(eng. text below)

In questa terza mostra personale alla Galleria Six, Gianluca Codeghini riduce ai minimi termini ogni sua certezza concettuale e formale, annulla ogni possibile approdo – al punto tale da lasciare nello spettatore l’incertezza di essere altrove, come egli ama dire.

“È una mostra sul corpo, sulla materia, sul desiderio ma anche sul sentimento, perché c’è ed è evidente la ricerca di piacere e di libertà. Per farlo metto in relazione tre diversi lavori: una performance sonora per voci (Tale corner: Brothers in Art, 2012), a parete troviamo un’immagine silenziosa di polvere su cui adagiare lo sguardo (Lying void of pleasure, 2019) e un lavoro che agisce su due piani espressivi differenti, quello scultoreo e quello fotografico (The aftershave victory, 2023)… la questione del tempo è un elemento rilevante, perché va inteso come processo in cui succede qualcosa tra un momento prima e uno appena dopo... il suo focus cade sulla serie The aftershave victory… a un certo punto tra l’idea, la produzione e la documentazione è successo qualcosa di inaspettato, mi sono trovato senza accorgermene di fronte e all’interno della stessa scena, raccontata con morfologie e funzioni differenti… è quell’approssimarsi all’istante in cui saremo percepiti in modo indissolubilmente simultaneo…”

Codeghini accosta interventi molto diversi tra loro, messi in relazione assumono un ruolo autonomo piuttosto che allusivo o emotivo. Il concatenamento c’è ma non si vede, si sente ma non così bene, lo troviamo ma è poco evidente, lascia una scia. Sono relazioni tra l’essere pensiero e il divenire azione che provocano un distacco tra le cose, perdono aderenza e prendono la distanza tra un prima e un dopo.

L’asimmetria, il crollo, la polvere, la cavità, l’errore, il rumore, l’interferenza e il resto costituiscono componenti performanti da cui conseguono eventi che, a loro volta, trascinano l’evoluzione delle cose da una parte all’altra della realtà – “al punto tale”, ancora una volta, “da lasciare nella memoria il dubbio di aver toccato a distanza o di non aver baciato o urlato affatto”.

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In this third solo exhibition at Galleria Six, Gianluca Codeghini reduces all his conceptual and formal certainty to the minimum, he cancels every possible landing place - to the point of leaving the viewer with the uncertainty of being elsewhere, as he likes to say.

"It is an exhibition about the body, about matter, about desire but also about feeling, because the search for pleasure and freedom is there and evident. To do this, I relate three different works: a sound performance for voices (Tale corner: Brothers in Art, 2012), on the wall we find a silent image of dust on which to rest our gaze (Lying void of pleasure, 2019) and a work that acts on two different expressive planes, the sculptural and the photographic (The aftershave victory, 2023)... the question of time is a relevant element, because it is to be understood as a process in which something happens between a moment before and one just after. ... his focus falls on the series The aftershave victory... at a certain point between the idea, the production and the documentation something unexpected happened, I found myself without realising it in front of and within the same scene, told with different morphologies and functions... it is that approaching of the instant in which we will be perceived in an indissolubly simultaneous way..."

Codeghini juxtaposes very different interventions, put in relation they take on an autonomous rather than allusive or emotional role. The connection is there but cannot be seen, it is felt but not so well, we find it but it is not very evident, it leaves a trail. These are relations between being thought and becoming action that cause a detachment between things, they lose adherence and take the distance between a before and an after.

The asymmetry, collapse, dust, cavity, error, noise, interference and the rest constitute performing components from which events ensue that, in turn, drag the evolution of things from one side of reality to the other - 'to the point', again, 'of leaving in the memory the doubt of having touched at a distance or of not having kissed or shouted at all'.



Gianluca Codeghini (1968) lives and works in Milan.

From his first musical and performance projects of the eighties as in his subsequent installations Conservare fuori dalla portata (1992), La patologia del benessere (1996) and as in the most recent works Crudeltà inaudite (2007), Pezzetti e bocconi (2009), A slow movement between my fingers (2012) and Platone di esecuzione (2019), Gianluca Codeghini activates concepts and processes in which the relationship with and between the public becomes fundamental in the production of short circuits, tensions and discrete, undisciplined provocations. Contraptions prepared with acute care and a meticulousness so thorough, instigating doubt in the mind of ever having practiced something else or not having practiced at all.

Codeghini it is about resorting to a diversity of disciplines to include in the idea: videos, installations, paintings, sculptures, artist books, texts, actions, performances, compositions musical or curatorial (Warburghiana, Poe.mi, Laciecamateria, Riscrizioni di mondo).

He has been exhibiting in Italy and in other countries since 1990. Recently at: ASSAB ONE Milan; MAN Museum, Nuoro; Red Bull Music Accademy, Rome; ViaFarini, Milan; MART Museum, Rovereto Trento; GAMEC Museum, Bergamo; NEON, Bologna and Milan; MUDIMA Foundation, Milan; MLAC Museum Laboratory "la Sapienza" University, Rome; Baruchello Foundation, Rome; Prometeo Gallery, Milan; Pomodoro Foundation, Milan; ALT Leggeri&Radici Foundation, Alzano Lombardo Bergamo; RCM, Paris; SIX, Milan...