Andrea Magaraggia. L'ordine spontaneo

Project Room


9 March  -  3 April 2014

The Spontaneous Order A special focus is dedicated to the work of who for the MA*GA project room has created a site-specific installation called Spontaneous Order.
Spontaneous Order, a metaphor for the “self-organization” of elements, is the condition in which Magaraggia’s forms and structures inhabit the exhibition space. The installation originates in the project room, a incubation center for sculptures that extend out beyond it, into the permanent collection space, and which have to do with the phenomenon of apoptosis. In biology apoptosis refers to a form of programmed cell death that an organism implements to ensure it develops correctly: the sacrifice of some cells helps to bring about healthy growth. In the same way, each of the sculptures possesses varying degrees of finiteness, due to the artist’s continuous intervention of during the phase when the polyurethane is worked and shaped. Polyurethane is in fact a foamy material to begin with, which tends to expand continuously: the artist’s task of containing and diverting it is comparable to the act of sculpting, but with a more complex dynamic due to that natural force (of the polyurethane) that must be constantly kept in check and directed, and which inevitably leaves some space open to chance. Another central aspect of the installation is the construction of a space within the space with simple geometrical structures which highlight, and in places disturb, the visual relationship of the works presented. Lines and blocks follow and interrupt one another, they break apart and reform themselves in search for new scenarios and views. The result is permeated by the tension among elements struggling for their emancipation from the limits of the gallery space, and which attempt to impose an order that is only apparent, because it is spontaneous. 
Andrea Magaraggia says the following about his work for MA*GA “The title calls attention to the randomness of these forms, of their conforming to surfaces that determine their confines. The installation adapts each time in relation to different rooms, walls and settings by adding or taking away certain elements. These sculptures become unusual units of measurement for the surrounding space”.

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