• Giulio Frigo

CHORA

For his first personal exhibition at Francesca Minini, Chora, Giulio Frigo presents a show envisioned as a sort of conjurer’s spectacle like those in fashion at the end of the 1800s, paradoxically in full positivist spirit. The artist expands on this kind of social display by viewing it as a sort of reaction to the progressive disenchantment with the daily experience of modern and contemporary man.
A final overblown attempt to safeguard the poetry of the experience of mystery.
This show however, instead of featuring optical illusions and sleight of hand, deals with philosophical concepts linked in particular to painting and its phenomenological presuppositions.

A consolidated critical tradition usually distinguished between the temporal arts such as cinema, theater or music and the spatial arts such as painting and sculpture.
The distinction appears correct, but if one thinks it through and considers an extended span of time it is evident that this distinction is only an appearance.
Time, painter par excellence, demonstrates this in each passing second.
In Painting, inside the very material of which it is made, a continual swirl of molecules crosses and transforms it.
Painting is a kind of conjuring trick with which humanity has continued to enchant itself for millennia.
The stupor for what is immobile.
But one knows that air and light are abrasive.

It is a show understood as a sort of spectacle in which however the only trick is that of painting and the only mystery is that which is before one’s eyes in every single second of our existence.