Andrea Perissinotto

riempimenti sentimentali


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Action and emotion


Diving inside the photography. Beyond the rigidity of the length and width of the picture. Telling stories, frozen in a moment. Pulling out emotions is the aim, at a photographic level, which Andrea Perissinotto pursues. Photographs where the human being and his circumstances, his daily life, are the main aspect of the image.

The series In The Shadows (2008) is explicitly centred in the male portrait. The author drafts his own mythology of heroes and anti-heroes looking for a true space to live, by means of a group of photographs taken to boys, the most of whom are not professional models. A place where all people can express their feelings and live their relationships and desires in an accepted and free way.

The subtle and hidden dictatorship of fashion, consumption and diets, are the main topic in Fashion Possession collection (2006). A series of pictures taken to young girls, following the style of fashion magazines, which include slogans and sentences referring to the possession of the woman’s body, as publicity companies do in order to sell their products. The author outlines an ethic question when he contrasts, on one hand, the celebrated achievements of female independence in the last decades and, on the other, the perennial slaveries –like fashion- with which many women are still bound up.

In Riflessi (2006), women are again protagonists of the collection. It is a group of photographs taken in the cities of Rome and Venice -where the author comes from- to women in their daily labours. Showing feelings, emotions and a variety of attitudes and, at the same time, typical of current situations in our lives, are the main topic in the series.

We Decide (2009) implies both photography and installations, and it is formed by a series of forty stripes made out of laminated cards –size 10x7 cm-, which are the result of a complex process of photography, printing and careful cutting out the tiny details of the human figure. These cards include at the back an image, press cutting or code bar, symbol of the act of being catalogued to which the human being has been addressed to, after the phenomenon of globalisation.

Moreover, the author works on ethnographic photography and landscapes, remembering the places he has visited, and always trying to show the distinctive aspects and idiosyncrasy of every single geographic point he has visited with his camera.

De símbolos y sensibilidades


I will say how you were born, forbidden pleasures,
As a wish is born on towers of horror,
Threatening bars, discoloured bile,
Petrified night by dint of fists,
All of them before, even the most rebellious,
Only adequate for a life without walls.
Luis Cernuda Los placeres prohibidos, 1931

Culture gets politicized in so far as the production of icons, fashions, meaning, symbols and sensitivity are inclined to become normalised, depending on who the hegemonic actors are, in the media that make known all those elements. It is important to celebrate the good relationship between culture and politics in our beloved City Council, and this exhibition, in the frame of the Visible Festival, shows it.

Andrea Perissinotto is a young artist born in Venice, and he cannot limit himself to his original pictorial vocation. His first incursions into the plastic arts were the execution of collages, where the paste and oil painting protrude from a strong fight against the images, being worthy of a homage -unconscious, I guess- both to the Venetian pictorial tradition and the iconography of its carnival. This works of arts are charged with irony and a variety of readings, which has favoured that our artist moves on to conceptualism.

It is worth starting with the first verses of Los Placeres Prohibidos by Cernuda, to associate them with the male portraits, the first part the visitor meets in this exhibition, named Transitions.

These photographs are a bet on diversity and dynamize equality, mainly understood as the inclusion of the excluded, not leading to cultural homogeneity; rather Andrea, with these photographs, promotes differentiation, understood in a double meaning: both as cultural diversity and pluralism. Models are asked to pose, knowing beforehand the artist’s message. The utilization of Afro-American models is not casual. Creations which refer to the best tradition of male photography: Robert Mapplethorpe, Herbert List, David Hockney, Toni Catany, etcetera. This works of art are sometimes transformed into intentional diptychs or triptychs, as if they were compositions resembling sacred altarpieces, with a premeditated study of its composition, its architecture. Volumes and light incidence play an essential role. The artist knows that these photographs captivate us, by its different interpretations too: we can find affection masks (El abrazo), sensuality (Labios), tolerance, or just a simple reflection on the human being (Instante).

In the group of works of art entitled Fashion Possession, female models who are photographed imply a charge of irony. We only have to pay attention to the inscriptions on each fotograph: Life is bitter...but not today!, I’m feeling like..., Fashion Possession, Me, myself and your money, etcetera, to understand the sarcasm. Andrea Perissinotto photographs women of extreme beauty, where the colour of the picture and the luxury are accomplice to this humour.

