by Alberto Fiz

Domenico Bianchi

Paolo Canevari

Bruno Ceccobelli

Davide Coltro

Riccardo De Marchi 

Emmanuele De Ruvo

Matteo Gironi

Christine Liebich

Gerold Miller

Susan York

Saturday 12 September at 6 pm the E3 contemporary art gallery in Brescia inaugurates the new season with Black Mode, a large exhibition itinerary, curated by Alberto Fiz, which around the Black involves ten Italian and foreign artists with works in many cases created for the occasion.

The review represents a precious opportunity to reflect on the secret component of matter, placing us in front of the enigma and precariousness of a system where our tools of knowledge appear extremely limited.

Black Mode (the title is a play on words that takes its cue from the mode used on social networks and smartphones) therefore, is an exhibition that intercepts the mobile gaze of the spectator attracted by non-color, as is the case for its opposite, white.

From Kazimir Malevich to Alberto Burri, black is understood as an embryonic element that potentially contains all things and, based on these premises, the path of a varied and original exhibition unfolds in which different approaches are compared with respect to the same suggestion. Using the words of the philosopher Alain Badiou, it could be said that Black Mode meets the “infinite synthesis of lights within black”.

Sculptures, videos, installations are just some of the ways in which a real kaleidoscope of proposals and suggestions is staged that develop in a dialectical and relational dimension.

Black becomes a space of knowledge where Domenico Bianchi’s delicate waxes are found, as well as Gerold Miller’s Total Objects. But the tension towards the object also involves Paolo Canevari with his transfigured and manipulated tires and tires.

Alchemical are the creations of Bruno Ceccobelli, while the electronic paintings by Davide Coltro propose a process of progressive transformation. There are also many minimalist suggestions in a context where the aluminum surfaces and alphabets of Riccardo De Marchi, the solid graphite forms of Susan York, the perfect and paradoxical balances of Emmanuele De Ruvo, the “Emersioni” of Matteo Gironi are traced. and Christine Liebich’s powder-coated steels.
In short, black as a research perspective, but also as a tension towards infinity.