Alfonso Artiaco is pleased to announce the opening of the Project Space with Magnus Plessen, on Thursday May 6th at 7.30 pm. The artist will attend to the opening.
The Project Space grew out of the will to give a concrete answer to this particularly difficult moment. The space of Alfonso Artiaco gallery spreads in horizontal and duplicates its proposal, strongly believing in Naples and investing in the city.
The start of this new project has been ‘entrusted’ to Magnus Plessen who opens the doors of the Project Space with two paintings “Sprung” and “Karton”. Both offer a sample of the articulate world of the German artist. Magnus Plessen, born in 1967 in Hamburg in Germany, has imposed his presence in the artistic international world in a few years. Plessen is characterized by a limited production due to his meticulousness, but his works have been shown at various venues including the Neues Kunstmuseum in Luzern, K21 Kunstsammlung Nordrhein-Westfalen in Düsseldorf, P.S. 1 in New York, the Centre Pompidou in Paris, and the Art Institute of Chicago and were included in the fiftieth Venice Biennale in 2003.
“I hope that in my paintings, my inner and outer reality are joined together and form a strong physical presence” (M.Plessen). The ‘thoughts, which can be forged as much by shapes as by words, are the starting point of the Plessen’s research. His paintings cause a further processing in the viewer because, once nailed to a wall, generate several ideas which a dynamic perception in the audience. The reason of the new suggestions, often not clear, derives from the vision that a person can have of the reality: we see and are seen in fragments, think ramblingly and often disagree with ourselves. In spite of our attempts at rigor, the language of logic is filtered through emotional cracks and the images can reveal the same process of the caotic ways which the thought goes with. The act of painting is for Plessen the medium to examine and to show the reality through the thought: a painting is a concrete space that connotes an imagined one and vice versa, reflecting an inner perturbation. The Plessen’s method, called “the process of ‘unfinishing’ a painting” works in tandem with the enigmatic subjects that, in spite of their appearance as everyday things, reflect the complexity of our world and our shadowy inner realm.
Through his paintings, Magnus Plessen insists upon a visual order of the world, to be read as booth fluid and tactile, and his vision is continually rebuilt through both eyes and hands.
Plessen creates his compositions through well-defined brushstrokes, deliberate scrapes of paint and an exaggerated juxtaposition of positive and negative space. His palette is predominantly melancholy – wintery Berlin browns, moss greens, bright watery blues, troubled pink, foggy yellows and polluted whites – and evokes a mood in which the viewer feels the need to investigate the same painting; colours clash and react like words in a heated conversation.