We decide is presented in two different sections. One of them, formed by photographic strips which are made up by a number of pocket-sized cards. They include accidental models, captured by the camera’s eye of the artist, in the street. A serial realization, with almost handicraft preparation. Andrea pretends to show the contradictions of a society which has suffered a deep transformation in a very short period of time. It is necessary to remember that the discourses of modernity, progress and occidental development focused on a number of concepts such as State-Nation, territory and national identity… which have fallen down today, on one hand, due to the economic globalisation, and, on the other hand, the cultural globalisation, which erases national borders and the identities related to them. In the second section of this work of art, our artist looks at the inside part of the individual, by means of a number of mirrors. That is why he uses a mirror for each sentence. Here, the personal gets over the collective, the global.

In Nueve segundos menos de tu vida, he invites us again to an individual reflection. An enjoyable and amusing proposal  which precisely asks us about the passage of time. In Do not touch the work, the reflection becomes irony again and, in this case, anthropologic philosophy: posters that warn us not to touch works of art because of security reasons, in line with Joseph Kosuth, putting these in a different context. To conclude with, I would like to remind that we will follow the near future of our artist. In fact, we will be able to gaze at his creations in the 10th Contemporary Art Meetings, which are presented in the museum of the University of Alicante (MUA) and, in 2010, he prepares a personal exhibition in the Istituto Nazareth, in Rome. We will be on his trail…

The original starting point


Creating videos is another field of art in which Andrea Perissinotto has been interested. What is more, his first artistic projects where precisely visual documents of this type, entirely carried out by him. There, the author gathers a variety of concepts, always related to art. Later, Andrea rearranged his artistic labour, and these first visual documents turned into other creative experiences such as collages, photography, paintings or installations.

The first video creation, entitled Game Over, consists of different videos where a variety of colours are given primacy: orange, white, yellow, blue, red, grey, black, green and violet. Apart from focusing the poetic composition on one colour, the author goes deeper into another series of narrative elements, from which we can highlight the artistic sensitivity of the stories he tells. On the other hand, Anima project is a hymn to praise the feminine figure and her freedom, where the author emphasizes the necessity of transmitting this positive revolution to the new generations.

Analyzing in a deeper manner each visual document, Game Over starts from two different concepts: the colours in the Rubik cube and the sentence “Game Over” which normally appears at the end of a videogame. Perissinotto starts from the conception of colours as generators of feelings. Setting out a comparison with the famous cube, human existence is characterized by the presence of different events, emotions, misfortunes, satisfactions… which can be an objective themselves or depend on other actions, implying a wide range of consequences.

The nine videos which build up Game Over have got a different colour as their central topic. Each colour generates, remembers, creates and claims for emotions, feelings, moods… which evoke a variety of fragments of the author’s personal life. Furthermore, humans’ aim of perfection highlighted in this visual document is translated into a question: “Play Again?” It is actually a choice which depends on the interest, curiosity, volition and wishes of the spectator: the possibility to go on, start again, surrender or finish.

On the other hand, in Anima visual document we can observe several women who, –apparently antagonistic– establish a connection that gives sense to the whole work of art: it is the transmission of the value of women’s freedom, from the old lady up to the young girl, and the importance for this collective to keep it alive. In some countries –not in all– women have lived a revolution in their rights and liberty. From the old to the modern, from the natural to the manufactured, from the slow to the fast… from cold colours to the hot ones… as these images show.

Mixed up with these images, we can see a group of women who have experienced this change. They must fight to maintain it and transmit it to the new generations and countries where they keep on being victims of slavery and negation of human’s rights and freedoms yet.

Warriors, plastic, broken CD's and butterflies


Mythological warriors, black and pink flamingos, birds and goldfish, ballet dancers, shadowy universes made out of paper, butterflies and broken CD's, which throw gleams of Venetian light and colours, compound the cycle 'Immagine Tempo': a series of collages where different artistic techniques are used, created by the Italian artist Andrea Perissinotto (San Donà di Piave, Venice, 1981), who pretends to send a message of hopefulness and fight, to anyone who may be socially excluded because of his/her sexual tendency.

At first sight, the brightness of the colours used by the artist is highlighted, as well as the asymmetric composition of the collages, where an inner universe, full of small characters, give liveliness and movement to the pictures.

Hieratical or in action, naked or not, from different species and human races… the author makes up a world of fish, dolls, dummies, naked archers, fighters, mermaids and 'fish-men' who interact either they know it or not- to express a feeling of effort and overcoming differences, in order to achieve a more comfortable and habitable world, idyllic, where nobody will be excluded.

Characters involved, in many cases, in a shadowy piece of cloth forged thanks to grey, white and black paper meticulously cut. Next to vertical paper ships, we can find couples of people embracing each other, mermaids and butterflies, which dive in a turquoise sea, dark and shadowy.

