Danilo Correale “Mosh Pit Control” press release 2010

Gallery A: “Mosh Pit Control” – Danilo Correale

Opening  Friday 29 October 2010 – from 7:00 pm to 21:30 pm   – From 29 October to 22 December 2010

“Mosh Pit Control” is the first personal exhibition for Danilo Correale (Naples 1982 – lives  and works between Naples and Berlin) at the Raucci/Santamaria Gallery in Naples. Mosh Pit, in Hardcore and Heavy Metal concerts, is a spontaneous dance, often at the limit of violence, made of jumps and pushes. A liberating dance that each protagonist lives as an active and passive subject at the same time: the control of movements is just about non-existent, as one is carried away by the crowd. What is left after several minutes in a Mosh Pit is the sweat, the puffing, a few bruises and the awareness that all those present are in the same conditions.

A state of apnoea and contamination that mirrors, according to Correale’s analysis, the entire system of relations, in particular the devices linked to representation. The works exhibited analyse a mediated perception, underlining the increasingly  weak border that separates objectivity and simulation, control and necessity.

Starting from a picture taken from the 1974 movie “Earthquake” (film in which for the first time the slogan “you will hear what you see” defined the use of the ‘sensurround’ technique) and going through the collective symptomatic amnesia towards the immediate past, arriving to the aesthetics of disaster, the artist traces the lines for a rewriting and reinterpretation of the method with which one tends to represent reality and the systems that regulate it. Technology of reproduction, collective memory and ambiguity of images, imply a critic to an increasingly fictionalized aesthetic.

These themes become the linchpin of the exhibition in which Correale presents a new series of works: pictures, sculptures and installations which, drawn from a popular archive, establish a new dialectic connection between object and subject, between reproduction and comprehension. The search for a representation and language that redetermines the statute of images and their distribution, without their significant feature to prevail, redistributes the democratic possibility in the observer to analyse them without being squeezed by their looming presence.

Elements that, put in an osmotic relation, create a friction and taint one another, just like in a Mosh Pit. An exposition that, even if in a playful way, keeps a precise analysis of those that are the most evident mystifications linked to the method of representation. Although presented as a unitary project, the works reproduce different fragments of a single scenery. A thick diagram of connection between past icons and new fake myths, amongst blurred images and objects, mirror of a reality more and more blended with its mise-en-scène.

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