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Venice Biennale Collateral Exhibition : ADI DA SAMRAJ

Festivals, Fairs and Biennials - Wednesday, July 11, 2007
Venice Biennale Collateral Exhibition : ADI DA SAMRAJ
Artist and scholar, Adi Da Samraj has explored new forms of digital technology to produce ever more complex and sophisticated images embodying his spirituality, philosophy, and distinctly Modernist aesthetic sensibility. 


The “First Room” Trilogy I, 2006 (from Spectra Ten) Pigmented inks on paper and acrylic urethane paint, on aluminum 228 x 419 cm (90 x 165 inches)
Transcendental Realism: The Art of Adi Da Samraj comprises ten large, visually works realized by Adi Da Samraj in the last year and employing a complex variety of digital means. Displayed in the Palazzo Bollani’s upstairs galleries, the ten recent works will be supplemented downstairs by a rotating documentary display of Adi Da Samraj’s earlier work with photographic and digital media.




The Lover I, 2006–2007 (from Oculus One/The Reduction Of The Beloved To Love Alone) Pigmented inks on paper and acrylic urethane paint, on aluminum 355 x 355 cm (140 x 140 inches)




The chief curator for the exhibition is Achille Bonito Oliva, renowned art critic and historian.

Bonito Oliva is author of essays on mannerism, the avant-garde, and the neo-avant-garde. He is also the founder of the artistic movement Transavanguardia.

He has curated thematic and interdisciplinary exhibitions both in Italy and abroad, including Contemporanea, Aperto 80, Avanguardia transavanguardia, Arte e depressione, and Minimalia. He curated the 39th and 45th Venice Biennales. He currently teaches history of contemporary art at La Sapienza University in Rome. He has received numerous prizes and awards, including the Valentino d’Oro, international prize for art criticism, in 1991.


From the curatorial statement by Achille Bonito Oliva

Exhibition Opening: Achille Bonito Oliva (curator) and Paolo de Grandis ( co-curator) © HUMA3
Adi Da Samraj has established a new use of geometry, as a fertile field of unconventional aesthetic communication that takes delight in developing its principles asymmetrically, through surprise and feeling. However, there is no contradiction between these two elements and the principles of design. Rather, surprise and feeling strengthen those principles, through a pragmatic and unpreconceived use of “representational” geometry. It is no accident that the artist constantly shifts between two-dimensional imagery and three-dimensional fabricated shapes, between black-and-white formulations and polychromatic combinations. The final form—whether twodimensional or three-dimensional—suggests a tangible rather than an abstract reality, which pulsates before the thrilled analytical gaze of the beholder. The work carries with it a potential for asymmetrical development implicit in the original concept. Such asymmetry is an integral aspect of the modernist approach, reflecting the nature of the world around us, full of unexpected events and surprises.



The Pastimes of Narcissus I, 2006 (from Spectra One) pigmented inks on paper, mounted on aluminum, rosewood, and mirror 231 x 396 cm (91 x 156 inches) —extended with mirror
Modernism and its Aftermath, by the artist

There was more great virtue at the beginning of the twentieth century than at the end—and, yet, what was occurring at the beginning of the twentieth century was also part of (and coincident with) the progressively emerging breakdown of world-culture and of the great human process.
There are many uniquely important elements in the culture and art of “modernism” which were interrupted at the end of World War II—but which I regard to be the roots of a profoundly transformative and artistically liberating renewal of the entire world-tradition of making and doing art. It is, therefore, necessary that the “liberating instant” of “modernism” be continued, and always further developed, and even, in the best of cases, exceeded—but, certainly, not merely renounced and forever lost…
The twentieth century was a period of the global collapse of the old (and even ancient) foundations and structure of civilization and culture. Thus, from the beginning of the twentieth century until World War II, the old order of civilization and culture was disintegrating and approaching its death. The period encompassed by World War II accomplished the death of the old order of civilization and culture.
For the first two decades that included and followed World War II, the death of the old order of civilization and culture was the subject of reaction and regret (including much denial, anger, bargaining, depression, and resignation). Then, from the 1960s to the turn of the twenty-first century, there was a period of virtual non-civilization and non-culture. And, only now, is the moment for the emerging of the truly new.
Based on this synopsis of the twentieth century, the century can be divided into three periods of cultural and artistic evidence: the period of “modernism” (1900–1940), the period of “post-modernism” (1940–1960), and the period (or “dark epoch”) of no-culture and non-art (1960–2001).

From Transcendental Realism, by Adi Da Samraj
(Middletown, CA: The Dawn Horse Press, 2007)

 


Quandra Contemplating the Fruits of Perfect Knowledge I, 2006 (from Spectra Three) Pigmented inks on paper, mounted on aluminum 243 x 304 cm (96 x 120 inches)
Quandra Contemplating the Fruits of Perfect Knowledge I, 2006 (from Spectra Three) Pigmented inks on paper, mounted on aluminum 243 x 304 cm (96 x 120 inches)
Further Informationa



Trascendental Realism: The Art of Adi Da Samraj

La Biennale di Venezia

AdiDaBiennale

Arte Communications

 

 

 

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