Marsèlleria Permanent Exhibition

pietra specchiante

alessandro tinelli
5 may . 3 june 2011

Opening 4 May 2011, H. 07 pm


Alessandro Tinelli's artistic practice seems to be supported by a continuous and tense research on what lays beyond the mere appearance of things and what may arouse aristotelic wonder in him. A scientific experiment as well as an old mysterious belief have often been the starting point, precisely coming from intellectual wonderment, of speculative journeys where meetings, experiences, hitches and pauses have defined the image and substance of his works. This disposition towards the world may come from his central-Italian birth as well as from his study and familiarity with historic, ancient and contemporary art; this has led him to refine his eye and to define the work of art as a reverberation of a thought that, starting from reality, and from what it conceals, leads to the form. Right from the start he is convinced that the epiphanic momentum of the work is the threshold and that the wince of the eye during the wonder of the vision gives the observer access to the thought that sustains it, just like it happens in historic art when facing the suspension of a pierfrancescano egg or the painting tragedy of a reassembled laceration by Burri.

The interest in the matter of space and time and in the possibilities of achieving momentary perfections, typical of digital technologies, has led him to master new means of expression, though keeping himself at a critic distance and the awareness, derived from the spatialist lesson, of the importance as well as the ephemeral nature of technical means: pencils, brushes, video-cameras, photo-cameras or graphic computers are among the several used tools whose results and presence are, from time to time, made more or less visible according to the inner economy of the work, which is determined from the thesis not from the practice.

Since his very first experiences in the Gruppo Nhacca(together with Francesco Scarponi and Elisa Macellari from 2004 till 2007), his works have combined different and refined languages among which there are installation, painting, drawing, photography and video shooting. Concerning the last two, the issue about time and the possibility of their reproduction was set and within the work they acquired the exemplifying function of the process modes, representing time of reflection upon the creating and coagulating of the forms. Thus the work carried out in Thailand concerning the processing of natural rubber or the abandoned land on sale or the deformation over time of an iceberg moved by the currents came to be especially meaningful.

The computer and digital universe, within which Alessandro Tinelli moves with the ability of a tightrope walker, is the necessary and primary substrate where to lay the elements collected during his exploration of the world and from where to observe, with almost scientific accuracy but also with unrestrained wonder, their germination.

So wonder seems to be an active element in his art, from the work's initial explorative phases to the concluding ones, and it is to be considered as a condition connected to an initial intellectual curiosity rather than as the result of the Romantic sublime. Alessandro Tinelli has a disenchanted rational eye towards nature, even if at the same time he is interested in the spiritual relationship that man has with it, and is also interested in the scientific aspects and in the transcendental and mysterious ones of the world. Wonder leads to a momentum of pathetic empathy between the artist and the world, which persists in the following relationship between the observer and the work. The state of wonder derived from approaching the world is then found in the work as well, not only as the consequent aesthetic and formal fallout of the experience but, most of all, as the generator of a speculation that follows the rules typical of the artistic specificity.

Text by Aldo Iori for Alessandro Tinelli