I went to see Stefano Bressani's exhibition because I was intrigued by this new artistic technique of his, because I have always been interested in creative recycling and above all because superheroes have been part of and are part of my life. A lot has changed in this ‘area’ since I was a child. New techniques, videos, movies... but there is a common thread that goes through the years unchanged: the dream. As children we all believed in superheroes with that purity that even today makes children believe in the existence of Santa Claus. Sometimes you look at the past almost with nostalgia, of something that will no longer be there and that is unrepeatable and you tend (sometimes) to demonize changing times and ‘the new’ as something negative. In my opinion, this is not the case. I understood this by watching a documentary about new archaeological sites discovered thanks to the help of drones. Something ancient, a dream, that continues to live with that purity, thanks also to the new... to the drones. As I often say, I am not an art critic, I will never be nor do I intend to become one, so mine are only the pure and simple sensations that have transmitted to me the "dressed sculptures" of Stefano Bressani, a journey into my memories as a child and to discover that even if times and techniques change, the dream of believing in superheroes does not change and remains unchanged over time. Below you will find the artist's press release. Visit the photo gallery and forgive our imperfect English. Gabriella Ruggieri for 1blog4u
Short hints about Stefano Bressani: Stefano Bressani’s dressed sculptures (known as “sculture vestite” in Italian) impress with their originality and a riot of colors. Bressani was born in Pavia in 1973, he graduated in mechanical engineering and worked for many years as a designer. Stefano Bressani’s studio is located in Pavia, south of Milan. The city is famous for its Certosa, a spectacular Renaissance monastery, and as the site of one of the first universities in Italy. Bressani makes a lot of use of color and with his ‘dressed sculptures’ he opens up art to a new way of thinking, seeing and conceiving art. The art through which Bressani expresses himself is of a figurative type with clear references to Pop Art, if we can say so. His art is capable of co-existing three different worlds: Art, Design and Fashion. The main element which ties together these worlds is Fabric. Only fabrics that are used for clothes, are chosen and disected to obtain texture, weave and colour. Stefano Bressani, uses fashion textiles (as we said) to sew his work with a tailor’s care, and it is no coincidence that many call him “the tailor of art”. Besides research, technique, and expertise, his style is also based on the philosophy of using the beauty of art to make eternal what is normally limited in time, like clothes.
“We present the new project of Stefano Bressani in which the artist wishes to accompany us by the hand beyond the purposes of being a contemporary figurative exhibition. In his “Pianeta delle Stoffe”, in this story, he tells of the injustice of time, the social implications and paradoxes that, in playful mode (as he usually does), hide the dark side of our life, behind a small curtain in which everyone, puppet of his destiny, plays his own game. In truth, as many will remember, inside every robot that belonged to his childhood, the pilot was often the man. There were flying discs, piercing mace, and funmbolic athletic figures crossing waterfalls to position themselves at the wheel after triple flips. The good always triumphed over evil and the idea of peace, after every battle, was the subject of an almost systematic return to order. Growing up, Stefano Bressani has lived a different world, while maturing he has been able to analyze better how the distorted reality that was told in those situations, those of his Superheroes, even if apparently invented, unfortunately did not have an objective return with tangible reality. Everyone today perceives art as a poetic license and knows that, thanks to it, it is possible to play through images, between inconsistencies and paradoxes, from the most obvious to the most subtle ones. Today we appreciate the system, often used by artists, to tell their present which is then the same as those who watch. In the Bressani’s work, the thread that unites the past with the present and projects it towards the future is always alive but often deserves an in-depth explanation thus allowing those who observe, to be able to delve into the concept going beyond the technique that has been recognized to him and beyond the color that best represents it.
“Hyper Heroes – From The Deepest Web World Space” is an ironic title that hides, among its letters, a mode of near-scientific research, clearly choosing images from the new visual world and reinterpreting them according to its most intimate paradigms. Today, which have passed so many years since those 70s, everything happens IPER quickly and often gets trapped in the network of HYPER information. People don't read anymore, the news kiosk where comics were bought have become a distant memory. Adults today sometimes feel projected in a time that does not belong to them but to which they have adapted, strong in a resilience that has allowed them to switch from analog to digital. Soon we probably won't even have time to look at the images on monitors anymore. Everything happens here, in this story, where Bressani pays homage to the world of Japanese manga, those that over the years have undergone profound changes by re-evaluating the modes of execution, from the pencil drawing of certain cartoonists of the 40s to the graphic pens of the most emblazoned computer programs. This is the new place for the new superheroes, who have become films, victims of new compelling interpretations, where the (very good) actors have arrogated to themselves the possibility of becoming robots themselves, victims without their knowledge of a story that repeats itself in an endless harmonic cycle. They therefore deserve a promotion, the superheroes, with all the irony that Bressani knows how to propose in his story. Become from SUPER to IPER, but forced by the nature of the strict rules of this world, to a transformation, forced to return children from the appearance of the Chibi characters of Japanese manga culture and represented by an English-speaking title to mock their appearance. According to the English language, in fact, the same adjective is comparable to the meaning of ‘Super deformed’, a game of situations that for Bressani lead to a proactive complaint that must make us think with a more conscious evaluation of the system in which we live. The exhibition consists of a colorful and compelling mono-format spot in which you can get lost among the volumes of the “Dressed Sculptures” expertly packaged by Bressani, a place where you can enter and exit, passing from the figurative parameter to the informal one without any reference point, a sort of programmed disorientation that entices the touch and all the senses.
But... among the many ‘sympathetic deformed’, with large heads and small bodies, large hands and big and sweet eyes, the most important work of all stands out, the one that the Bressani deliberately left out of media communication and the one that remained secret until the moment of the inauguration. Not for technique, but for language mode, Flash brings us back with our feet on the ground, between the coherence of the man Stefano Bressani and the inconsistencies of the artist. At the head of the 12 works 100x70x8 cm hanging on the walls, the largest sculpture (Flash) watches an aridden to the meaning of life almost as if to want to take back the lost time. The real game rests on an unexpected change of direction, where the soul of a romantic comic like the one that came out of Gardner Fox's hat and the hands of the draughtsman Harry Lampert in 1940, wants to take everything back. He is himself who, accustomed to living at an HYPER sonic speed, sees himself as the only one who has remained old, paradoxically watching over a school of children, who unlike him, have returned to play with themselves. If you abandon yourself to images, let yourself be disoriented by concepts, give your eyes to what should not be explained because it is beautiful that Art can express itself, first of all, according to a “non-logical” that has a logic: they are called ideas, and ideas must necessarily be the result of a respectable and respected thought, a thought that knows how to generate a story to tell. Everyone will come out with an opinion and perhaps a purpose, because in the lives of each of us, we can all aspire to be promoted from ‘super’ to ‘hyper’. The conclusion of the story is left to you with a suggestion: maybe no matter at what speed you decide to run, perhaps the important thing is to understand that every trip leaves a deep sense, and even in this, perhaps, everyone has had the chance to start being a superhero for their own life and a hyperhero for the lives of others” (Press Release)
visit the Gallery (ph.Vaifro Minoretti for 1blog4u)
STEFANO BRESSANI Studio – Via Ludovico il Moro, 90 – 27100 Pavia (PV)
Phone: +39 349 38 55 416