Danh Vo, Isamu Noguchi and Park Seo-Bo on display in Venice
Danh Vo artist and curator, with works by Isamu Noguchi and Park Seo-Bo. Between East and West, essentiality and expressive power are the protagonists of the exhibition at the Querini Stampalia Foundation in Venice
The political-conceptual expressive habituality of Danh Vo (Ba Rja, Vietnam, 1975) is presented in a minimal and mimetic version in the exhibition that sees him as the protagonist as an artist and curator at the Querini Stampalia Foundation in Venice. His interventions are in fact sought within the historic rooms, among the artifacts of the collection.
It is “simply” about floral images taken with the smartphone. The scientific names of the botanical species were handwritten by the artist’s father, while the wooden structures that frame and set the photographs are the processing waste from an experience in Murano, where Danh Vo went to create a cycle of sculpture.
DANH VO, ISAMU NOGUCHI AND PARK SEO-BO IN VENICE
If this first intervention is all too synthetic and mimetic, the ones that the Vietnamese-Danish artist created by combining several examples of the famous lamps are more evocative. Akari from Isamu Noguchi (Los Angeles, 1904 – New York, 1988). Like Chinese lanterns, the typical paper structures multiply and group themselves in different points of Carlo Scarpa’s architecture, like floating presences.
But the best part of the exhibition is paradoxically more classical: the conceptual and tactile power of the paintings of Seo-Bo Park (Yecheon, South Korea, 1931). His fusions of line and matter have a mental and physical influence on those who observe them and once again confirm the validity and contemporaneity of the oriental neo-avant-garde experiences such as Dansaekhwa, a movement of which the artist is a part.
– Stefano Castelli