galleria gentili

MARCH 22, 1973 FROM 1:57 TO 3:43 P.M. 59
[PartIV]

EHRLICHMAN: Self-certified. That’s a Constitutional expert—
PRESIDENT: Well, anyway—
EHRLICHMAN: While you do that—

**********

PRESIDENT: The, uh—Now, uh, we could—Have you considered any other poss—, have you considered the other, all other possibilities you see here, John? You, you’re the one who is supposed to—
DEAN: That’s right. I think we,
PRESIDENT: You know the bodies.
DEAN: I think we’ve had a good go-round on—
PRESIDENT: You think, you think we want to, want to go this route now? And the—let it hang out, so to speak?
DEAN: Well, it’s, it isn’t really that—
HALDEMAN: It’s a limited hang out.
DEAN: It’s a limited hang out.
EHRLICHMAN: It’s a modified limited hang out.
PRESIDENT: Well, it’s only the questions of the thing hanging out publicly or privately.
DEAN: What it’s doing, Mr. President, is getting you up above and away from it. And that’s the most important thing.
PRESIDENT: Oh, I know. But I suggested that the other day and we all came down on, uh, remember we came down on, uh, on the negative on it. Now what’s changed our mind?
DEAN: The lack of alternatives, or a body. (Laughter)
EHRLICHMAN: We, we went down every alley. (Laughter) Let it go over.

Richard Nixon, John Dean, John Ehrlichman, John Mitchell and H.R. Haldeman (transcript from an audio-recorded meeting at the White House, Washington, D.C. March 22, 1973)

Il giorno 9 ottobre 2010, Galleria Gentili aderisce alla 6ª Giornata del Contemporaneo, promossa da AMACI (Associazione dei Musei d’ Arte Contemporanea Italiani).

Questa è la prima mostra personale dell'artista norvegese Marius Engh - My Target Is Your Eyes presentata da Galleria Gentili, Prato.

Nel suo lavoro Marius Engh si appropria di oggetti reali creando dei cloni, conquistando così nuovi punti di vista e nuove concezioni sulle “cose” che appartengono al reale e al vissuto. Attraverso questo processo di ri-creazione del reale l’artista indaga lo spirito e la storia che gli oggetti portano in se e prova, allo stesso tempo, ad allontanarli dal loro contesto originario per esporli in nuove circostanze, ricercando in essi un potenziale inespresso. Riproducendo oggetti presi dalla vita quotidiana ed evidenziandone, in questo modo, alcuni aspetti formali, Engh attua una sorta di trasposizione di significato del soggetto prescelto, riuscendo a spostare con un semplice gesto l’attenzione dal dettaglio storico al dettaglio formale, assimilando tali oggetti a pure forme.

La mostra My Target Is Your Eyes si sviluppa attraverso una serie di lavori che l’artista relaziona all’idea di conflitto, tuttavia, come spesso accade nel lavoro di Marius Engh, anche partendo da un approccio così diretto, quasi narrativo, il punto di arrivo si formalizza in opere che tendono a raffreddare tale approccio e come cita il titolo della mostra, tendono a colpire lo sguardo per arrivare oltre il visibile ad una sorta di grado zero di lettura. Tale distanza posta tra lo spettatore e ciò che è oltre l’opera d’arte rende quest’ultima una sorta di elemento di disturbo nel processo intellettuale attivato dall’artista.

Marius Engh (Oslo, Norvegia / 1974) vive e lavora a Berlino.

Tra le principali mostre degli ultimi anni ricordiamo: “Time Has Turned Into Space And There Will Be No More Time, Till I Get Out Of Here”, STANDARD (OSLO), Oslo; ”An Aggregation of Adversary”, Layr Wustenhagen Contemporary, Vienna; “Exhume to Consume”, Supportico Lopez, Berlin; “The Center of the World”, Preus Museum – National Museum of Photography, Horten and the project “Figureheads”under the auspices of Supportico Lopez at Frame, Frieze Art Fair 2010, London. I lavori di Marius Engh sono stati precedentemente inclusi nelle mostre presso Bergen Kunsthall, Bergen; Kunsthalle Bern, Bern; The Bruxelles Biennial, Bruxelles e Witte de With, Rotterdam.

MARCH 22, 1973 FROM 1:57 TO 3:43 P.M. 59
[PartIV]

EHRLICHMAN: Self-certified. That’s a Constitutional expert—
PRESIDENT: Well, anyway—
EHRLICHMAN: While you do that—

**********

PRESIDENT: The, uh—Now, uh, we could—Have you considered any other poss—, have you considered the other, all other possibilities you see here, John? You, you’re the one who is supposed to—
DEAN: That’s right. I think we,
PRESIDENT: You know the bodies.
DEAN: I think we’ve had a good go-round on—
PRESIDENT: You think, you think we want to, want to go this route now? And the—let it hang out, so to speak?
DEAN: Well, it’s, it isn’t really that—
HALDEMAN: It’s a limited hang out.
DEAN: It’s a limited hang out.
EHRLICHMAN: It’s a modified limited hang out.
PRESIDENT: Well, it’s only the questions of the thing hanging out publicly or privately.
DEAN: What it’s doing, Mr. President, is getting you up above and away from it. And that’s the most important thing.
PRESIDENT: Oh, I know. But I suggested that the other day and we all came down on, uh, remember we came down on, uh, on the negative on it. Now what’s changed our mind?
DEAN: The lack of alternatives, or a body. (Laughter)
EHRLICHMAN: We, we went down every alley. (Laughter) Let it go over.

Richard Nixon, John Dean, John Ehrlichman, John Mitchell and H.R. Haldeman (transcript from an audio-recorded meeting at the White House, Washington, D.C. March 22, 1973)

In his work, Marius Engh takes possession of real objects by creating clones, thus providing new insights and new ideas about the "things" that are part of the world of reality and experience. Through this process of re-creating reality, the artist explores the spirit and history that the objects bring with them and, at the same time, attempts to remove them from their original context by exposing them to new circumstances, to search for their unexpressed potential. Reproducing objects taken from everyday life and highlighting some of their formal aspects this way, Engh provokes a kind of transposition of the meaning of the chosen subject, and manages, with a simple gesture, to shift the attention from the historical detail to the formal detail, likening these objects to pure forms.

The exhibition My Target Is Your Eyes is a series of works based on the idea of conflict. However, as is often the case with the work of Marius Engh, with its very direct and almost narrative approach, the point of arrival becomes formalized in the works, which tend to cool such an approach, as the title of the show suggests, striking the eye of the beholder in a way that goes beyond the visible to a sort of zero degree interpretation. This distance placed between the viewer and that which is beyond the work of art, creates a disturbing element in the intellectual process triggered by the artist.

This is Marius Engh´s first solo exhibition at Galleria Gentili. Other recent solo exhibitions includes “Time Has Turned Into Space And There Will Be No More Time, Till I Get Out Of Here”, STANDARD (OSLO), Oslo; ”An Aggregation of Adversary”, Layr Wustenhagen Contemporary, Vienna; "Exhume to Consume", Supportico Lopez, Berlin; “The Center of the World”, Preus Museum – National Museum of Photography, Horten and the project “Figureheads”under the auspices of Supportico Lopez at Frame, Frieze Art Fair 2010, London. Marius Engh’s works have previously been included in exhibitions at Bergen Kunsthall, Bergen; Kunsthalle Bern, Bern; The Bruxelles Biennial, Bruxelles and Witte de With, Rotterdam.