Adrian Paci: Melancolia della resistanza: Béla Tarr / Adrian Paci

Casa Masaccio, San Giovanni Valdarno, Italy, cur. Saretto Cincinelli

ADRIAN PACI

Melancolia della resistanza: Béla Tarr / Adrian Paci

Casa Masaccio Centro per l’Arte Contemporanea
Corso Italia, 83
52027 San Giovanni Valdarno

April 13 - June 30, 2024

Casa Masaccio | Centro per l’Arte Contemporanea is honoured to present Melancolia della resistenza: BÉLA TARR / ADRIAN PACI, which will be inaugurated on 13th april at 6:30 pm (13 april–30 june 2024).

After “Jean-Marie Straub e Danièle Huillet- Film e loro siti” (2020), “Chantal Akerman -STANZE. Sul custodire e il perdere” (2022), “L’idea di nord Per Kirkeby –Lars von Trier”, MELANCOLIA DELLA RESISTENZA: Béla Tarr / Adrian Paci falls within the framework of ESPORRE IL CINEMA (Exhibiting Cinema), a cycle devoted to filmmakers awarded with the Premio Marco Melani. In 2023, a its 11th edition, the award was given to Hungarian filmmaker Béla Tarr for the following reason: Honorary Award to Béla Tarr in recognition of his cinematic contribution in expressing the human condition through an utmost rigorous and radical aesthetics.

This year, in the wake of its previous edition, the exhibition advances a dialogue between the cinematic explorations of Béla Tarr, an undisputed icon of European cinema and the author of masterpieces such as Sátántangó (1994), Werckmeister Harmonies (2000), The Turin Horse (2011), and another internationally acclaimed artist, Adrian Paci. The exhibition will not just be an occasion to showcase the works of two artists who, in complete autonomy, often put themselves to the test on similar sociopolitical themes–suffice it, beginning with those of migrants, the unemployed and the homeless, but also of hypothesizing, albeit under the surface, relations between two autonomous but not totally divergent worldviews. Visions that perhaps find an element of contact in considering -in the wake of Deleuze- the creative act as an act of resistance. From on the one hand the work of a master who made a sophisticated use of the sequence plan and the fusion of spaces a way to evade any rectilinear and teleological vision of history and, on the other hand that of an artist who, in actualizing a form -both through video and painting- aims to keep alive the element of potentiality right inside the result. Two research studies that show a progressive distrust in linear and straightforward communication, firmly believing that artistic “fiction” does not absolutely conceal the reality, but rather the opposite, art has the potential to offer a true picture of reality and the capability to disclose its deep folds.