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IMPERMANENCE

IPERCUBO is delighted to present Impermanence, an exhibition by Sarah Ciracì and Camilla Alberti; and the first of a series in which the gallery will present the work of two artists of different generations in dialogue.

At a first glance, these two artists’ investigations may seem diametrically opposed: Whilst Ciracì has been researching on the relationships between humans, technology, pop culture and the mass media since the beginning of the Nineties; Alberti has been exploring the vegetal paradigm as a possible model for rethinking the entanglements between all living and non living entities in the planet in a non hierarchical fashion. However, this opposition is a fallacy, an already overcome dualism that can be summarised in Donna Haraway’s concept of natureculture: the recognition that the intertwinement of nature and culture, or nature and technology is pervasive and inseparable.

In particular in this show, the dialogue between Alberti’s and Ciracì’s oeuvres finds a common ground in the idea of impermanence, in the certainty that everything, whether things, beings or states, lasts only for a limited period of time. For example,  Alberti’s Compost (2019-20) series consists in micro-spaces in which organic elements, like fungi, and industrial waste come together to propose new possibilities of hybridisation and of multi-species collaboration. Nonetheless, in these works, as well as in the Ruins (2019) series—in which the spaces built with industrial detritus are inhabited by plants and musks that need regular watering—Alberti underlines the idea that time creates stratifications that are in continuous change. Correspondingly, in Sarah Ciracì’s Like an Ocean with Its Waves… (2017)conceived as a monumental site-specific video installation for MATA Modenathe artist created an immersive natural-artificial landscape in which specular footage of sea waves overlap with both common and highly symbolic images. This work brings together the artist’s key interest in science, in particular in quantum physics, and in the encounter of the scientific methodology with Buddhist philosophy, for both of which what is usually called “reality” is not something monolithic, static and “objective” but mutates in correspondence with the observer’s point of view.

Thus in Ciracì’s and Albert’s works impermanence is not to be avoided or resisted but its inevitability needs to be embraced in order to think new and alternative approaches to naturecultures.