Submission
Camillo Paravicini

Hart, aber fair


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Camillo Paravicini, Installation View
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Camillo Paravicini, Installation View
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Camillo Paravicini, Installation View
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Camillo Paravicini, Installation View
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Camillo Paravicini, Installation View
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Camillo Paravicini, Drifter, 2020, Oil on wood in wooden frame, 60 x 50 cm
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Camillo Paravicini, Herr Röösli in der Kunsthölle, 2020, Oil on wood in wooden frame, 60 x 50 cm
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Camillo Paravicini, Dunstschwalbe, 2020, Oil on wood in wooden frame, 60 x 50 cm
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Camillo Paravicini, Closing Scene, 2021, Oil on wood in wooden frame, 60 x 50 cm
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Camillo Paravicini, Chinese Vase, 2021, Oil on wood in wooden frame, 60 x 50 cm
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Camillo Paravicini, Frohnatur, 2021, Oil on wood in wooden frame, 60 x 50 cm
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Camillo Paravicini, Villain, 2020, Oil on wood in wooden frame, 60 x 50 cm
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Camillo Paravicini, Janus, 2021, Oil on wood in wooden frame, 60 x 50 cm
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Camillo Paravicini, Deep House Mashup, 2020, Oil on wood in wooden frame, 60 x 50 cm
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Camillo Paravicini, Uncle Scrooge on Shrooms, 2021, Oil on wood in wooden frame, 60 x 50 cm
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Camillo Paravicini, Bidule pour Talou VII, 2021, Oil on wood in wooden frame, 60 x 50 cm
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Camillo Paravicini, Carlos, 2021, Oil on wood in wooden frame, 60 x 50 cm
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Camillo Paravicini, Untitled, 2020, Oil on wood in wooden frame, 60 x 50 cm
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Camillo Paravicini, Improvisation mit Sportsocke, 2020, Oil on wood in wooden frame, 60 x 50 cm

Camillo Paravicini (*1987) questions humorously and capriciously all that is considered true or real in the art world. In their precision and meticulous workmanship his creations always appear both mischievous and unencumbered. Playfully he undermines the expectations we tend to have when it comes to art.

In the exhibition at the Grisons Museum of Fine Arts the artist assembles a complete set of new paintings for the first time. The small-size pictures are haunted by scowling mythical creatures that burrow their way to the surface through layers of pastose paint. We are never sure whether the comic-like faces even wish to be in the picture or whether they are already plotting an escape route. Although the expressive manner of painting and his surreal style refer to the great experts in this field such as Jean Dubuffet or Martin Kippenberger, Camillo Paravicini obscures the clear attribution to a style. Set in oversized frames the paintings bond with their surrounding space and suggest that there is more here than just painting. In the room lies a large profile and between bench seat and roof biotope it looks like a modernistic construction. Similar to a theatre backdrop Camillo Paravicini arranges in the link between painting, frame and object a scenography, which invites one to ponder on art. The works become actors who deliberately miss their entrance or who intentionally sneak into the wrong stage play. Whether ultimately the actors or we ourselves have mistaken the production remains unanswered.