Loris Cecchini

Loris Cecchini (born May 1969 in Milan) is an Italian artist based in Berlin Loris Cecchini’s research follows the physical features of plastic elements, transforming them, in a constant dialectic between art and science The physical phenomena become an optical and emotional inventory of the environment, and the natural systems are transformed into a stratified system of semantic relationships, with a view to picking up on the invisible processes of a synthesis between nature and culture The alternation of the works helps create a veritable “organism” responsible for generating a comparison between microcosm and macrocosm, which brings different aesthetic categories and the scientific environment together, and causes them to form close relationships Walls and objects subject to turbulence like liquid surfaces (Wallwave and Steelwave), the inorganic that becomes organic (Waterbones, Sentimental Seismographies, Confining forces, The peeling paints), natural elements continually hybridised, reworked by applying cognitive processes (of which sketching is a primary tool), restore the symbolic tension of a natural world in which man moves, builds, plans and achieves, in a slide towards the interiorised identification of the phenomenon portrayed

In the work of Loris Cecchini , photography, drawing, sculpture and installation combine to form a unified poetics Cecchini’s work owes as much to his expertise of a broad range of media as to his indefatigable curiosity The subjects that appear in his work include multiple collages and detailed architectural models, objects in rubber, reinvented caravans and tree houses, structurally distorted spaces, and prismatic, transparent covers and surfaces

No longer seen as a catalogue of forms to reproduce, nature, considered in its constant transitory state of structural and metaphysical progress, is presented as an analogon of the creative process, from the observation of which it is possible to acquire formative dynamics with which to create independent and meaningful images, just like the forms of nature: the works become results and testimony of a process of growth and change This is evident in series of works like Waterbones, The developed seeds and Synapsis paradigms and micrologies, and, generally speaking, in all the modular structures designed and composed by the artist in a new spatial arrangement These works gain consistency, progressively building emotional agglomerates aimed at a constant dialogue with space and architecture: an example is the recent project The Garden’s Jewel, a treehouse/sculpture installedpermanently in the South of France The individual works, analysed in their production, alternating arrangement, configuration, organisation, structure and order, create parallelisms which aim to transfigure abstract grammar and poetic anatomy, exterior phenomena of organic growth and storytelling, the world of molecular configuration and of the biological metaphor in the light of structural wonder

His series Monologue Patterns are idealized dwelling systems on wheel, small spaces designed around the idea of caravan, the trailer, the roulotte, a nomadic space for definition, combining sculpture and the tradition of utopic architecture to form a spatial and visual - poetical experience; some of them are up on the trees, with different characteristics, but always as places related to a sort of “poetical distance”

Incorporating elements from various interdisciplinary fields from chemistry to groundbreaking technologies, his work playfully investigates the limits of creation generating a continuous detection of exciting art outcomes whose definitions are ever changing
Biological metaphor and motion represent core philosophies behind the artist’s investigation and fundamental basis in his projects
His Wallwave Vibration series or what the artist refers to as ‘extruding bodies’, a physical manifestation of a pulsation resembling a fluid’s whose balance has been disseminated to form a delicate electromagnetic wave With these works, the context of the space is transformed and fragility is incorporated within the supporting structure as the artist simultaneously uses space as a subject and material, establishing at the same time new definitions of sculpture

Cecchini has continuously introduced the concept of the organic element as a central element of his work, in part as an exploration of the idea of the object and its inherent materiality but also as a minimalist practice Acting with the lens of a scientist, Cecchini closely examines his modules initially starting with basic 3D or watercolor studies moving forward toward the particularity of natural elements
Cecchini’s module-based installations, a calculated chain of stainless steel elements originating from his preliminary inquiries again using organism, as a leitmotif in his work to address the intricate evolution of art in relation to sciences In a wide range of works, Cecchini join together his steel modules to form a semblance of climbing plants, corals or crystals structures, organically deriving in an array of bewildering trails contrasting the deliberate intention of the propagation

