Giulio Paolini. Qui (da lontano)
In the show Paolini reflects on themes that he has often explored: the figure of the artist, the dizziness of time, proximity and distance, the familiar and the strange.
Giulio Paolini. Qui (da lontano), vista d'insieme dell'esposizione Courtesy Fondazione Giulio e Anna Paolini, Torino, e Tucci Russo Studio per l’Arte Contemporanea, Torre Pellice | Torino Foto © Luca Vianello, Torino
11 December 2021
11:00 – 19:00
Closed from 1 to 3 pm

Tucci Russo Studio per l’Arte Contemporanea is pleased to present Giulio Paolini’s fourth exhibition, entitled QUI (DA LONTANO) (Here (from afar)), at its Turin venue.
The exhibition that the artist offers at the Tucci Russo gallery includes a corpus of new works in the form of three sculptures, a tapestry and a series of collages.
As the title of the exhibition, QUI (DA LONTANO), suggests, Paolini reflects on themes that he has often explored, such as the figure of the artist, the dizziness of time, proximity and distance, the familiar and the strange, the usual and the exotic.

The walls of the gallery are punctuated by a series of collages dedicated to exotic places, never visited by Paolini, entitled Qui (da lontano), 2021, which give the exhibition its name. It is exactly the remote nature of the subjects depicted, the distance that separates us from them, that becomes an object of appeal for the artist: Jaipur (in India) and Persepolis, Isfahan, Tabriz, Meshad, Shiraz, Darab (in Iran) are marvellous archaeological sites that, transfigured in the collages, make a sudden journey and deposit themselves before our eyes.

In the words of the author: “The horizon is liable to change, always different: it unites or divides two contrasting areas. It is a virtual contact that is useful to depict, but not to define, a visual juxtaposition. Above and below, here and beyond, we see surfaces that touch noiselessly, without indicating which of the two we believe we inhabit. Space and Time compete for the measure of the True, of what seems to house our experience. From Jaipur to Darab, Persepolis and Isfahan the distance is considerable, but irrelevant or even non-existent if these or other places are translated into photographic images, drawing paper, pencil and compass at the disposal of the “traveller”. Through understanding and experience, the traveller knows how to reveal the experience to himself – if we can call it that – of not moving a step: standing still to welcome the instantaneousness of the vision”.

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