This is an exhibiton that begins with a verse and ends with a poem: it unfolds on a stage composed of diferent scenes occupied by various elements.
I see you repeatng this
Unlike what happens in a modern exhibiton, where the works are assumed to be autonomous, in Michele Gabriele’s exhibitons, the pieces operate almost like scenes from a fable. We are given some clues, elements that link them together, and we will have to try to relate them. Data, shortcuts, details. Nevertheless, the fable will never be told.
But how to reconstruct what was never built?
I warn you in the sweetest way
Two tritons, two sculptures with real elements, two abstract paintngs, two possible bodies. This dual or repettve structure replaces the unitary term of the artstc object with its capacity to afect or unite. Elements that combine in unique and personal ways in Michele’s defense of art as a space from which narratves can be constructed from only some elements—and not all—of that which is minimal; a space that requires reading, presence that completes and becomes once again an element of relaton. For the past few years, his work has revolved around the relatonship between the audience and these elements/works. In some of his proposals, even, the artworks act as spectators of the other works in the exhibiton. In “I see you repeatng this, I warn you in the sweetest way,” some of these elements or characters gaze with nostalgia at other pieces: they lean on, address, quote, hide. With these gestures, the artst allows the constructon of a scene within the scene or a “Mise en abyme” that ends up absorbing the audience, turning them into an actve element of his proposals. If the work is a spectator of itself, the audience becomes another element in the communicaton channel and takes on an independent role.
Science fcton as a tool
The use of an aesthetc related to science fcton is linked to a specifc positoning within contemporary popular visual culture that involves assuming science fcton as a way to dream the narratve gaps it ofen leaves formally, in its own representaton. When a movie ends or a fantasy book is closed, the viewer ends or closes these universes with their imaginaton. This narratve feature takes shape in Michele Gabriele’s work, ofering us a space that throws us into an exercise of immersion that allows us to complete the story or the works with our own imaginaton.
Ególatra V, Ególatra VI
Two cars, palm trees, cables, rags, and mud.
From the entrance, we can see two sculptures made from diferent materials. For the artst, these pieces are a reference to public or large-scale sculpture: a type of object that deals with a public and aesthetc experience that is outside of exhibiton spaces; in public space. In this case, the exercise is reversed; the sculpture is made from public materials—a mixture of residues from the EACC’s warehouses, the Trashformaciones garage, and remains of palm trees from the roads between Castelló and Benicàssim—and is inserted into an interior space that allows for its care and atenton.
Combi postura ogni volta, e lo capisco così
Much easier with you
Fantasy literature and science fcton ofen refer to their own archetypes constructed through their genealogy. Following this way of working, Michele Gabriele inserts a series of archetypes into “I see you repeatng this, I warn you in the sweetest way,” which respond to those of art history. In one of the corridors of the EACC, we fnd two large paintngs that functon as a link to modern paintng: the citaton itself operates as another element to consider when entrustng this exhibiton with the dimension of the tale or the story from a genealogical perspectve.
A message in a botle
Remains imprinted / Deforms perspectve
Suspended in space, we fnd two sculptures constructed with materials from childhood’s repertoire: a set of plaster casts for sprained arms and legs that maintain their shape. “Remains imprinted / Deforms perspectve” compile all the layers of the exhibiton and suggest a way to understand the total artfact through an exercise of afectve and material repair that points to the fusion of the two concepts: toward the materiality of the afectve and the afectvity of materials that never lose their agency. These foatng plaster casts functon as supports for drawings and ephemeral signatures in a formal exercise of relatonal aesthetcs and the need for individuals to leave a message, a sign, a signal, just as we did with plaster casts, on desks, or as Michele does throughout the entre exhibiton.
Diegetc sound, the suspicion of the human
Bright Eyes’s / Persistence
At the back of the space, two sculptures take shape from concealment or hiding, hintng at two bodies under two duvet covers. The suspicion arises from feet stcking out, which for the frst tme alludes to the human appearance. In a diegetc manner, merging into the spectrum of elements to combine, fragments of songs and two voices humming them can be heard. The previous fantastcal form dissolves into a moment of the experience.
-Carles Àngel Saurí, Mar Reykjavik
Carrer de Prim, s/n, 12003 Castelló de la Plana, Castelló