The out of register by Luca Pancrazzi at the Rizzuto Gallery in Palermo – Carlo Franza's blog

RizzutoGallery presents the personal exhibition of Luca Pancrazzi (Figline Valdarno, Florence, 1961. Lives and works in Milan) entitled “Brooding, wandering, out of register and white holes”. “This exhibition is explanatory of the practice and field …

The out of register by Luca Pancrazzi at the Rizzuto Gallery in Palermo – Carlo Franza's blog

RizzutoGallery presents the personal exhibition of Luca Pancrazzi (Figline Valdarno, Florence, 1961. Lives and works in Milan) entitled “Brooding, wandering, out of register and white holes”. “This exhibition is explanatory of the practice and field of action of the artist who wants to remove the work from the interpretation of the gaze and the dictatorship of reason to bring it to be protagonist of quantum tests where the objectives are simultaneous and the constitution of the framework is the result of multiple calculated and uncalculated incidents.” The exhibition can be visited until June 22ndfrom Tuesday to Saturday, from 4pm to 8pm.

The material becomes increasingly thinner and suffers slight traumas, waste, mistreatment, as well as whispers that affect the final result. Everything affects and nothing can interfere. This exhibition does not try to sew the works together with a common thread or with an underlying theme that helps a story, a work of essays, sampling, sampling, on everything that surrounds me, especially on the images that are deeply rooted in the necessary space , in that waiting space saturated with gaseous and liquid material of conservation and maturation. Out of Register is the space that finds the gap every time you climb a further step, the wheel turns and the next step is the same as the previous one, but moved by a few moments.
The repetition of this moment is both duration and matter, and leads the practice to evolve while always remaining the same.
The out of register is simply the sliding of this space in one direction, then in another and then in yet another.
Intuition, on the other hand, tries to play a role, it plays supported on a background grid on which the movements and errors that slide in a space due to the prolonged effort of the eye, the hand and the mind are parameterised. Time is projected onto the vertical wall where the image crumbles, apparently remaining in place, but inexorably continues in its linguistic metamorphosis. Painting works to build and destroy, creates moments of action and reflection, shifts observation from the depicted subject to the abstract metamorphosis of matter. The shapes resemble each other by simulation, but avoid being the same for the own temporal locations. This exhibition is explanatory of the practice in the total field of action where I remove the work from the interpretation of the gaze and the dictatorship of reason to bring it to be the protagonist of quantum tests where the simultaneous objectives and the constitution of the painting are the result of multiple incidents calculated and uncalculated routes. Matter is crossed by micro-particles that transform it, pierce it, mark it, change it, deny it and accept it, it is both a support and an obstacle, there is no better way to treat it than to deny it and then find it in its place changed.
Stochastic programmatic chaos, painting generates pauses and progressions, it rises to a privileged space and at the same time it bends to rediscover the joy of a sign. The underlying design is confused with the production of particular and subjective photons projected by the distracted observer who shoots everywhere without aiming too much.
The nature of things changes continuously, the very presence of an observer determines the existence of the observed object and at the same time modifies its matter.

I lead the representation to become thinner, and sometimes to disappear behind a dense chaotic network of white dots, other times behind a net. This filter is nothing other than the reaffirmation of the painting, a further layer that pierces the painting and appears through subtraction, sometimes even becoming material.”

Luca Pancrazzi (Figline Valdarno, Florence, 1961. Lives and works in Milan). After his academic studies in Florence, in the second half of the 1980s he began to exhibit and travel to the United States, where he worked at Jo Watanabe Studio on the creation of graphics and wall drawings by Sol Lewitt and then in Rome in Alighiero Boetti's studio.
Since the 1990s he has been the author of research based on the analysis of the artistic medium, on the creative possibilities of error and the composite use of techniques and materials. He explores images as a manipulable language and finds in archiving an essential practice of his artistic making. He investigates the correlation between repetition and change and uses it rigorously different techniques, materials and processes to meet its objectives. He expresses himself through painting, drawing, photography, video, environmental installation, sculpture, shared actions with other artists and editorial projects. Pancrazzi creates his works with a global cyclical sense that can be interpreted through series of works that autonomously intertwine and unravel over time and which individually are protagonists of a broader interpretative plot. Metropolitan space and landscape are the themes treated most assiduously; archetypal landscapes, large empty spaces without narration, horizons between heaven and earth from which minute architectural infrastructures emerge, places of passage, solitary meta-modern landscapes where real places lose their properly geographical connotation to become symbols.

His work has been exhibited in solo and group exhibitions in public venues including: Venice Biennale (1997), New Dehli Triennale (1997), Biennal of Cetinje (1997), Vilnius Triennale (2000), Whitney Museum of American Art at Champion (1998), Biennal of Valencia (2001), Moscow Biennal of Contemporary Art (2007), Quadrennial of Rome (2008). PS1 Contemporary Art Center (1999), Galleria Civica di Modena (1999), Museo Marino Marini (2000), Palazzo delle Papesse (2001), Museo Revoltella (2001), Galerie Lenbachhaus und Kunstbau (2001), GAMEC (2001), Museum Cantonale d'Arte di Lugano (2002), Luigi Pecci Center for Contemporary Art (2002), Zentrum Fur Kunst und Medientechnologie (2003), PAC (2004), MAN (2004), MART Trento e Rovereto (2005), MAMbo (2006), Macro (2007), Vietnam National Museum of Fine Arts (2007), Fondazione Pomodoro (2010), Children's Museum of Siena (2010), Palazzo Te, (2016). Since 2019 he has been among the artists represented by RizzutoGallery.

Carlo Franza