Maurizio Caldirola Arte Contemporanea - Monza
Thursday, 20 March, 2014 to Saturday, 17 May, 2014

Bertozzi and Casoni, Nicola Bolla, The Bounty Killart, Greg Colson, Kim Dingle, Albert Pinya, Peter Wüthrich

The show

Severe yet playful, disciplined yet liberated.
The show “Don’t play at school” embodies the contradictions of an itinerary that cuts across arts and academies, conceptual rationality and illicitly elegant techniques.
It is a journey that warns and seduces the spectators by way of the paradoxes of games and teaching, and with due respect paid to the proprieties of contemporary art.
A special resource for learning and creating relationships, play favours active and creative interconnections and allows us to transform reality according to our interior needs in order to generate attitudes, values, and sensations.

The place where this comes about is school, a setting in which coercion and anachronism lead to the development of anger and disengagement from those means and methods which, on the contrary, art suggests and uses in order to offer a vast range of messages and stimuli: these are useful for a playful construction of teaching-activities in various fields of experience.

Play and school give childhood a series of roles, rules, tools and possibilities that build people and personalities, and collective and individual imagination. The idea behind “Don’t play at school” is that the prohibitions characterizing the education of children are transformed into the dis-order that animates contemporary art, an art which consists of rewriting and creating new contexts that explode into a linguistic and creative way of teaching where formal hyperrealism dialogues with an inexplicable rationalism in order to recreate the sense of a work of art.

The mental rigour behind the works on show is mocked by a childlike imprecision and an ingenuousness that break all the rules in order to rewrite the unruly universality of play. In the works we find a rationalization of the mystery of knowledge in an unlikely yet amusing restriction of materials, forms, and colours that revitalize art. And they do so by way of the pure dreams of an adult who, like everyone else, has been a child and, like a child, has known the world and continues to hope never to forget the truth that only the innocence of childhood can know and recount.
These are didactic works which search for a democratic yet contradictory ingenuity in order to bring to an indiscriminate and global audience the fascination of the important public collections of the Metropolitan and Whitney museums in New York, the MOCA in Los Angeles, and the Venice Biennale.

The artists

Adolescent imagination and technique structure the mathematical and statistical inspiration of Greg Colson‘s eco-material production; his works are the symbolic place where the risks of individualistic reality seem to disappear in order to recreate a linguistic evolution that provides the basis for learning logical-mathematical and universal relational concepts.

The Bounty Killart art collective approaches classical art by re-contextualizing it in a pedagogical way, incorporating contradictory tools and languages, and updating the values and meanings of play, rules, and culture in a sensational dynamism.

A deep allegorical transmutation of school myths is expressed in the delightful sculptures by Bertozzi and Casoni; the works hypnotize the existential transience of educative models through the ephemeral material nobility of forms whose real strength lies in the conceptual process of artistic creation.

Kim Dingle‘s parchments unmask reality through a game of contrasts that allude to photographic negatives where the inversion of the rules substitutes the competitive cynicism of games with childlike ingenuity and strips them of any diabolical prejudice.

Albert Pinya portrays infancy according to academic rules and to modern mass-media influences with paintings and sculptures in which the colours and primitive geometric forms reawaken in contemporary psychedelic hues.

Peter Wuthrich‘s canned and collected doctrines bring culture and knowledge back to the people; they do so by being consigned to the showcase of memory as though they were trophies conserving a record of childhood achievements discovered in a book for adults, a book which becomes both a story and a work of art.

We are seduced by the reconstruction of a parallel world as a result of Nicola Bolla‘s great manual ability; the works underline the sense of transience of materials and the desecration of the very rules of an art which takes the place of school in teaching reality.