Focusing on the homosexual topic, but involving the reality of other excluded collectives, the collages mean, -the artist says- the 'effort' towards a “war of symbols to say that we are armed, but we do not want a conflict. We want to show our own personality”. Perissinotto remarks: “We want to face this world, we are looking for a dialogue. Facing people who oppress differences because, instead of that, these should be a reason to grow altogether”.

Coming back to homosexuality, slim male bodies dance and stare defiantly, irreverently wearing skirts from female 1st Holy Communion dresses. With the concentric circles, which articulate most collages in 'Immagine tempo', the author pretends to express his personal universe, in the North of Italy. A country where he thinks- sexual freedom has to fight against a great number of prejudices and social barriers, pretty different from the Spanish reality, where it does exist a law for homosexual marriage.

The circles, brilliant and vigorous, represent “a starting point” which is not closed, but “interacts with other topics” and “serves to spread the artist's horizons”.

The universal and the essential


At first sight, the colours and light from Venice. Baroque mixed with Murano glass. In a second view, a wink to the Italian art from all times (classic Roman portraits, futurist repetitions by Giacomo Balla, cuttings and tearings, like Lucio Fontana) and to all artistic times (series by Warhol and shapes and colours typical from Robert and Sonia Delaunay, next to compositions which evoke Goya's and Picasso's scenes.

Halting our sight a little bit, everything seems to gyrate from a epicenter from which a series of characters, who are placed aside, burst (sometimes, they are photographs or paintings; some others, all together). But this is a convulsive and spiral movement which does not seem to stop and which carries us to a third dimension by means of glass, wires, ropes and all sorts of objects, undefining the support but defining the style, oppressing some characters and connecting some others.

Fixing the sight, the real intention of the artist can be understood. The message. In a first line, more universal: the inexorable aspect of the future, the chaos in the composition of the Guernica, the incomprehension, looking for a balance concerning a starving society, opposite to an unconcerned one, and a slight insistence towards old people, falling into oblivion. Everything becomes ambiguous if we read it for a second time. Nowadays, the society, apparently forgotten, rejects the new collective, everything seems to acquire a new meaning in the frame of the gay subject, in the fight for a new point of view, in the reinterpretation of the shooted men (in the collage 'The Bottoms' War', there is a specific reference to 'Los Fusilamientos del Tres de Mayo, by Francisco de Goya), of the new shooted men and in the specific fear to the time, which goes by… referred to the 'how' and the 'why' of the immediate future.

Surfing the work, we can notice the mastery of a number of techniques: collage, graphic arts, photoshop, colour control and the balance or absence of it- to express. The own things and the acquired ones. The local and the stock of knowledge. Universality and esence. A very wide point of view to talk about what is happening here and now.

Políticas de lo personal


If the sun returns, if the sunset arrives,
if the night has a flavour of future nights,
if a nap of rain seems to come back,
from too beloved times and never wholly possessed,
I do not find happiness either in enjoying or suffering from that:
I do not already feel my whole life in front of me...
To become poets, it is necessary to have much time:
hours and hours of solitude are the only way
to build up something which is strength, neglect,
vice, freedom, to shape chaos/…
Pier Paolo Pasolini The Prince (1961)

Andrea Perissinotto’s works of art transmit frankness. Without tricks, they invite us to engage into small reflections which are, however, crucial for social coexistence. His projects focus both on private and public matters, or better said: they talk about the possibilities we have to live our own and private time, freely, in a social frame.

The same freedom is also applied by the artist in the election of techniques and materials, due to the fact that he has been taking advantage of drawing, painting, collage, photography, video and installations; however, there exists coherence of thinking, depicted from the issues he outlines… with which he questions the visitor. And moreover, starting from his interest in the time as matter, as a driving force behind change and transformation of identity.

It is also true that, in this occasion, the variety of approaches responds to the fact that Transitions is an exhibition where works of art from the last three years are gathered and, furthermore, it does not pursue to carry out a retrospective, but to reveal a creative development and a process of work still open… This explains the variety of strategies and techniques used. It may seem that making his own the famous maxim claiming: «the personal is political», Andrea invites us to go with him into a trip with a number of stops in different issues which are crucial for our personal history: the desire to live our sexual orientation freely, the imposition of fashion over young bodies, the uniformity and social annulment of the individual in wild-capitalist societies, or the change of art into commerce and show, betraying its initial statement of social change.

Our route map begins with the series FASHION POSSESSION (2006), a selection of photographs, following the style of the pictures which appear in fashion magazines, including slogans and sentences regarding the possession of the woman’s body -and especially, youth- which are used by publicity to sell their products. By means of irony, Andrea puts himself in an interesting and intermediate territory where, at the same time he celebrates the women’s strength, independence and achievements in the last decades, he warns us about the slavery which implies submitting to the rules of fashion, consumption and diets.

