Artista: Micaela Lattanzio
Bio: Micaela Lattanzio was born in Rome in 1981, where he currently lives and works. She attended the Academy of Fine Arts in Rome, graduating in 2005 with a thesis focused on the anthropology of the trip in collaboration with the University of Havana. During the training, in 1998, won the Human Rights Award and in 2003, thanks to a scholarship, stays a year in the Spanish city of Valencia where he perfected the techniques related to audio – visual language. Among the various group exhibitions it’s important to remember some artistic projects: Symbols of iron at the Museum of Experimental Art in Aquila, Global Footprint at the Barruchello Foundation in Rome, Primary Dimensions hosted in the American Academy in Madrid, 10X10 Artist at Bonte Zwaan, design center of Amsterdam and participation in the exhibition at the art fair SetUp 2014. In the same year the artist is the winner of the Special Jury Zingarelli Prize titled “Silent Stories” and she is finalist at Arcevia prize, also remembers the reporting of the jury during the course of the Combat Prize. The site-specific interventions are further expressive dimension of Lattanzio, among its installation projects underline the presence to MAAM, Museum of the Other and the Elsewhere of Metropoliz, where he performed in 2013 the construction of a room titled Where have the flowers gone, a work consisting of 7,000 hand-cut paper flowers. In January 2015 the artist has exhibited his most recent works in the third edition of the Bologna fair SetUp.
SandCloud a is site specific installation ideated by Micaela Lattanzio; it evokes a reflection of an atomistic conception that celebrates the disruption of image branching and contradicts itself the unity of reality. Hundreds of hand-cut paper hexagons trigger a figuration procedure free from visible, where the artist stretches the limits of the tangible in an unpublished research that marks and defines the extent to which man is linked to his relationship with the outside world. “Art – says Konrad Fiedler – lives of an irremediable ambivalence, his only constant is the incessant discard and rebuild, its continuous formation in the development of a human aesthetic awareness.” An ceaseless transformation characterizes Lattanzio’s work, whose aesthetic nourishes a “natural artificiality” in which a man describes his eccentric condition, his need to win every time the specific forms of existence.
How can we access, therefore, to the inconsistency of a sky? The artist theorizes the emergence to create a new aesthetic grammar , a dissociation between sensory semantics of the image and the essence of perception, which legitimizes and recognizes the possibility of an ancestral thought, where it identifies the need appeal to a language of quality in the world, deliberately detached from each verbal production marking the daily contact of man. The diffraction of the images, and its consequent spatial extent, generating an optical synesthesia, a cognitive immersion that undermines any peculiar relationship established between experience and judgment, letting the power of representation goes beyond the real, entering an unknown dimension to the look. “Before the coming of something less – says Gabriele Pulli – even just at sunset on any day, the intellect is aware that there are other days that I can replace the one lost, relatively different and relatively equal to it. The emotional thinking captures, however, the irreversibility of that loss, because it captures what is unique and unrepeatable in that day. As if things were made of nothing, as if they have the same nature and the same charm of a dream.”
Micaela Lattanzio captures this sense of irreversibility, making physic the incorporeal element for excellence: the sky. It has to be structured like a mosaic, giving the fragility of the paper as specific support of the earth, like a perpetual cycle of water that finally returns again to the clouds.