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CAOS 2023


International Contemporary Art exhibition

2023 AUGUST, 10th

Concept by Art Curator Erika Gravante

Déjà vu is a sign that the mind is doing a memory check, to verify that its archive is not hiding errors. The brain, that dense region of emotions and notions, is a container of chaos, a wunderkammer of possible and impossible questions. However, in this place of confusion, of the intense presence of the whole human being and its paradoxes, there is a space for vision by contrast, by opposition, for ascertainment as a form of verification and discipline. We can say that deja vu then is one of the weapons our mind uses to escape all this intensity, to find a linear path to follow possibly with eyes closed. Then it even goes looking for a terrain that has never existed that is already seen, already experienced, already proposed, known where instead this terrain did not even exist. Chaos therefore scares us and we often do not use it in our favour. In ancient mythologies Chaos is almost always contrasted with the Cosmos, in the sense of a disordered universe the former and an ordered universe the latter. But chaos also becomes a generating and necessary force for the ordered world, understood as a positive force that can counteract it in its undifferentiated and destructive randomness. Between the great ancient cultures and today the step is short and what remains is what we can take as truth. Chaos is fertile ground, it is generating, it is making love on wet sand, it is that same sand that we find traveling on our skin, chaos is a rash choice that by nature does not let us glimpse where it will lead. Where there is chaos, we know only one thing for certain: there is art. The art of knotting bodies, the art of enlightened minds, the art of agitated spirits that together find in disordered life their calling and their mother. From this maternal element we want to imagine and give birth to a chaotic artistic universe that gives birth to a garden of desires, as secret and impossibly real as Marc Quinn's inserted into the resulting scenario of a mystical and bloody performance by Hermann Nitsch, some would say too much to handle, we say just enough for our tumultuous souls. Mads Art Gallery chooses to call to order, to organization, these souls capable of erecting load-bearing structures from the swirling waters of consciousness, structures like frameworks, which through their precise classification allow the creation of the most amazing of artistic worlds. The geometric and regular space necessary for the expansion of those consciousnesses that investigate in the decomposed. The method as a style of organizing chaos that becomes the work itself, inviting total immersion in artistic practice: art, as a totalitarian regime.

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