SPAZIO MENTALE = AMBIENTE
Personal exhibition of Federico Clapis
Text by Marco Tagliafierro
From You Tube to Crypto Art, to tangible plastic structures, Federico Clapis involves the whole environment, real or virtual, in his work; environment that becomes for him a means of explaining the internal space, work on technique, on experimentation, also on the continuous discoveries concerning new media that are never an end in themselves but become an instrument of the artist's will in seeing from a perspective the daily landscape of man is different.
When Federico Clapis was a performer, he worked on actions that involved his body as a source of sensations and vibrations capable of being transmitted to the outside. On the contrary, he became a multiplier of sensations so as to attract attention to new and more direct means of mutual communication and to highlight the relationship of the body with the environment.
The concretions of object signs, for Clapis, are not to be read first of all as a criticism of an ecological or unconventional nature, never in the sense of a cynical satisfaction with contemporary beauty, if anything they play on form, on the relationship of friction with the environment in which certain elements are placed, almost like certain large primary structures or of Minimal Art. The use of "hard forms" ranging from building elements to bins, gas cylinders, barrels, metal drums, all of themselves full of strength and symbolic references, significant synaesthetic experiences referable to the materials that these containers originally concluded.
Its sedimentations are therefore always improbable, supported on sometimes improper, equivocal, perhaps ridiculous, clumsy, full of a cold irony a bit drole.
He manages to transform ordinary situations, archaic situations, dead idioms, elements of mental rebound, into formal facts, even into decorative factors. He realizes complex interventions, full of conflict, of hermetic and ritual evocations, of magical meanings, creating an acute relationship of more energetic than emotional tension through signs and colors, managing, moreover, to also reach a subtle, underlying, poetic charge.
Clapis' operation, when he acts on materials, is to further subtract the artistic identification of materials from their conventional structuring. It manifests itself as extremely direct and simple and as hermetic and secret, it consists in combining materials and objects of opposite value in order to obtain, from their simple juxtaposition, the maximum tension of meaning, in the pure and simple dialectical game; in fact he opposes, for example, natural elements to technological elements, heavy elements to light and aerial elements, in a contrast of energies with different values, accentuating a sort of panic lyricism. Clapis, the world, living beings, things, life, are situations of energy and the point lies precisely in not crystallizing these situations, but in keeping them open and active according to their life.
He elaborates a sort of dialectical assemblage of symbolic presences, often monochrome, fluctuating as in an aquarium, setting them in a sort of empty scenario, which makes them the protagonists of modern dramas, full of poetic, social, political meanings, taken from all our cultures. In my way of perceiving, this signifi- cance finds its origin in some cornerstones of contemporary literature and philosophy, from Derrida to Kristeva, from Lacan to directing models (Appia to Craig), up to the theater of Artaud, as regards the association processes. Clapis has elaborated her own world of objects that she relegates to a sort of ritual, sacralizing placement, arranging them on pedestals as if they were family altars, according to an abstract vision of a new metaphysics.