ROME - Superheroes in identity crisis with blunt weapons, trapped in their own powers, like Spider-Man immobilized by a huge spider web. An alienating and evocative retaliation hovers among the over fifty works of Adrian Tranquilli's exhibition set up until March 6 in the Auditorium Garage, the first appointment in the exhibition space of over a thousand square meters that the Fondazione Musica per Roma has renovated to use as art. Contemporary. The visual artist from Melbourne, who has made the variety of means of expression his hallmark, returns with the anthological An Unguarded Moment,to exhibit in a public venue in the capital after years of absence with a series of environmental installations with a strong visual impact made expressly to which are added works of his artistic research from the 90s to today. Conceived to also highlight the relationship played by music in his production, the exhibition describes videos, installations, sculptures, photographs and sound interventions, the visiting universe of Adrian Tranquilli built through references to the icons that populate the collective imagination.Visito universe by Adrian Tranquilli built through references to the icons that populate the collective imagination.Visito universe by Adrian Tranquilli built through references to the icons that populate the collective imagination.
'' The exhibition is conceived as a single work - says the artist to ANSA - in which the whole space has been forged and built according to a path of analysis. An immersion in an attempt to propose a possibility of a way out or not out of the crisis of the Western cultural model. Whose only possibility, in my opinion, is the "awareness", the awareness of the relativity of our model that clearly creaks from all sides ... ''.
The artist has focused the development of his path on themes related to cultural identity. From epic narratives and myth structures he focused on modern transpositions of these narratives. The role of salvific figures, the hegemony of male power, human action that affects nature are its key themes. Fishing in the universe of superheroes of comics and graphic novels from the Thirties to the present day with a mix of figures from cinema, literature and ancient mythology, Tranquilli creates visual codes with which he subverts, transforms and questions qualities and characteristics that usually they are associated with male and (super) heroic figures, expressing a fragility that, according to Daniele Pitteri, CEO of Music for Rome, "it is a metaphor and symbol of the relationship between individuals, communities and power structures that almost two years of virus have dramatically exposed ''. The title of the exhibition refers - the artist points out - to the '' moment in which the wall of the obvious collapses, for a moment, and reveals itself. It is that moment in which, once the veils have been removed, what is given as the principle of reality collapses. And maybe, maybe you finally get to see ... ''. Tranquilli says he has always been fascinated '' by the stories centered on the myth that have concretely contributed to the establishment of the foundations for the different cultural models. In the same way I am fascinated by that imaginary universe populated by superhero figures, precisely because it was born, not only in a historical moment of profound crisis, at the dawn of the Second World War,but also because it was created exclusively by authors of Jewish origin, a Jewish culture which is the foundation and essential of our cultural model. The superhero embodies, because it is an obvious consequence, the Western concept of the male savior who owns the good, a concept for me unsustainable and unacceptable, but an extraordinary instrument of analysis, a key to understanding ''. A thread links the new works to those made more than twenty years ago. '' The installations - he says - relate to each other, intersect, reinforce each other. The analysis is complex but the answer is always the same: everything is possible, and nothing is real ''.the Western concept of the male savior who owns the good, a concept for me unsustainable and unacceptable, but an extraordinary instrument of analysis, a key to understanding ''. A thread links the new works to those made more than twenty years ago. '' The installations - he says - relate to each other, intersect, reinforce each other. The analysis is complex but the answer is always the same: everything is possible, and nothing is real ''.the Western concept of the male savior who owns the good, a concept for me unsustainable and unacceptable, but an extraordinary instrument of analysis, a key to understanding ''. A thread links the new works to those made more than twenty years ago. '' The installations - he says - relate to each other, intersect, reinforce each other. The analysis is complex but the answer is always the same: everything is possible, and nothing is real ''.analysis is complex but the answer is always the same: everything is possible, and nothing is real ''.analysis is complex but the answer is always the same: everything is possible, and nothing is real ''.