Achenbach Hagemeier, Düsseldorf and AplusB Gallery, Brescia are happy to announce their collaboration project for Art Cologne 2018.
With Britain leaving the European Union, job insecurity, housing stress, a future of climate change, environmental destruction and the refugee crisis bringing along numerous challenges for the European Union, it is time for their citizens and the culture to stand together and speak out loud for a strong and everlasting EU. Without the energy and motivation of a few individuals like Konrad Adenauer, the first Chancellor of the Federal Republic of Germany and Altiero Spinelli, the Italian leading figure behind the European Parliament's proposal for a Treaty on a federal EU, we would not be living in amity and constancy that we take for granted. From opposition fighters to lawyers, the founders of the EU were a distinct set of people who held the same principles; a peaceful, unified and flourishing Europe. They have worked determinedly towards and enthused Europe. Achenbach Hagemeier and AplusB Gallery would like to follow this path by working together on a collaboration and solo-booth presentation with German-born Italian artist Tiziano Martini who is working between Val di Zoldo and Düsseldorf. AplusB Gallery has been working with Martini since 2011, forming the artist’s early career. Achenbach Hagemeier realized Martini’s talent in 2013. At this time, Tiziano was working in an artist residency in Düsseldorf. But more importantly, both galleries have yet not worked together. The idea of this project is to enable fruitful exchange to develop among artists, gallery owners, collectors and art lovers of various generations throughout country boarders. Making a difference, after all, is a joint endeavour.
We therefore would like to focus on art as an answer to the needing to explore what we used to know and we are too afraid to investigate again. US AND THEM.
For the solo-booth, Martini will be presenting a new series of large-scale paintings from his well-known monotype-series and polimateric sculptural objects both, conceptual and formal, closely connected to the paintings. It is recalled that the sculptures represent for Martini, consistent with the canvas work, the bases and the starting point to get to the most recent, apparently abstract, works on canvas.
Martini’s work, stemming from aniconism, it is brought to life by opposing desire, which was one of the most prolific tendencies of the twentieth century. His artistic practice aims to develop a sedimentation process that allows colours to permeate the canvas in all their realistic hues. What he does in his studio is actually a long, organic process due to the slow and repetitive procedure, but also industrial because of the technique and typology of the materials used. Martini applies acrylic paint to plastic slides against which surface and stencils are pressed. Afterward, when everything is fixed in place and dry, the artist rips the colour away with a vigorous motion, leaving larger and smaller swaths of the material behind. Not unlike some rocks, which were formed layer for layer over the geological eras by deposits of billions of mineral molecules, Martini amasses dozens of layers, until the canvas is visually filled, until the surface reaches a kind of balance and no longer needs attention. It’s an ongoing practice, the painted foils are used several times for new paintings and they always leave their marks from old paintings on the new ones. Decisions have historical weight, they don’t only stand for one painting, they may physically be seen in other paintings years later. In his practice, the search for equilibrium is a central theme, in which the physical—gestural—psychological aspects (the individual need for the artist to personally emboss and tear away the chromatic prints) and the visual order interact, and in fact are encouraged to do so by the tendency of the artist’s medium to saturate with acrylic treatment and acrylic colours.
In this process, there is a window of time in which the moments of application change single-handedly, the artist waiting for a still stand that is imperative to the paint drying. His work is divided into so many intervals, which always end in the challenge of their being ripped off and for which it is necessary to be in control of the random nature of such a situation in order to transfer a possible complication to another form of expression. In this situation, it is of great importance to have an immaculate ability to respond that can react to the results together with mature experience.