KREIJN by MATTEO MELOTTO
SAMANA emerges as a continuation of the thesis in collaboration with the Rick Owens brand: a ceremonial performance in the form of a deconstructed parade following the devotional act of religious circumambulation - associated with symbolic meanings of purification, veneration, or consecration - and three installative phases that rework the anthropological ritualistic theory of Arnold Van Gennep first and Victor Turner later.
The space is divided into two sections: one related to the performance and the other to the exhibition, also tripartite in itself in three sculptural groups representing the corresponding phases related to the Theory of liminality: a phase called "separation", a "liminal" one, and one of "aggregation or reincorporation".
If Matteo Melotto's entire practice is influenced by this rhythm marked by the number three, the performance and the exhibition create a double, a synchronous and parallel element: the performance that sees us as spectators of that same rite that Melotto leads us to perform, on ourselves, through the occupation of his installative space not as visitors but as practitioners.
The first stage is characterized by a phase of "isolation", called SIPKA and realized in the form of a portal with a proto-architectonic trilitic structure.
The second stage, KREIJN, is the one of the liminality phase, central to the rite, in which the individual or group finds themselves in a state of transition.
The third phase, that of aggregation or reincorporation, is represented by AXLOR, which combines technology and nature with its sculptural elements.
In all installative situations, six of the nine garments from the collection in collaboration with Rick Owens are present: first inhabited by the covers of two handmaidens, deconstructed into two casts, and finally dematerialized into the form of a bodily essence. Lucrezia Nardi.
KREIJN is a series of two sculptures made of plaster, gauze, and fabric. The works evoke the liminality of the rite of passage, the need to deconstruct one’s psychophysical self in favor of a subsequent ascension to a higher dimension. This process is embodied in the mummification of two distorted and alien anatomies, captured in a moment of eternal dissolution. The busts that constitute the central part of the sculptures wear two outfits created in collaboration with the Rick Owens brand, characterized by layered bodysuits and padded sections inspired by the concept of maternity and change through necessary pain.
UNIQUE PIECE
200X0.5 M
SERIE DI 2
GESSO, CARTA, GARZA
PLASTICA, GARZA
DI COTONE, NYLON,
OVATTA, LYCRA
AVAILABLE
SAMANA emerges as a continuation of the thesis in collaboration with the Rick Owens brand: a ceremonial performance in the form of a deconstructed parade following the devotional act of religious circumambulation - associated with symbolic meanings of purification, veneration, or consecration - and three installative phases that rework the anthropological ritualistic theory of Arnold Van Gennep first and Victor Turner later.
The space is divided into two sections: one related to the performance and the other to the exhibition, also tripartite in itself in three sculptural groups representing the corresponding phases related to the Theory of liminality: a phase called "separation", a "liminal" one, and one of "aggregation or reincorporation".
If Matteo Melotto's entire practice is influenced by this rhythm marked by the number three, the performance and the exhibition create a double, a synchronous and parallel element: the performance that sees us as spectators of that same rite that Melotto leads us to perform, on ourselves, through the occupation of his installative space not as visitors but as practitioners.
The first stage is characterized by a phase of "isolation", called SIPKA and realized in the form of a portal with a proto-architectonic trilitic structure.
The second stage, KREIJN, is the one of the liminality phase, central to the rite, in which the individual or group finds themselves in a state of transition.
The third phase, that of aggregation or reincorporation, is represented by AXLOR, which combines technology and nature with its sculptural elements.
In all installative situations, six of the nine garments from the collection in collaboration with Rick Owens are present: first inhabited by the covers of two handmaidens, deconstructed into two casts, and finally dematerialized into the form of a bodily essence. Lucrezia Nardi.
KREIJN is a series of two sculptures made of plaster, gauze, and fabric. The works evoke the liminality of the rite of passage, the need to deconstruct one’s psychophysical self in favor of a subsequent ascension to a higher dimension. This process is embodied in the mummification of two distorted and alien anatomies, captured in a moment of eternal dissolution. The busts that constitute the central part of the sculptures wear two outfits created in collaboration with the Rick Owens brand, characterized by layered bodysuits and padded sections inspired by the concept of maternity and change through necessary pain.
UNIQUE PIECE
200X0.5 M
SERIE DI 2
GESSO, CARTA, GARZA
PLASTICA, GARZA
DI COTONE, NYLON,
OVATTA, LYCRA
AVAILABLE
SAMANA emerges as a continuation of the thesis in collaboration with the Rick Owens brand: a ceremonial performance in the form of a deconstructed parade following the devotional act of religious circumambulation - associated with symbolic meanings of purification, veneration, or consecration - and three installative phases that rework the anthropological ritualistic theory of Arnold Van Gennep first and Victor Turner later.
The space is divided into two sections: one related to the performance and the other to the exhibition, also tripartite in itself in three sculptural groups representing the corresponding phases related to the Theory of liminality: a phase called "separation", a "liminal" one, and one of "aggregation or reincorporation".
If Matteo Melotto's entire practice is influenced by this rhythm marked by the number three, the performance and the exhibition create a double, a synchronous and parallel element: the performance that sees us as spectators of that same rite that Melotto leads us to perform, on ourselves, through the occupation of his installative space not as visitors but as practitioners.
The first stage is characterized by a phase of "isolation", called SIPKA and realized in the form of a portal with a proto-architectonic trilitic structure.
The second stage, KREIJN, is the one of the liminality phase, central to the rite, in which the individual or group finds themselves in a state of transition.
The third phase, that of aggregation or reincorporation, is represented by AXLOR, which combines technology and nature with its sculptural elements.
In all installative situations, six of the nine garments from the collection in collaboration with Rick Owens are present: first inhabited by the covers of two handmaidens, deconstructed into two casts, and finally dematerialized into the form of a bodily essence. Lucrezia Nardi.
KREIJN is a series of two sculptures made of plaster, gauze, and fabric. The works evoke the liminality of the rite of passage, the need to deconstruct one’s psychophysical self in favor of a subsequent ascension to a higher dimension. This process is embodied in the mummification of two distorted and alien anatomies, captured in a moment of eternal dissolution. The busts that constitute the central part of the sculptures wear two outfits created in collaboration with the Rick Owens brand, characterized by layered bodysuits and padded sections inspired by the concept of maternity and change through necessary pain.
UNIQUE PIECE
200X0.5 M
SERIE DI 2
GESSO, CARTA, GARZA
PLASTICA, GARZA
DI COTONE, NYLON,
OVATTA, LYCRA
AVAILABLE