Loris Cecchini lives and works in Berlin and Milan His work has been shown internationally, with solo exhibitions in prestigious museums including Palais de Tokyo in Paris, Musée d'Art Moderne de Saint-Etienne Métropole and the MoMA PS1 in New York, Shanghai Duolun MoMA of Shanghai, Centro Galego de Arte Contemporánea in Santiago de Compostela, Kunstverein of Heidelberg, Quarter in Florence, Centro per l’Arte Contemporanea Luigi Pecci in Prato and Fondazione Arnaldo Pomodoro in Milan Loris Cecchini has participated in numerous international exhibitions, including the 56th, 51st and 49th Venice Biennale, the 6th and the 9th Shanghai Biennale, the 15th and 13th Rome Quadrennial, the Taiwan Biennale in Taipei, the Valencia Biennale in Spain, and the 12th International Sculpture Biennale of Carrara Loris Cecchini has also taken part in collective shows all over the world, including exhibitions at the Ludwig Museum in Cologne, PAC in Milan, Palazzo Fortuny in Venice, Macro Future in Rome, MART in Rovereto, London’s Hayward Gallery, The Garage Centre for Contemporary Culture in Moscow, Palazzo delle Esposizioni in Rome, Musée d’Art Contemporain of Lyon, Shanghai’s MOCA, the Deutsche Bank Kunsthalle in Berlin and others He has created various permanent and site-specific installations, particularly at Villa Celle in Pistoia and in the courtyard of Palazzo Strozzi in Florence, at the Boghossian Foundation in Brussels and for the Cleveland Clinic’s Arts & Medicine Institute in the United States, at Les Terrasses Du Port in Marseille, and, recently, at the Shinsegae Hanam Starfield in Seoul

Works:
Urethane rubber sculptures Stage evidence are defined by the artist "non-sculpture" Affected objects that, due to their characteristics of deformation, inconsistency and paradox, are related to subjects as they relate to our memory and our experience I'm no longer objects, I'm nothing

The BBBreathless 2001 opera, exhibited at the 49th Venice Biennale by Harald Szeemann, was born from a death show project on the occasion of the repeal of this in 18th century Italy The work is the copy of a single cell (dimensions: cm 350 x 220 x 200), replicated in its outer form The rubber outer structure of the walls is rhythmically modified by hidden equipment: through these alternating air blow causes wall movement, causing expansion and contraction of the cell This movement gives rise to a kind of "breathing" of the room, which remains inaccessible in its interior

Monologue Patterns (Reading Books in the Park) 2004, located in a public garden at Gallarate, in the permanent collection of the Civic Gallery of Modern Art marks a turning point A capsule on a tree, with the possibility for the public to come up and to dwell on books of art poetry and architecture selected by the artist The private space of a small kaleidoscopic environment is suspended, but at the same time anchored in the strong presence of large branches of the tree passing inside The most architectural matrix of the work leads to thoughts of shapes that become places that can be practiced but at the same time manifest themselves as suspended elements belonging more to a private and emotional sphere The artist invites the spectator to enter into the matter of desire, dream, in a territory related to play and lightness

The imaginary portrait in the No casting or in the series The painted distances, challenge the spectator's perception by facing him in moments of everyday life, subjects or objects of common use, which are placed in a modified vision Central themes, are the dissipation of our postmodern existence The artist questions the difficult relationship between automation, industrial technology and natural rhythms

The Wallwave Vibrations series are soft, fluid, no edges Shapes that come close to nature invade the wall and absorb it to make it an integral part of the work itself Works that tend to destabilize, the perception of the physical world, between real and illusion, tangible and intangible, present and absent

In recent works such as The developed seed, the artist mainly focuses on his research on the concept of "diagrammatic model" Through its steel modules, designed by him, industrially manufactured, he creates environmentally-friendly, site-specific installations that articulate through the concatenation of the single module
"The imaginary involved is the scientific one, with unexposed technological accents Sneakers adopt mechanisms such as cellular multiplication and progressive expansion in a climate that achromatism insisted devoid of any sensational temptation" The starting point is the Relationships that arise, starting with a modular element, that governs the development of the installation The visual output of this survey is a mobile process, intrinsically dynamic and open Loris Cecchini strives to create organic, enigmatic shapes that imitate nature but at the same time distort it As a source of inspiration, it is his interest in the organic forms of nature that are reflected in the elaboration of biomorphic forms that produce organic sculptures
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