After having spent two months in the study and realization of their new artistic projects, VIR Viafarini-in-residence guest artists, Scott Treleaven and Sefer Memisoglu, are ready to present them.
Whilst Scott Treleaven’s research has been focusing on the realization of a new series of collage and a unique limited edition leporello book in which he secretly enclosed, and partially showed, his photographic overview and experimentations during his springtime milanese residency; Sefer Memisoglu instead circumscribed his plan of action within the VIR studio, transforming it into a movie set, in which he has realized his last film, characterized by a reminescence of the multiple way to read reality in itself (as well as of its representation).
Treleaven migrated to nearby Cimitero Monumentale (Monumental Cemetery) in order to shoot some funeral scuplture’s details representing marble adolescence beauties, which he subsequently compared with the real characteristics of a hairless young man, photographed in VIR space. Flesh-and-bones and repository monumental sculpture mutually assisting themselves.
In a different way, Memisoglu shared the same interest in inquiring the friction between the granitelike classical sculpture heritage and the everchanging, transient nature of flesh. On a sunset background (shoot in Stromboli volcanic island) he inserted, in post-production step, the image of a young lady whose face is fully covered by a swarm of thumbnails, each representing footage material recovered from milanese public video archives as well as from Internet sources (old and recent tv news materials, cinematographic footage documenting iconic representations of private and public conflicts). The young lady stands on a capital column, recontructed by the reflecion of a distorted anamophic image; her arms are crossed on her back, suggesting the idea of another possibile corporal mutilation. The dress (realized by fashion designer Carlo Contrada) fluctuates in the wind like a flag, swelled like an aerostat balloon. The legs, stiff and iridescent, are sustained by a pair of shoes expressly designed by Max Kibardin, and again contribute to petrify the image on the neverdending sunset backdrop.
To summarize, the relationship between sculpture and human figure is the fils rouge linking the research of both artists, the first one to be selected for Memories and Encounters project, the new residency season by VIR Viafarini-in-residence. This project has been realized thanks to the precious contribution of Fondazione Cariplo. A special thank goes to Fondazione Nicoletta Fiorucci for having decided to promote and take part in the production of Sefer Memisoglu’s artwork.
Video documentation about Sefer Memisolgu and Scott Treleaven's work during the residency
The video maker artist Sefer Memisoglu (Istanbul, 1977) develops his research as a reflection on the torrent of images that overwhelms our lives. The figures and places in his works are real and imaginary at the same time. Memisoglu does not make a critique of the contemporary approach to images, but he rather shows the everyday relationship with the flux of visual stimulus made possible by the hypertextual culture. His art is entirely digital and it could be generated by the computer or obtained from other sources, through photographic scanning or software drawing and computer graphics. His compositions are rich in signs and sophisticated allusions, historically pointy references and irony. The quotations he uses are not placed in a hierarchical way and the tone of the discourse stays still, never complaisant or emotionally pathetic.
The research undertaken by Scott Treleaven (Toronto, 1972) is meant to explore the border between identity and alterity, and eventually to force them out. Treleaven’s aim is to discover which is the limit of the body as a unanimously recognized symbol, in the attempt to free it from the bond of gender definition. Drawing on these assumptions, his research revolves around the definition of the so-called era of the ‘end of ideology’, and the signs that characterize it. Treleaven has no regret for social classes dissolution and their correspondent symbolic codes, but it looks out for new possible combinations within the debris of present time. Hence the collage is a perfect complement to his investigation needs, not only as a medium, but as a method. the artist works with super-8 film and photography, following the fil rouge of young subcultures behaviours and expression.
During the residency Treleaven will go on exploring the limits of objectivity of representation of urban space with the collage technique, starting from a photographic research, and finally acting on the photographs with ink, gouache or watercolour.