For the fifth edition of Rome Art Week, the artist Marco Galletti (aka Kaey) invites us to an exhibition that projects the visitor in an unspecified place, in the exasperated vision of the present.
The 11 sculptures installed become allegorical stages of a journey that re-evaluates pop icons and images of current events, in an attempt to stimulate reflection on certain social, political-economic and moral conditions, and to unleash a constructive controversy on the found remains of our contemporaneity.
The exhibition will be open to public h. 6-11 pm, 27-31 October 2020.
In full compliance with the anti-contage regulations, access will be restricted and guided by the staff who will accompany visitors in the spaces of C.S. Brancaleone.
The path begins with the Simbionte, a sculpture buried in the garden of Brancaleone, which reflects on the possibility of a positive cohesion of natural and artificial elements for the purpose of Creation, a will that sets the human being in motion in all his actions and activities.This is contrasted by the Zeitgeist, the spirit of time and essence before the emptiness of life, which is galvanized in the anathema "Die Zeit frisst alles": time devours everything.
The next step takes us to the Carillon (War in a box) whose music attracts the visitor like the song of a mermaid, welcoming him with his sweet melody in a mysterious environment animated by the terrible shadows of conflicts and wars. At this point we meet Before/After da revolution, the mask of humanity that uses pop icons to embody social and political ideologies.
Comfort Zone brings us back to the present and represents a face that explodes and expands outwards, on which faces are projected. The face represents the Virus and comes from an appeal launched by Kaey during the quarantine called by the Italian government: the artist asked anyone who wanted to participate to retract into their home, in the way he preferred, and then project the images collected on the sculpture/virus.
Among the projections there are smiling expressions, suffering, fragmented, afraid.
Similarly, The Parasite becomes a metaphor for the technology that invades our lives by appropriating every part of our being and feeds on our energies (and our data) growing and acquiring more and more power, so as to overwhelm the host organism.