Jonathan Binet - Jason Matthew Lee
23 September 2017 - 15 November 2017
Opening Hours: Mon-Sat 10-13 am / 16-19 pm, or by appointment.
Each exhibition is accompanied by a catalogue with critical essays by Michele D'Aurizio.
On Saturday 23 September, at 18:30, Galleria Mazzoli opens the exhibitions by Jonathan Binet
(Lyon, France, 1984) and Jason Matthew Lee
(Chicago, United States, 1989), both with their first solo show in Italy.
Among the works Binet
has made for Galleria Mazzoli, there are both new iterations of gestures explored by the artist in the past, and new approaches to the painting-object. The first group might include, for example, the paintings made by wedging a can of spray paint between the canvas and the stretcher: the canvas applies pressure to the valve and makes the paint emerge, so the painting “paints itself.” In these works Binet confirms what might be called a true “refusal” both to paint the canvas and to “impregnate” it with his own artistic subjectivity. The precipitate of his gesture, in fact, is an imprecise, ambiguous sign whose interpretation is left up to the viewer.
Alongside these works, Binet presents paintings on canvas made in the past but recently reworked – or, more precisely, uprooted, smashed and dismembered – and then crossed on an iron frame. These works emerge from a gesture that is perhaps more ruthless than the one described above, a true attempt at annihilation of the self and its representations. This gesture, however, displays the truly radical nature of Binet’s procedure, an antagonism that leads the artist to think of creation as an attempt to dig an escape route for the painter-self, beyond the painting itself.
has made two groups of works for the exhibition at Galleria Mazzoli. The ones in a larger format represent stratifications of lines: spray-painted doodles, photographs of tangles of electrical wires, orthogonal grids and circumference patterns. The linear nature of all these elements is an echo of their production processes (digital printing, computer graphics, etc.). They replicate and incorporate the diagrammatic nature of computer thinking, the property through which the computer embodies all the principles of linear thought, just as it ignores any command not formulated in keeping with the rules of linearity. If, however, we notice that many of these lines are circular, closed or knotted to themselves, then these works can be interpreted as suggestions of reflexive commands, codes that write themselves, intelligent machines.
The smaller works blend images and codes of computer viruses with images of biological viruses. They are nocturnal, spectral works that point to the immanence of technology in human civilization.