Archive 2022 KubaParis

Infedele

Caterina De Nicola, installation view, 2022
Caterina De Nicola, installation view, 2022
Caterina De Nicola, installation view, 2022
Caterina De Nicola, installation view, 2022
Caterina De Nicola, In Response to the Circumstances, 2022
Caterina De Nicola, In Response to the Circumstances, 2022
Caterina De Nicola, Calling it-self Rational, 2022
Caterina De Nicola, Calling it-self Rational, 2022
Caterina De Nicola, installation view, 2022
Caterina De Nicola, installation view, 2022
Caterina De Nicola, Embodying a Variety of Roles, 2022
Caterina De Nicola, Embodying a Variety of Roles, 2022
Caterina De Nicola, installation view, 2022
Caterina De Nicola, installation view, 2022
Caterina De Nicola, Showing What Negativity Can Do, 2022
Caterina De Nicola, Showing What Negativity Can Do, 2022
Caterina De Nicola, installation view, 2022
Caterina De Nicola, installation view, 2022
Caterina De Nicola, The Final Fantasy, 2022
Caterina De Nicola, The Final Fantasy, 2022
Caterina De Nicola, Labour of the Negative, 2022
Caterina De Nicola, Labour of the Negative, 2022
Caterina De Nicola, Infedele, 2022
Caterina De Nicola, Infedele, 2022
Caterina De Nicola, Extravagant Activity of Creativity, 2022
Caterina De Nicola, Extravagant Activity of Creativity, 2022
Caterina De Nicola, Untitled (Part of Hospital for Anaemic Sounds), 2022
Caterina De Nicola, Untitled (Part of Hospital for Anaemic Sounds), 2022

Location

Baleno International

Date

14.04 –27.05.2022

Photography

Roberto Apa

Text

Baleno International is pleased to present its opening exhibition with Caterina De Nicola, Infedele. De Nicola’s work is informed and influenced by visual, philosophical and cultural references taken from our consumeristic society. Her approach seeks to recollect symbols, various commonly known visual references, and cultural and ideological concepts to extract them from their daily circulation. Performative acts, D.I.Y. techniques, elaborated designs, narrative twists, ironic situations, amateur decisions, music and sceptical behaviours are all kinds of manipulative interventions the artist performs on objects and symbols, evaluating their attendance in the larger cultural circulation. The show collects new works which were assembled and organised on-site in the days leading up to the opening. De Nicola frequently works with mesh-ups and hybridisations of various techniques, materials and forms. In this exhibition, she references familiar objects like windows and TV screens, but also cages and vitrines, spirals or screws. Noise can be postulated as a realm of anti-social cultural purpose directed towards the revolutionary transformation of an irrational social reality that insists on calling itself rational. Hospital for Anaemic Sound is a sound performance of the artist with an 1960s organ. She is an artist, musician, performer and writer. The exhibition is accompanied by a speculative short story by the artist.