Sergio Breviario
T.W.O. Numbers are not important
October 29, 2021 - December 16, 2021
Opening: October 28, 2021 | h 12.00 pm
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MLF | Marie-Laure Fleisch is pleased to present T.W.O. – Numbers Are Not Important, Sergio Breviario’s first solo exhibition in Belgium. The artist regularly uses video and performance, but it is in drawing that he finds the greatest freedom, placing it at the center of his practice. Hidden behind the classical outlook of his works is an extremely meticulous process, as well as an intellectual conception far removed from what one would be mistaken to see as a simple homage to art history. Breviario’s singular scenography tends to disturb our perception of space and, in doing so, our way of apprehending the works. His suspended pedestals make it impossible to approach these creations – whose medium and theme in general hardly surprise a seasoned eye – in any conventional manner. This exhibition is also an opportunity to present a new body of work, the Tenda series. Its large drapes, camouflaging spaces where only the viewer’s imagination can penetrate, overhang classical-looking drawings.
To appreciate Breviario’s approach, we must first return to an issue well known to art historians, namely to determine what confers the status of “work of art” to an object. This obsession leads him to rethink the relationship between the notion of culto (devotion, veneration), which tends to build a bridge between man and the divine, and that of cultura (culture), which emphasizes the human origin of knowledge. Although the artist tries to refrain from any religious reference, he nevertheless wishes to infuse his works with an element of mystery. By breaking down the title (T.W.O.) with dots, the artist distances himself from the initial meaning of the word, as if to keep any desire for conformity at bay. In this context, the exhibition’s subtitle, Numbers Are Not Important, finds its meaning: Breviario questions our cultural value system, preferring to allow for an element of uncertainty in the appreciation of our surroundings. Much in the same way, the drawings that seem to conquer the exhibition space are only a further refusal of the classical conventions of staged art.
The only hint of a measurable world that Breviario concedes is in the title: Two, a reference to the concept of the double that defines the exhibition. The drawings are presented in pairs and echo the representation of pairs of eyes present in most works. The androgynous faces, a further indication of the principle of duality, are reminiscent of Renaissance canons of beauty although in looking at them, one is quickly disturbed by their association with anachronistic elements. These figures are the result of collages of different faces, allowing the artist to balance forms, but without any academicism or ever being able to predict the final results. This incongruous iconography is all the more disturbing when one perceives only the eyes central to this imagery, inspired by personal photographs but also anatomy and art history books. The ambition remains the same: each creation must be charged with a fundamental “energy” that goes beyond its medium and time.
The neutrality of Breviario’s translucent materials gives his drawings a timeless character: the faces seem to emerge from an unplaceable in-between. By using materials at the cutting edge of technology like polyester sheets (known for their resistance) and ancient techniques like silverpoint, the artist aims at an unchanging creation. The shimmering surfaces in which the viewer’s gaze merges with that of the work of art aim to impact our consciousness, reminding us in passing that art is first and foremost a question of living experience. Through the curtains in the Tenda series, the artist also departs from the conventional appreciation of drawings and opens up infinite possibilities of interpretation for the spectator. The reproductions in dialogue with these fabrics all have discrete elements that differ from the original work when they do not come straight out of the artist’s imagination. By creating these misunderstandings through minute details, Breviario intends to shake up our relationship to art. With its obstacle-strewn path, the exhibition presents works that do not surrender to any concrete meaning but appeal to an intuitive truth that opens up many roads.
Biografia Artista
Nasce a Bergamo, 1974.
Vive e lavora a Milano
Mostre personali
2015
The Belle of the Ball, MAC Museo d'Arte Contemporanea, Lissone, Italia
2014
The Time Machine Oltrepò, Galleria del Premio Suzzara, Mantova
Blemmi, Posteria Cafè, Milano
2013
La Logica del Tornasole, CARS, mostra di fine residenza, Palazzotto di Orta san Giulio, Omegna
21 Quadrati, Galleria Marie-Laure Fleisch, Roma
2013
23, Gaff farnespazio, Milano
2012
Prototipo di macchina per la conquista del mondo, a cura di Ludovico Pratesi, Centro arti visive Pescheria, Pesaro
