Claudio Ballestracci "Stanze Naufraghe" solo exhibition with installation, objects and video at the janinebeangallery Berlin June 15th till July 20th The project Stanze naufraghe (Shipwrecked rooms) brings together, in the same lifeboat, works that are marked by a common matrix: the ruin, symbol of transience and memory, the dream understood as metaphysical voyage and myth. My work lies in salvaging these elements, bringing hidden treasures to light with a brief cleaning, relics saved from shipwreck or perhaps simply from an oversight, from the habit of living. Objects that speak of the power and fragility of their elements, alluding to the mystery of human nature. In spite of the corroded climate of the material and a declared obsolescence, things contain an almost organic energy: they emit light, retain dreams, release images. The rooms of the janinebeangallery become terrain on which to draw the point of contact between multiple flights of a humanised Icarus and the building of a sleeping town, a village in the form of beds like a dream factory. The shipwrecked room is a place of attempts, archive of trial flights, minimal takeoffs, illusions, the corollary to failures that now and then lead us to acknowledgement of the irreversibly terrestrial and mortal nature of man. Thus flocks of flyswatters bring us brusquely back to earth, ironic destiny of bright comets seized in flight. Each image is crossed by light: in the luminosity, in the transparency of rays filtered by wax and cotton, resin and water, vivid concepts are glimpsed and unveiled, retained within inert structures, organic and inorganic, a mingling of document and presage, of life and death. Though Icarus does not appear in the work at all, perception of his passage is suggested by clues: waxed feathers, constellations of pages fixed to the walls like weathercocks that symbolically depict a small scale aeronautical museum. Aerostats, dirigibles, biplanes and flying machines appear to scan the dogged persistence of a dream now enclosed in Icarusâ€™ seven diaries.Pregnant beds swollen with dreams, harvest of
human endeavour, stand surrounded by a landscape in ruins, images of superseded seaside holiday camps, dilapidated hotels, the consumption of terminal houses and factories, discards, used containers, glimmers of forms with their outlines eaten away, precious fertiliser in which life germinates in its implacable stubbornness.This shipwrecked voyage is completed by a requiem, in the form of a video, for the former rope-factory in Viserba, an industrial archaeology site whose roots lie in the 19th century, a workplace for hundreds of women and men, historic monument and symbol of economic and tourism development in this Romagna seaside resort.Requiem (Video) is a collective tribute to all those â€œcathedrals of lights and shadowsâ€? forgotten by man yet immersed in the townscape.Places on the way to extinction, constellations on nautical charts with finely traced courses, in dissolution, fragile portals dispersed over the territory and interlinked by metaphysical underground passages: reserves of the neglected, mausoleums of the indefinite, unnameable areas conducive to a climate of enchantment, of bewilderment, of propensity towards the invisible.Towns given over to crushing, to deep feeling for the irreparable. Sites offered to the shipwreck as deities.The big sleep of the rope-factory emits not sounds but objects: itâ€™s a field sown with voiceless mouths; a number of dumbstruck objects come out of the clefts, sprout from the land, emerge from the machinery. The detritus comprises solid romances, calcified howls, the inkling of something that evaporates prior to insights, a precious puzzling legacy, in exchange for a comet of lost stories.