Maria Laet, Gesto Minimo

Preview 11 November, 6:30 pm
12 November-11 December 2010
curated by Federica Bueti

The Galleria Riccardo Crespi presents Gesto Minimo, the first solo exhibition in Italy by the Brazilian artist Maria Laet.

The route through the exhibition is cadenced by a series of light, sometimes impalpable gestures, that trace the impressions which the artist finds in nature and in the reality that surrounds her. Silent gestures that find expression on simple supports, ranging from photographic paper to video to Japanese rice paper.

The first room in the gallery is characterized by breath, a delicate action, the mark of a performance that seeks a relationship through a mute dialogue: the artist and another person of her own age have blown ink onto cotton paper, producing the unpredictable outlines of their presence in time. The result, a work entitled Dialogue Series. Blowing (2008), is a series of drawings in which the colour gradually thins out to leave room for abstract impressions that are the fruit of their encounter, along with photographs documenting the performance.

A long breath acts as a counterpoint to these photographs in the skylight well, with the screening of the film Untitled (2010), in which Laet portrays a musician in the act of playing a wind instrument whose mouth is covered by an opaque membrane, preventing the passage of air. A poetic correspondence is created between the deep sound that comes from the belly of the tuba and the fluid image of the cloth moved by the continual, persistent breath, opening up the visual and auditory perception to a spectrum of intensity reminiscent of the undulation of the sea.

The mezzanine and the lower floor introduce the visitor to the artist’s photographic works: Milk on Pavement, 2008; Untitled (Polaroid Series), 2009; Untitled (Dialogue Series, Balloon and Body), 2007. Images that, once again, reflect the vitality of concrete actions (drawings and photographs resulting from the uncertain movement of the body among the balloons and compositions created by uncovering the damp interiors of polaroid photographs) and the organic nature of the materials utilized, which she manipulates to express a physical, even if extemporaneous, presence on the earth.