La società contemporanea vede una crescente interconnessione di persone e luoghi risultante dagli avanzamenti nelle tecnologie dell’informazione, della comunicazione e dalla sempre minore importanza delle barriere e delle fron- tiere nelle relazioni economiche internazionali. La mondializzazione degli stili, degli schemi e dei modelli economici che portano alla convergenza politica, culturale ed economica tra Paesi, ha contribuito a offrire un forte livello di sovvertimento nell’individuo data in parte dalla crescita di insicurezza. I sociologi affermano che nelle società contemporanee, la produzione di ricchezza va di pari passo con la produ- zione dei rischi. In altre parole, alla nozione di “pericolo proveniente dall’esterno”, da cui difendersi, va sostituita quella di rischio e minaccia come esito dello stesso manifestarsi della modernità, della libertà e della ricchezza. Nicola Evangelisti, grande osservatore della realtà, ha voluto avviare, con la mostra personale BEWARE ospitata da Area35 Art Gallery a Milano, una ri essione sul rapporto tra senso di insicurezza, minaccia ed instabilità di equilibri dove, il suo modo unico di fare arte, che preserva in parte la logica del sico-matematico con le sue prospettive date dalle sculture di luce, installazioni e ologrammi, conduce lo spettatore a ri ettere su uno degli argomenti più attuali del mondo di oggi e assorbire maggiore consapevolezza riguardo alla destabilizzazione sociale.
IN FLORE LUCIS My project for the MOAH exhibition is called “In flore lucis”, literally in the flower of light, meaning “in the middle of the light”. The project consists of three installations: Hexagones, Holy Lance and Holy Knife. In all three works the light is the central element. Recently I explored the relationship between light and symbols with a particular focus on the meaning of light in sacred themes. Hexagones is a light installation inspired by sacred geometry, created in 2016 for a group show at the Ducal Palace in Mantua, near Milan. The metal structure is similar to a snowflake crystal. However it may also recall the upper part of the Kabbalah tree of life. Its mea- ning is cosmological. The luminous part is made of electroluminescent wires which represent a diamond. It symbolizes eternity and indivisibility. Social and political themes related to terrorism are the center of Holy Lance and Holy Knife, where I have analyzed the emotional sta- tes induced by violence and terror attacks propaganda. Holy Knife is an installation (triptych) where I have used the actual handles of three knives and the holographic reproduction of their original blades. In my work there is also a recurring theme: the investigation of the boundaries between tangible and intangible. The holographic blade symbolizes the psychological violence of terrorist propaganda. Holy Lance is a large crosshairs made of middle ages-style swords, some double-edged. The swords form a Greek cross to symbolize the paradox of war in the name of God. Mirroring it in white weapons symbolizes the reflection of our own responsibility for the never-ending wars happening in the world. The sword is a symbol for lightning and of its dual power: creation and destruction, life and death. Without evil, good would be a state of normality; only in the relationship between opposites can one understand reality.

Exhibitions and News

Nicola Evangelisti, after having examined the relation among real and virtual in the context of the econo- mic crisis, turns his gaze towards the international political outlook, focusing on the discomfort created by the current terrorist wave in which mass media communication have a signi cant role to play.
It’s such a signi cant coincidence that the English term BEWARE contains the word WAR; as if there were an inherent warning of an armed threat to our security. Quoting the title of a famous album of a musician loved by the artist -Paul McCartney- we could de ne this project a TUG OF WAR, at least for the deployment of a quite interesting arsenal made by his installations.
It is not really war and terrorism chic which is symbolized, but the communication process of informa- tion, the distance between objective facts and their perception: a dyscrasia that makes them subjective. Safety, both mental and physical, is under attack, actualized by the duality between tangible and intan- gible reality.
There is, in these series of installations, a distance between the object of analysis and Evangelisti’s artwork, a kind of lter, a deforming lens represented by the artistic medium. The Information is – by de nition – something unambiguous in relation to the fact it refers to. The correlation between “News” and “Event” corresponds to the relationship between “material” and immaterial”. The natural semantic shifting underlines the distance between the meaning of the word and its own signi er.
BEWARE project’s artworks are just the uncertain empty space in between the incident and its relative information.
A multitude of information on the same event, represents at the same time, press freedom, and a ma- licious or partisan distortion if manipulated by an ideological strategy.
If the information is an exchange of consciousness among several people, it contributes unsurprisingly to the de nition of public social consciousness. The invasion of territories proceeds in parallel to the control of consciousness and public opinion. Such control corresponds to an annihilation. A tendency to move the rational verticality of the spirit towards the ferocious dynamics of the horizontal.
The violence killing victims of war and terrorism isn’t more powerful of the one we experience in the moment horror of death is broadcasted in real-time throughout the web: virtual reality in this way tends to match with another form of reality that manages and in uences our emotional, behavioral aspects and, therefore, our life.
Duality between tangible and intangible reality is translated by Evangelisti into artworks made by phy- sical parts, measurable, and by others only visible through optical e ects. Objective and material ele- ments are grafting onto others that can be de ned virtual, being both common parts of the same form of reality.
In its ambivalent duality, white is symbol of candidness, life and loyalty, as well as darkness, death, grief especially in Asian culture.
White and Black, darkness and light alternates in solidness and emptiness of the artworks, Life and Death exchange signi cances by proxemically shifting from one reality to the other.
It is not by sheer coincidence that the origin of the de nition “white weapon” refers to white re ected by the sunlight on the mirroring steel of swords, knives and lances. “White weapon” like black instrument
of death.
Holy Knife by Nicola Evangelisti and Mauro Melotti is a sculpture half composed by a military knife and half by its holographic reproduction.
In reference to his exhibition, Useless Army – where Evangelisti took part with the installation DEMO- CRACY made of shotgun shell – the “useless army” of Art, ghts an intellectual war with militarily blunt arms but sharper in terms of exposure and social protest.
Ri e shells characterize the installations FREEDOM, WAR, DEMOCRACY AND PEACE, English words that stigmatize the American military strategy to continually move the war front beyond their borders. Evangelisti, paraphrasing the “pax romana” concept from the imperial period, de nes the actual as “pax Americana” Where wars are being fought in the name of peace and democracy.
Holy Lance and the shell installations are symptomatic of those who decided to make peace with war. Fought war in the name of peace or religion, paradoxes which have gone along with human history from ancient times till today and that seems not to leave room to any fraternity and harmony. Holy Lance is a wall installation of ambient dimensions composed by mirroring metal silhouettes. The blades and the knifes used to kill the victims of the caliphate are set forming a gunsight image – visually overlapping a cross – underlining the paradoxical capacity of violence in the name of God. Mirroring steel blades, digital forms that have found, in this matter, the capability to re ect the light and the contextual images. We re ect ourselves in the arms and in death’s symbols, likewise in those of peace and faith, in a perceptive continuum whose boundaries are superimposable and interchangeable.
Light that generates shadows like the black colors of ags that darkens the Lybian sun, the obscure side of good, “caligine luminosissima” that clouds minds.
The gunsight symbol, at last, exempli ed in di erent ways within the exhibition, appears also in form of a holographic light hanging before an impending bullet, ready to hit the unconscious visitor: strong is still the interconnection between the objective reality and the supposed one, a more than ever representational synthesis of the world we live in.
Olivia Spatola

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