The second stop in our trip would be gazing at IN THE SHADOW (2008), an emotive work explicitly focused on masculine portraits, and referred to the gay collective. By means of a collection of photographs taken to a group of boys –most of them are not professional models– the artist builds up his own mythology consisting of heroes and anti-heroes, looking for a vital and true space for the gay collective and the expression of their relationships and wishes, in an accepted and free manner.

Spreading this positions and archetypes which go from tenderness to fight, Andrea aims to express his commitment to the extension of rights for homosexuals all over the world, bearing in mind that the real situation in many parts of the world, small towns and the rural environment –where these relationships are mainly lived in the shadows- is rather different from cities like Madrid, where a number of advances have been achieved. The apparent carelessness of the setting, absolutely simple, pretends just to show “the making” of the work of art; the absence of virtuosity in the sceneries emphasizes what really matters: the boys and their bodies… abandoned themselves to a moment of intimacy.

To finish with, the most recent works of art are the three installations gathered under the title of IRRECUPERABLES (2009). The first one: WE DECIDE (2009) is a device formed by forty strips, each one made up of thirteen laminated cards, which are surrounded by twenty DIN-A4-sized mirrors. In these mirrors, there are a number of sentences that give back to us our own reflection, as if it were a magic oracle; in fact, each sentence makes us reflect on a certain aspect of our life and social coexistence. The thesis of this project would be to denounce the labelling and uniformity which are hidden under false possibilities of originality and election, set to us by politics and education, according to their interest in controlling every single tendency that breaks the rule.

Paying attention to the artistic practice itself, we will find: DO NOT TOUCH THE WORK (2009), centred on the way people visiting museums and galleries face contemporary works of art, and the author especially analyses how many of these visionary pieces from performances, happening or installations in the sixties and seventies, have become museum fetishes which the visitor cannot either approach or touch, absolutely betraying the initial aim. Therefore, this is a work of art that refers to lost ideals and how purposes and fights change, as time goes by.

Nevertheless, if there is a work which deeply moves me from Andrea Perissinotto’s exhibition, it is NUEVE SEGUNDOS MENOS DE TU VIDA (2009), an installation with a renewed Fluxus air, in the line of the famous «instructions» by Yoko Ono and other conceptual artists, which invites us to incorporate our own vital time into the project: in this case, nine seconds of our busy life, even the fast time we employ to visit an artistic exhibition. Apart form the irony and humour with which Andrea drafts his proposal, there is an unrepeatable moment, always new, which happens when we experience the work of art and watch our own face crumbling away, while it goes past nine mirrors, prevailing an emphatic poem of melancholy. Again, the use of mirrors and reflected light as symbols, not only of the passage of time, but also of the ancestral query to the oracles, trying to make our desires and future dreams come true. «How do Nine Seconds Less In Your Life taste? What is the texture of Nine Seconds Less In Your Life?»- Andrea whispers from the other side of the mirror.

Venice-Madrid round ticket

Trying to outline a brief routemap of the last exhibitions carried out by Andrea Perissinotto, we would probably start with Immagine Tempo, held in November 2008, in the Italian city where he was born.

A few days later, Perissinotto presented some photographs for the International Contest ‘X Forúm Can Basté’, in Barcelona. Moreover, his work of art ‘The Future’ has been selected for the 1st National Prize ‘Grupo Grünenthal’, whose presentation was held in Madrid, at Santa Barbara palace in mid-February 2009. Other exhibitions in Málaga (south of Spain), Ourense (north of Spain) and Barcelona followed this one.

In Madrid, his work ‘Nueve segundos menos de tu vida’ has been selected for ‘Arte Emergente/Urgente’ contest, organised by Espacio Menosuno gallery. In May 2009, his individual exhibition entitled ‘Anima’ (soul in Italian), took place at ‘Paco Rabal’ Cultural Centre. Finally, in June 2009, his individual exhibition of photographyTransitions’ has been presented, in the frame of the ‘Visible’ festival, at ‘La Elipa’ Cultural Centre, in the city of Madrid.

On the other hand, the Institute for Culture in Alicante has presented in September, at the Museum of the University of Alicante (MUA), the 2009 edition of the International Contest ‘Contemporary Art Meetings’ (Encuentros de Arte Contemporáneo), for which Andrea Perissinotto has been selected. There he will show some of his last works of art.

2010 will mean the return to the Italian capital: the Nazareth Institute in Rome will be the scenery for the presentation of a new personal exhibition, entitled "Disconnessioni" (Disconnections).