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| Mauro Bordin | |
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1970, Born in Padua, Italy, lives and works in Paris, France. |
| 关于此艺术家 | |
I believe that the leading motive of my work is the perception of human presence in the environment. In the first series of my paintings, the bedrooms (1994-1999), I focused on the footprints left on the bed by human bodies as signs of their presence and descriptions of specific existences in a private environment. I used the mountains, the skies, and the trees (1998-2000) as symbols also used by the religions. In the folds of a wave, or the wrinkles of a mountain, I wanted to allude on the hand that has created them - for those who believe - the hand of God, whom we can consider as the first man since He created us in his own image. In the figures and the crucifixes (2001) I affronted the human body as the principal subject. I tried to give weight and volume to the body and I eliminated every reference to the external environment by immersing it into darkens. By doing so, I wanted to highlight the important difference between humans and other living creatures and how grave is the responsibility of humans as dominators of the world. In the destroyed cities (2001-2005) I presented one of the consequences of this responsibility, namely the human destruction of their own environment and what they had created in the environment. Finally, in the most recent series of paintings, No Man’s Land (since 2005) the presence of humans is no longer evident or it appears only remotely: sometimes it can only be hypothesised. |
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531 - The road II
2007 |
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520 - Prima e dopo
2006 |
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498 - Battle field
2005 |
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511 - Ruins
2005 |
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499 - Hiroshima 1945
2005 |
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Hiroshima Project
2001-03 |
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| I started working on “ Hiroshima ” at the time of the war in Afghanistan , but I didn't want to create a work directly tied to this country. I preferred working on a past tragedy that implicitly enabled me to express my disagreement with events taking place in the present.
The Hiroshima Project stages a metaphorical and ritualistic representation of man's destructive actions together with the possibility of reconstruction through memory. It is an enormous puzzle made up of 220 assembled parts, about thirty meters long and two and a half meters high. The project consisted of two distinct phases: “breaking up” and “reassembling”. In the first phase, the exhibition of the work is followed by the sale of dissociated parts of the puzzle. The idea is that people can buy a part of the painting during the exhibition, therefore letting empty spaces appear in the work until it is progressively deleted. In this way I try to illustrate, or better, to make the mechanism of memory and oblivion tangible. The second part of the exhibition, which will take place in an unspecified number of years, will be dedicated to the reconstruction of the work. It will have to be an incomplete reconstruction of course, but emblematic of memory that is erased. Some parts will probably be damaged, others lost forever... But this is part of the mechanism of collective memory. Each one is a depository for an individual experience, represented by a part of the painting, which for however small the abstract entity drawn from a figurative work, represents being part of the event. By reconstructing the work I intend to underline the need to feed memory and to assert that in the face of tragic events in history what counts above all is solidarity, the need to get people to agree in order to reach something constructive.
http://hiroshima-bordin.fr |
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Hiroshima Project, detail
2001-03 |
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Hiroshima Project, detail
2001-03 |
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| 教育程度与个人自传 | |
| 1988, Secondary College of Art, Padua 1992, Academy of Fine Arts Venice 2001-2003, Work period at the Cité Internationale des Arts, Paris Last Personal Exhibitions 2007 - "No Man's Land", De Luca Fine Art Gallery, Toronto; "Terre di Nessuno", Galleria Spazio Arte, Milan (catalogue, with texts by G. Seveso) 2005 - "Mauro Bordin", Sala Bonzagni, Sant'Agostino, Ferrara (catalogue, interview); “Mementoâ€, Comice Agricole, Capellen, Luxembourg 2003 - “Hiroshimaâ€, Padiglione Cornaro, Padua ( catalogue with texts by G. Segato); “Marine e montagneâ€; Le Latina – Gallery Renoir, Paris 2001 - “Mauro Bordinâ€, Gallery Armanti, Varese (catalogue, with texts by G. Seveso) Last Collective Exhibitions 2007 - "Escaliers: La verticale du possible", Gallery Charlotte Norberg, Paris*; "Surplace", Boom, Antwerp 2006 - De Luca Fine Art Gallery, Toronto; "Labirinto: Mito, Edificio, Danza", S. Agostino, Ferrara* 2005 - ", portrait d'une femmeâ€, Gallery Artcore, Paris* 2004 - “Pittori veneti†, Villa Contarini, Piazzola sul Brenta, Padua*; Gallery Armanti, Varese 2003 - "Artcore 01", Gallery Artcore, Paris Gallery Signorini, Lendinara (Rovigo) Salon “ Grands et Jeunes d'Aujourd'hui â€, Paris; Luxembourg (selection) * 2002 - Exposition collective des artistes résidents, Cité Internationale des Arts, Paris; “Casoli Pintaâ€, Palazzo Ducale, Atri (Teramo) *; Salon “Grands et Jeunes d'Aujourd'hui â€, selected for the Itinerant Exhibition, 2000-2002: M.G.C., Zagabria; National Museum of Fine Arts, Kaoshiung; Fine Arts Museum, Taïpei; Metropolitan Museum of Art, Séoul * 2001 - “ Grands et Jeunes d'Aujourd'hui â€, Itinerant Exhibition: BCEE, Luxembourg; Museum of Modern Arts, Caracas, Maracaibo; Embassy of France, S. Domingo; Palace of the Conferences, Lomé *; Exposition collective des artistes résidents, Cité Internationale des Arts, Paris; “Salon des Artistes Européensâ€, Espace Château Landon, Paris 2000 - “In forma di figuraâ€, Arte Padova 2000, Contemporary Art Fair , Padua*; Salon “Grands et Jeunes d'Aujourd'huiâ€, Paris*; “XX Rassegna nazionale del disegnoâ€, Nova Milanese (Milan) *; Gallery Armanti, Varese; Gallery Bac Art Studio, Venice * Exhibition catalogue |
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