sui materiali che usa, per poter esprimere un significato reale”. Qui la materia non è più, come nell’Informale, simbolo di una condizione interiore ed esistenziale, ma è ricettiva della realtà storica esterna, con cui si confronta e su cui medita, diventando quindi materiale.L’operato di Mariani si conduce, invece, ad altri esiti. La sua ricerca pittorica si orienta ad indagare le potenzialità e i limiti della materia, attraverso stratificazioni di colori a olio e materiali sintetici, tra-ducendo la realtà in un universo interiore ricco di sfaccettature. Non a caso “Sedimenta” è il titolo di un suo ciclo di opere. Le vibrazioni luce e colore della tavolozza di Mariani svelano il suo senso di spiritualità e libertà, lasciando emergere visioni interiori. Egli guarda dentro di sé, in profondità, quasi nelle viscere del suo io. Tutto ciò si traduce negli strati materici che per lui sono registri cromatici, dai timbri a volte anche contrastanti, spesso grondanti, sovrapposti e affiancati secondo schemi ripetuti con una consapevolezza ricercata, a volte ossessiva. Strati di colore riemergono nel suo atto di scavare dentro il quadro, al di là della tela, dove si apre un altrove illimitato, al di fuori di ogni tempo e di ogni spazio. A noi non resta che guardare, lasciandoci prendere ed abbandonandoci a questo racconto immaginario fatto materia.Questi due artisti, da archeologi inconsapevoli, sono assorbiti assolutamente nella loro ricerca e rac-contano due storie diverse ma infinite, impresse sulla tela, sotto gli strati della materia di cui è fatta la pittura.

Paola Di Giammaria

Paola Di Giammaria è una storica dell’arte, responsabile della Fototeca dei Musei Vaticani, critica e curatrice indipendente. Dopo la maturità linguistica si è laureata con lode in Lettere con indirizzo Storia dell’Arte, sotto la guida del Prof. Maurizio Calvesi, presso la Sapienza, Università di Roma, dove ha proseguito gli studi, conseguendo il diploma della Specializzazione in “Storia dell’Arte Medievale, Moderna e Con-temporanea” e il Dottorato di Ricerca in “Strumenti e Metodi per la Storia dell’Arte”, coordinato dalla Prof.ssa Silvia Danesi Squarzina. Dal 2005 al 2012 è stata docente incaricata del corso “Sixteenth Century Art in Rome” (Arte del Cinquecento a Roma) nel trimestre autunnale presso la John Carroll University (Ohio, USA), sede di Roma, nell’ambito del programma “John Carroll at Vatican City”. Ha alle spalle diverse pubblicazioni che riflettono sia i suoi studi sull’arte romana tra Cinquecento e Seicento sia le sue ricerche sull’arte contemporanea, verso la quale ha sempre dimostrato interesse e passione, memore dell’insegnamento di Calvesi. Ha curato mostre di artisti contemporanei, collaborando con gallerie d’arte, istituzioni ed enti culturali. Dal 2010 collabora con la Fondazione Franz Ludwig Catel, come referente artistica e curatrice del Premio Catel, rivolto a giovani artisti provenienti dalle accademie di belle arti d’Italia. Ha fondato la Hexagon art solutions per promuovere l’arte italiana contemporanea e non, attraverso sinergie comuni con artisti, collezionisti, addetti del settore, musei, gallerie e iniziative culturali di vario genere.Ha curato il volume di Antonio Paolucci “Pensieri d’arte. Dentro e fuori i Musei Vaticani” (edito dalla LEV) che raccoglie tutti gli articoli scritti dal Direttore dei Musei Vaticani su “L’Osservatore Romano” dal 2008 al 2011.

Paola Di Gianmaria

Born in Rome on 18th July 1979, Leandro studied sculpture at the Academy of Fine Arts in Rome, where he currently lives. As a sculptor he works using different metals, mainly steel. Images of skyscrapers and buildings can be considered the main subjects of his artistic research that includes also several woodcuts. Leandro has taken part to group exhibitions (among others Art Gallery of the Opera Theater in Cairo - Egypt, the Museum Venanzo Crocetti, Palazzo Valentini and MACRO Factory - Rome, China International Exhibition Center in Beijing – China) and many solo exhibitions (among others “Sinfonia Urbana – Echi dalla Città” Il Narciso Gallery - Rome, “Una Tartaruga in Città – Sorpasso alla Moviola” Rocca dei Terzi - Sissa - Parma, “Di corsa sul Filo” Polid’Arte Gallery” - Spoleto Festival - Spoleto). Leandro’s works have been acquired by various government agencies (including the Namoc-National Art Museum of China in Beijing, Customs Agency - Ministry of Finance - Rome, Foundation Catel and Archive of Philatelic and Numismatic Office – Vatican City). Leandro’s monumental sculptures can be seen in several Italian cities (Arrone- Terni, Fontenuova - Roma, Sissa - Parma) and in the Vatican City.

