Alberta Pane Gallery presents
“Blow-Up,” a group exhibition that brings together
international artists Eleonora Aguiari, Igor Eškinja, and
Joćo Vilhena around the common theme of perceptive illusion.
The title of the exhibition is a reference to the film by Italian
director Michelangelo Antonioni that relates the loss of marks of a
photographer confronted by confusion between reality and illusion.
Here, the presented works – photographs, installations, and
drawings – invite the observer to stimulate their powers of
perception while playing with the boundaries of the visible and the
The photographs of Igor Eškinja evoke three-dimensional
installations of the series made in:side. The traced lines of packing
tape, taking the form of stacked or adjacent boxes, create the illusion
of volume. The void is transformed into an active space of perception
that invites the observer to construct something out of nothing. By
using spatial parameters with extreme precision, Eškinja
creates “reduced atmospheres” of temporary and
short-lived nature that exceed the physical aspects of the work and
open up the registers of the imperceptible and the imagination.
Contrary to the architectonic perceptions of Eškinja, the
trompe-l’oeil drawings of Joćo Vilhena have no
relief, or almost. The artist applies himself to the minute
reproduction of all sorts of paper (medical prescriptions, restaurant
bills, post-its) that are flat motives of excellence. On these spotless
reproductions, executed with a care almost " mono obsessive ", barbaric
motives (scrawls, tracings, tasks) appear, briefly showing the marks of
a game ticket to be scratched or of a pair of intertwined paperclips,
while pink post-its “stuck” on Anche
l’Occhio Vela la Sua Parte await their notes. Through these
curious and absurd drawings, Vilhena looks to call out to the observer,
by utilizing the same genre of trompe-l’oeil and by the
choice of titles used in communication with the works.
The recent black and white photos and installation of Eleonora Aguiari
represent objects in “levitation.” Lines formed by
black, red, or silver tape cross throughout the works to join each of
the main subjects, which seem as if suspended in time and space.
According to Merleau-Ponty, the invisible is not opposed to the
visible, but rather it is its continuation, its depth. It is in this
sense that one must understand Eleonora’s work, which evokes
“the invisible that accompanies us,” as well as
“the perception that goes beyond the things we know, or that
Three artists in the singular universe give us three levels of
interpretation of perception. Three-dimensional illusions,
trompe-l’oeil, and perception of the invisible reveal the
different facets of a complex notion of the apprehending reality.
According to Georges Perec, if the perceptive illusion works, it is
because we do indeed want to be duped even if “sometimes the
strength of illusion is such that we pretend to still feel it under the
reality that denies it.”