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  • Beauty Codes (order/disorder/chaos)installation view at Fondazione Giuliani, Rome, 2015, photo Giorgio Benni
  • Daniel Steegmann Mangranè/ (- \, 2013 (Inês & Josè Pereira de Jesus. Courtesy the artist and Múrias Centeno, Porto-Lisboa)
  • Beauty Codes (order/disorder/chaos)installation view at Fondazione Giuliani, Rome, 2015, photo Giovanni Panebianco
  • Haris Epaminonda Untitled, 2014 (Courtesy Galleria Massimo Minini and the artist)
  • Beauty Codes (order/disorder/chaos)installation view at Fondazione Giuliani, Rome, 2015, photo Giorgio Benni
  • Alexandre SinghDandy, 2013 (Raffaella e Stefano Sciarretta's Collection, Nomas Foundation, Rome)
  • Beauty Codes (order/disorder/chaos)installation view at Fondazione Giuliani, Rome, 2015, photo Giorgio Benni
  • Beauty Codes (order/disorder/chaos)installation view at Fondazione Giuliani, Rome, 2015, photo Giovanni Panebianco
  • Haris Epaminonda Untitled #11 t/b, 2014 (Courtesy Galleria Massimo Minini and the artist)
  • Beauty Codes (order/disorder/chaos)installation view at Fondazione Giuliani, Rome, 2015, photo Giorgio Benni
  • Alexandre SinghBullen, 2013 (Courtesy Jacaranda Caracciolo Collection, Rome)
  • Amalia PicaA∩B∩C (line), 2013 (Courtesy Coll. Fundação de Serralves – Museum of Contemporary Art, Porto, Portugal. Aquisition in 2013)
  • Amalia PicaA∩B∩C (line), 2013 (Courtesy Coll. Fundação de Serralves – Museum of Contemporary Art, Porto, Portugal. Aquisition in 2013) photo Giovanni Panebianco
  • Pablo BronsteinYoung man spills cremated remains onto the floor I, 2012 (Courtesy the artist and Galleria Franco Noero, Turin)
  • Fischli and WeissThe Way Things Go, 1987 (© Peter Fischli David Weiss Zürich | Courtesy SprüthMagers Berlin and London; Matthew Marks Gallery New York and Los Angeles; Galerie Eva Presenhuber, Zürich)
  • Haris EpaminondaUntitled #19 t/f, 2014 (Courtesy Galleria Massimo Minini and the artist)
  • Alexandre SinghStrumpet, 2013 (Courtesy Giuliani Collection, Rome)
  • Pedro BarateiroIs it by Mistake or Design?, 2015 (Courtesy of the artist)
  • Pedro BarateiroIs it by Mistake or Design?, 2015 (detail)
  • Lili Reynaud DewarWhy should our bodies end at the skin, 2012 (Courtesy Galerie Emanuel Layr, Vienna)

Beauty Codes (order/disorder/chaos)

22 May > 17 July 2015

 

A project conceived and curated by CURA. Rome, Fondazione Giuliani, Rome, and #kunsthallelissabon, Lisbon

ACT I
Fondazione Giuliani, Rome

with Lili Reynaud-Dewar, Pedro Barateiro, Pablo Bronstein, Haris Epaminonda, Fischli/Weiss, Jacopo Miliani, Amalia Pica, Alexandre Singh, Daniel Steegmann Mangrané

from 22nd May to 17th July 2015

At the origin of modern thought there is a contrast between order and disorder, “contrasting impulses and tendencies, the modular combination of which produces in every epoch the work of art.” Taking Friedrich Nietzsche’s The Birth of Tragedy as a point of reference, the exhibition Beauty Codes (order/disorder/chaos), is a collaborative project between three international art spaces, CURA., Fondazione Giuliani and #kunsthallelissabon, which unfolds over a six-month period, in three consecutive legs.

Loosely constructed around the narrative codes of Greek Tragedy, Beauty Codes begins with a single voice, then shifts to a gradual process of layering and accumulation, which disrupts the original order with multiple viewpoints, fractured boundaries and subverted roles, finally transitioning to a subsequent subtraction with a new set of objects and traces of previous actions. The complete exhibition cycle is a trajectory from a state of order and harmony, to disorder and chaos, leading to the formation of a new order and quietude.