Public Commissions 2015 Realization of prizes for C.O.N.I.(Italian National Olympic Committee), Rome, Italy 2013 Realization of prizes for InCantiamo Roma, Asi Ciao and Rome, Italy 2012 Realization of the prize Io sarò un rugbysta – Opes – CONI – Rome, Italy 2009 Realization of the prize Una cultura comune: il presepe simbolo di pace universale tra i popoli, Rome, Italy 2008 Passaggio Obbligato, painting permanently at the Namoc-National Art Museum of China, Beijing, China

Monographs 2009 Di corsa sul filo, critical review by Ennio Calabria, and other texts by Gabriele Bianconi, Carla Mazzoni and Carmine Siniscalco 2008 Trailers, critical review by Paolo Armellini, and other texts by Ennio Calabria and Gabriele Bianconi 2006 Una tartaruga in città - sorpasso alla moviola, critical review by Lorenzo Canova, and other texts by Grazia Cavanna and Gabriele Bianconi 2006 Catrame e Plastica, critical review by Ida Mitrano.

Leandro Lottici

Urban Sky, 2015Tar, enamel and plastic combustion on canvas

100 x 150 cm

Leadenhall Street, 2014Tar, enamel and plastic com-bustion on canvas60 x 50 cm

Una tartaruga in città, 2013Tar, enamel and plastic com-bustion on canvas60 x 50 cm

Canada Square, 2014Tar, enamel and plastic com-bustion on canvas60 x 50 cm

Studio per La caduta dei giganti, 2013Cement and plastic on celotex20 x 125 cm

Men at work, 2014Tar, enamel and plastic combustion on canvas

50 x 60 cm

Fabio Mariani is originally from Rome where he studied sculpture at the Academy of Fine Arts and he still cur-rently resides and works. His works are executed in a variety of paints and themes. His vibrant use of colour and layering pay homage to his innate spirituality which he conveys in his works, offering the viewer a glimpse into the perceived reality or ‘inner universe’ of his rich landscapes and visual stories. Like the true performer, his canvases are full of heterogeneous elements. Mariani’s art represents a sense of spirituality and serves as a mode of visual storytelling about an artist who is well travelled and yet keeps an intimate bond with his childhood home. He still resides and paints in the neighbourhood where he grew up, which highlights the importance of his roots as a pivotal source of inspiration in his landscape paintings. Painting with personality and instinct, Fabio Mariani has been exhibited in several museums and galleries in Italy and abroad and his works can be found in private and public collections.

Selected exhibitions

2015 Artrooms2015, International Contemporary Art Fair, London, UK 2014 “Sedimenta” - Solo exhibition, Le Dame Art Gallery, London, UK 2013 “Al Altar de Dios” – Solo exhibition, Casa de Vacas, Parco del Buen Retiro, Madrid, Spain 2013 Group Exhibition “Made in Roma” - Atelier Monte, Rome, Italy 2013 Group Exhibition (and curator for) “Spazio Macsi” - Rome, Italy 2012 Group Exhibition - Henlu Art Gallery, Nanshan Road 202, Hangzhou, China 2012 “Festival LiberArti” – Installation, Montaione (FIorence) Italy 2011 Group Exhibition “Paris-Rome” - Teatro du Vesinet, Paris, Franca 2011 Group Exhibition “Salle des Fetes” - Hotel de Ville de Marly le Roi, Paris, France 2011 Group Exhibition “Seguendo il cammino di Marco Polo: artisti italiani dipingono Hangzhou”(China) La Masa Bevilacqua Foundation, Venice, Italy 2010 “Presenze/assenze” – Installation, Gravina di Puglia (Bari),Italy

Fabio Mariani

Te nel deserto, 2013Oil on canvas85 x 115 cm

Untitled, 2013Oil on canvas41 x 48 cm



Oltre alba, 2013Oil on canvas123 x 144 cm

Le Dame Art Gallery at Meliá White House Hotel Albany ST, Regent’s Park

NW1 3UP London

www.ledame.co.ukE-mail: [email protected]. 0044(0)7947653530

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