Uri Gershuni at the exhibition DEEP INSIDE. DISSOCIATIONS.

CACT / MACT Arte Contemporanea Ticino, Switzerland

Opening: 09.06.12

Mario Casanova, director

Uri Gershuni, Untitled (yossi), color photo, 2008, 100X80 cm

Uri Gershuni, Untitled (andreas), color photo, 2006, 40X60 cm

Uri Gershuni, Untitled (Ori) 2008, 100X80 cm

This topic was inspired by thinking about the definition of new linguistic expressions, which are transformed in relation to a society that is undergoing total change and to the

development of internet tribes, who are capable of overturning our conception of aesthetics
and how we go about communicating. And there’s no getting away from it: no institute or art museum is immune. The fall of the two opposing blocks of Communism and Capitalism and the renewed serious questioning of the concept of avant-garde, which – as was thought – could have combined rather well with that of Modernity, put the artist and the originator of thinking at the heart of a discussion that reshapes them both by adopting new societal and cultural positionings. Transmedia has already pushed multimedia to one side and the identity of the museum is also in the process of being redefined.

It is truly fascinating to observe how society has been transformed in the last few years from a conceptual corpus, driven by collective methods, to a heterogeneous tactile identity, in which each individual seeks his or her personal identity and place in a network of collective codes. The return to tactile constitutes the return to “reality”, both in art and in everyday society, where the mystifications of philosophical, sociological and/or analytical thinking have lost the vast majority of their conceptual and ideological impact on the idea of the social group, offering a breathing space to the free individual and to his values. The return to tactile obliges us to embark on a thoroughgoing analysis of the museum, not only as a garden in which we see, but also as a place in which we act. Hence we find the application of the ideaof “performance” – ventilated a few years ago as a return to a psycho-geography of the artistic persona, as a sharing between object and subject – embodied in the development of figuring through Expressionism and the sensuality of the sensual and psychic body. Reiterating, seeking one’s own identity and peculiarity outside the bounds of a collective interest, like defining one’s Id as a man, rather than one’s Ego as an artist, seems to be one of today’s priorities.

CACT – Centro Arte Contemporanea Ticino

via Tamaro 3
CH – 6500 Bellinzona
Switzerland