2011
Drawings by 2 (con Marco Bongiorni), a cura di Ludovico Pratesi, Galleria Marie-Laure Fleisch, Roma
2010
L’erba del re non fa crescere i fiori, Fabio Tiboni arte contemporanea, Bologna
2009
Una mostra a pois, Fabio Tiboni arte contemporanea, C/O ArtVerona, Verona
Fanzine, Primo tempo. C/O L'ospite e l'intruso, Varese
Sergio: Ciao come va? Ale: Bene. Sergio: Allora io porto le bolle. Ale:Io la mostra. Sergio: No, lascia a casa tua zia (con Alessandro Roma), Mars - Milan Artist Run Space, Milano
2008
Nulla è più volgare del pendant, stand Fabio Tiboni arte contemporanea, Miart Milano
E’ ospite solo verso sera (con D. Rivalta), a cura di Davide Ferri, Fabio Tiboni arte contemporanea, Bologna
2007
P.E.P.E., Galleria Piac, Ragusa
2006
diciannove novantasei: mi edifico e ti guardo, a cura di Milovan Farronato, Viafarini, Milano
Mostre collettive
2015
Èdra. Tutta l'Italia è silenziosa, Accademia Tedesca Roma Villa Massimo, Roma
2014
Panta Rei. Tutto si trasforma, Museo Civico del Marmo di Carrara, Carrara
Made in Filandia, Filanda di Pergine Valdarno, Arezzo
Quinta Essentia, The Workbench, Milano
Drawing for Lightnings, Kunstraum t27, Berlino
Belvedere, paesaggi e visioni della collezione del Maga, Galleria d’arte moderna e contemporanea, Gallarate
Se di-segno, a cura di Sergia Avveduti, Padiglione Esprit Nouveau, Bologna
2013
Arimortis, Museo del 900, Milano. A cura di Roberto Cuoghi e Milovan Ferronato
Premio Moroso, collettiva dei 12 finalisti, Fondazione Bevilaqua La Masa, Venezia. A cura di Andrea Bruciati
2012
Punti di Vista, Palazzo Arnone, Cosenza. A cura di Ludovico Pratesi
Epipedon, a cura di Ludovico Pratesi, CO2, Roma
...e vi solleverà il mondo, a cura di Berti, Breviario, Menin, Roma, O’, Milano
2011
Meriggio a Carignano, a cura di Ludovico Pratesi, Villa al Console, Carignano (LU)
Dialogos, Assab-one, Milano
Don't Come If You Care, a cura di Sils, Het Wilde Weten, Rotterdam
3mm al giorno, Cripta 747, Torino
Scultura lingua, a cura di Barbara Meneghel, Marselleria, Milano
Difetto come indizio del desiderio, a cura di Andrea Bruciati, NEON Campobase, Bologna
A ruota libera, a cura di Milovan Farronato e Chiara Agnello, MAXXI Museo delle Arti del XXI secolo, Roma
2010
Soap Float, a cura di Luca Trevisani, Marselleria permanent exhibition, Milano
MR Potato's Head. La scultura è cangiante per natura, a cura di Luca Trevisani, Cars Artspace, Omegna (VB)
Altre pagine d’artista. 1960 – 2010, a cura di Alessandro Castiglioni, Centro artistico Alik Cavaliere, Milano
Transition. A private matter, a cura di Alessandro Castiglioni e Katia Baraldi, Roaming, Praga, Repubblica Ceca
Festa Mobile, a cura di Davide Ferri e Antonio Grulli, Miki e Max, Bologna
Effetto Stalker #3, a cura di Helga Marsala, Galleria Dell’arco, Palermo
2009
Non voltarti adesso/ Don’t look now!, a cura di Milovan Farronato, Cà Pesaro, Venezia
Il Resto del Tempo, a cura di Alessandro Castiglioni, Castello Visconteo di Jerago, Jerago con Orago (VA)
New Italian Epic, a cura di Andrea Bruciati, Brown Project Space, Milano
L’immagine sottile 03, GC.AC Galleria Comunale d’Arte Contemporanea, Monfalcone
2008
Una ruota che sale e scende dallo sgabello, a cura di Luca Scarabelli, Museo Flaminio Bertoni, Varese
Repetita iuvant, a cura di Alessandro Castiglioni, Roaming Assab one, Milano
Bourgeois plaisir, a cura di Milovan Farronato, Miart, Milano
2007
In attesa di giudizio, a cura di Milovan Farronato, Michele Robecchi e Francesca Pasini, Miart, Milano
2006
La torta della sposa , Galleria Manuela Klerkx, Milano
Video.it 7, Palazzo dei Giureconsulti, Milano
Sperequazione: il riflesso perplesso, a cura di Michela Arfiero, neon>fdb, Milano
2005
THIN LINE: THE EXHIBITION, THE MOVIE!!, VUB, Bruxelles, Belgio
No location relocation, a cura di Michela Arfiero, Galleria Comunale di arte contemporanea, Castel San Pietro Terme (BO)
Video.it / contrappunti, a cura di Mrio Gorni e Francesco Poli, Palazzo Graneri della roccia, Torino
Thin line 4, a cura di Milovan Farronato, Viafarini, Milano
2004
Showcase , a cura di Michela Arfiero, Artopia, Milano
Chance, T293 arte contemporanea, Napoli
2003
Tracce di un seminario, a cura di Giacinto Di Pietrantonio e Angela Vettese, Viafarini, Milano
2002
In extremis, a cura di Giacinto Di Pietrantonio e Angela Vettese, Fondazione Ratti, Como
Opere in collezioni pubbliche
Anche oggi sono felice
AMACI (Associazione musei d'arte contemporanea italiani)
E’ una questione di santità
Mart , Museo di arte moderna e contemporanea di Trento e Rovereto
La vergine affetta da poliochidismo predilige la castità. Seconda versione
GC.AC Galleria Comunale d'Arte Contemporanea di Monfalcone
Premi
Concorso RIGENERAZIONE, Premio Suzzara 2013
Premio Moroso per l'arte contemporanea 2013 - menzione speciale
Premio Regione Lombardia 2012, conferito alle figure emergenti dell’arte contemporanea
Residenze
2002 Corso superiore di arti visive, Fondazione Ratti, Como