Mauro Giaconi // unBurden

Mauro Giaconi

Mauro Giaconi, illusionist and constructor by curator Eva Grisntein

 Objects as structures of matter; buildings as scenography for reality; shadows as possibilities to see drawings, and drawings which render it possible to fairly value shadows. In Mauro Giaconi’s works, the repertory is austere, though heavy at the same time, loaded with sense layers that the artist is particularly interested not to show in a single shot. Much of his images and ideas are revealed in second delayed interpretations on details.

Giaconi works in the world of construction. That certainty arises out of the borders of the things that the artist chooses to represent –bricks, scaffolds, tubes, wires, stairs-. Nevertheless, Giaconi’s way of thinking goes far beyond shapes, materials, or tools. Behind images there are underlying questions, fear clouds floating on the fragility of supports; the underlying fear that what does not seem solid, may break into pieces at any moment. There are analogies, parallelisms. There are bricks aligned on the floor simulating buildings which resemble beings. The risk is that the slightest touch may bring them down, that one of them may fall down starting the general catastrophe. At that point, as an option, there is also the hypothetic methodology of that long reddish line of bended bodies, each lying on one another, folded.

At his site specific facilities, Mauro surrenders himself to the dialogue with the little contingencies which distinguish one place from the others. Accidents and columns are integrated in the similarities system: a carpet which becomes a stain may well be considered a comment on the mutation of matter, of concepts, and of words; and at the same time, a touch of slight humor which sounds discretely within the framework of an imaginary which is strange to stridencies.

The sculpture objects contribute to strengthen that line of conceptual investigation nourished by certain homage to impossibility and absurdness. The tools and the pottery helmet, the multicolor disk made of insulating tape rolls or the fluorescent tube with black strapping legs highlight this game consisting of ideas, which as simple as materialized. The cement backpack even allows a hidden interpretation oriented to politics. In any case, and in accordance with the rest of Giaconi’s work, its potential politic nature only arises out of the fine spinning, it is never evident.

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