Cosmos, eternity, cult, precipice, incorporeal fall, alchemy, impulse, immense subconscious, sacred. Getting lost and finding the way through the dark labyrinths of unconsciousness in the golden deep sea of symbolisms and allegories to then, again, tumble whirling into the abyss of the immeasurable celestial vault, touching the stars with your finger and your feet there throat of the world. Vertical feel of the beyond. Over.
Navid Azimi Sajadi and Vettor Pisani, Terreno-Ultra-Terreno, installation view at Studio la Linea Verticale, courtesy Studio la Linea Verticale, Bologna
Waking up, having breakfast, getting dressed, brushing your teeth, leaving home, working, having lunch, going home, having dinner and sleeping. Occasionally talking about the weather, politics, a glass of wine, complaining, going to the post office. Horizontal flow of time. Ground. Two lines, one balance. North and South, East and West. Cardo and decumanus. The chessboard of existence.
Vettor Pisani, Senza titolo, 2010, mixed media on paper, 50 x 70 cm each, courtesy Studio la Linea Verticale, Bologna
The double show Terreno-Ultra-Terreno, presented by the gallery Studio la Linea Verticale on the occasion of Art City 2023, poses its research on the interconnection of a bridge between material and immaterial, evident and secret, tangible and allegory. A dimensional interweaving that Navid Azimi Sajadi and Vettor Pisani concede to our perception.
Vettor Pisani, L’isola dei morti, undated, silicone sculpture, 12 x 30 x 27 cm, courtesy Studio la Linea Verticale, Bologna
An incessant sound, coming from the video installation ANIMANIMALE by Mimma Pisani, radiates into the white space of Studio la Linea Verticale and accompanies the guest on his intimate vertical pilgrimage, a sacred moment. The first room exhibits some masterpieces from The Bridge series by Navid Azimi Sajadi, created within the MACRO museum in Rome in 2018. Sajadi is inspired by the bridge Allahverdi Khan in Isfahan, composed of thirty-three arches. But here, the arcades are everted female figures that seem to be giving birth: precious symbols giving light to deep icons knotted between bones and stars, animals and flowers cast in gold. Some bridges-bodies bend more, deconstructing; others hold their ankles and rest their head with bust with archaic writings on, which only the unconscious can interpret. A bridge of the world, western and eastern, between the Mediterranean and the Far East.
Vettor Pisani, Pietra filosofale, signature detail, undated, bronze, 8 x 9 x 12 cm , courtesy Studio la Linea Verticale, Bologna
These allegories make you focus on memento mori, an incessant flow and spreading of time both in the works of Sajadi and in Isola dei Morti by Pisani, a reference to Seneca’s philosophy and the value of time, which perhaps we give away too much. And there, lonely and solid, Vettor Pisani’s Pietra filosofale, which stops time and gives breath in the vertical swirl. Piramide Cestia, with its lapis lazuli blue, seems to give an indication, that is asceticism. A downward looking pyramid, again a reversal of the ascent to the Sun as much as a descent into purification and detachment up to, quoting the Buddhist tradition, to the awareness of being which is nothing but certainty that everything is mystery. The void.
Navid Azimi Sajadi and Vettor Pisani, Terreno-Ultra-Terreno, installation view at Studio la Linea Verticale, courtesy Studio la Linea Verticale, Bologna
It almost seems like a complaint of the dissipation of ancient values and virtues, which do not come perceived in the frenetic vortex of everyday life. Pisani places us in front of the coexistence of eros, as well as Sajadi, with the fallacy of society, almost animal, “In the ocean of vulgarities, noble thoughts appear like islands” quoting Nicolás Gomez Davila. Remove the oily patina of nonexistence until the separation of terrain and otherworldly. Navid Azimi Sajadi again offers us The Bridge series in an herculean key-Grotesca. A shadow, a bridge, a body that opens up to symbolism on a golden background, a reminder of the elegance from the Persian world and its ethical splendour. Such, then, is the reference to oriental culture with the site-specific installation inside of the exhibition space Studio la Linea Verticale by Sajadi: a star reassembled from oriental alphabet of unknown origin.
Site specific wall intervention by Navid Azimi Sajad at Studio la Linea Verticale (detail), courtesy Studio la Linea Verticale, Bologna
The double show Terreno-Ultra-Terreno is able to create a bridge between the real and the transcendental, thanks to the research and technique of Navid Azimi Sajadi and the anti-hero Vettor Pisani, also thanks to the collaboration with Mario Iannelli collection and the critical text by Antongiulio Vergine. The appointment continues at Cremona Art Fair, from 24 to 26 March 2023 where Studio la Linea Verticale proposes Navid Azimi Sajadi with the works of the hero, like is defined, Joseph Beuys. Studio la Linea Verticale will continue its search for the other and beyond with the exhibition Orizzonte-Sommo-Orizzonte, double show by Giovanna Caimmi and Francesca Dondolio scheduled from April 21, 2023 until June 10, still pursuing the vertical development that we can enjoy in the meantime of our horizontal.
Info:
Navid Azimi Sajadi and Vettor Pisani, Terreno-Ultra-Terreno
Curated by Antongiulio Vergine
02/02/2023-22/03/2023
Next: Giovanna Caimmi and Francesca Dondolio, Orizzonte-Sommo-Orizzonte
21/04/2023-10/06-2023
Studio la Linea Verticale
Via dell’Oro 4B, Bologna
www.studiolalineaverticale.it
Born in 1999. She falls in love with art by looking at her mother’s paint. She’s studying History of Art at the Ca’ Foscari University (Venice) and in the meantime divulges online videos of art pills. She deals with contemporary art as a critic, curator and artist.
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