The project began at CURA.BASEMENT with the installation Why Should Our Bodies End At The Skin? (2012) by Lili Reynaud-Dewar, a work which serves as the link between the three acts of a play performed on three separate stages, and which will be present in a different form in the exhibition at Fondazione Giuliani. As in the classical tradition, the narrator is called upon to introduce the stage action before its actual beginning, to explain the events and consequent actions that cause a reversal of roles, the multiplication of forms and perspectives, disorder, and finally the (never truly orderly) rearrangement of the previous situation.

The work of Reynaud-Dewar, which consistently focuses on the relationship between body, language, literature and identity, is part of the mise en scène of the exhibition, the deus ex machina of ancient memory, the narrative voice that supports the complex unfolding of the entire performance.

Daniel Steegmann Mangrané’s / (- \ (2013) heralds the beginning of Act 1 at Fondazione Giuliani. Upon crossing the threshold into the Foundation’s exhibition spaces, the viewer passes through four aluminium curtains, as if crossing the proscenium of a stage. This relational demarcation of space and movement confounds the distinction between stage and audience, actor and viewer, and creates anticipation for what is to come.

Upon crossing the proscenium, the viewer finds himself centre stage, observer and participant in a juxtaposition of different artistic practices and display. Works by Haris Epaminonda punctuate the exhibition space like notes of a spatial composition, both centering the setting of the scene of action, while dismantling conventional modes of exhibition display. This space of action is observed by the bronze busts of Bullen, Dandy and Strumpet (all 2013), themselves characters from Alexandre Singh’s The Humans, a 3-act play about introducing chaos into an otherwise orderly cosmos, itself modeled after the comedies of Athenian poet Aristophanes.

Yet rather than creating a singular narrative logic, Act I builds a disorderly juxtaposition of artworks in which different narratives link or intersect freely to generate a superimposition of storylines. Any straightforward trajectory is further dismantled by a stratification of interventions, a tumbling together of performances that reorganize the role of the actors and viewers. Works by Amalia Pica, Pedro Barateiro and Jacopo Miliani particularly reconfigure the space with performative sculptures. With Plans for the Construction of Paradise (2010-2013), Barateiro disrupts the division between author and spectator by both interacting with the public and activating the traditionally passive role of the viewer. An allusion to games, rituals and riddles, the work’s myriad possible abstract patterns indirectly dialogues with Amalia Pica’s ABC (line) (2013), both installation and performance that is activated by the continual reconfiguration of multi-shaped Perspex elements, and metaphor of the different meanings, function and interpretation of personal and collective communication. In the works of Jacopo Miliani, whose research is primarily based on an investigation of teatrality, sculptures become moving physical bodies. Through minimal actions, refined gestures and simple materials, the spaces of the Foundation become the stage where chaos both takes shape and leaves residual traces.

In the video by Pablo Bronstein, Young man spills cremated remains onto the floor I (2012), exhibited to the public for the first time, a highly stylised mise-en-scène portrays a single male figure whose theatricality suspends him between the representation of a Classical Greek sculpture and of a Baroque courtier. Finally, Fischli/Weiss’s iconic film, Der Lauf der Dinge (1987), transforms everyday objects into agents of motion. A journey of action and consequence, precarious moments of balance and stability, transmutation and collapse, the connection between cause and effect leads the viewer to metaphysical questions about the world, about the way things go.

Prologue
CURA. Rome
from April 28 – May 31, 2015
with Lili Reynaud-Dewar

Act I
Fondazione Giuliani, Rome
from May 22 – July 17, 2015
with Lili Reynaud-Dewar, Pedro Barateiro, Pablo Bronstein, Haris Epaminonda, Fischli/Weiss, Jacopo Miliani, Amalia Pica, Alexandre Singh, Daniel Steegmann Mangrané

Act II
#kunsthallelissabon, Lisbon
Opening Monday, July 27
from July 28 – October 23, 2015
with Lili Reynaud-Dewar, Haris Epaminonda, Luca Francesconi, Jacopo Miliani, André Romão, Daniel Steegmann Mangrané

 

With support by Bioera