This is a world where elements and materials become the object of the artist’s reflection, as if nature had been enriched with new individuals and the artist’s work of imitatio or electio had drawn inspiration from this enlarged population. It is as if history had come to an end station, but only from the point of view of the logical and epistemological paradigm that still holds today and will persist until the current paradigm is entirely destroyed and substituted by a new one.
Right now, the visual repertory of the artist still contains the whole “museum” of art from its origins through the present day. That is, within the historical paradigm that predominated until the end of the 20th century and which still holds at the dawn of the third millennium. The artist’s tools are quotations, anachronisms, or “shifts”, which he uses to devise new “formal” objects drawing from his repository of forms.
Yet, in this atmosphere of radical mannerism or critical eclecticism that characterizes the style of the current historical period, Casini seems to break the ruling paradigm in order to attain the original, volcanic essence of being. The very realization of the artwork forces the artist to push beyond the simultaneous and purely spatial perception of the work itself, embarking on a chronological exploration of the roots of matter-form.
This journey is marked by a progressive, step-by-step approach to the dimension of ideas and images, and is therefore characterized by a projectual tension, a temporal perspective, “a process of becoming”. What we see is the becoming-real, in a condensed form, of an idea or complex of ideas. The exploration of the post-modern word in the historical dimension of the museum is replaced by a utopian drive that again links back to modernity, although the modern word plunges into a more intimate, introspective dimension characterized by a doubtful, mysterious attitude when compared to the avant-garde movements of the 20th century.
Rather than the breaking point, as one would be tempted to observe, perhaps the critical point, the point of crisis, the transitional stage is the transformation from past into future.
Marco Tagliaferro, freelance curator, contributor for Flash Art and Artforum
b. 1973, Montevarchi, Arezzo, Italy
Lives and works in Milan. He studied at the Academy of Fine Arts in Florence. A characteristic of his work is the activation of synergies between organic, inorganic and artificial elements. The game is to question the identity of each element, creating a new, unexpected balance. His work has been exhibited in many group and solo exhibitions. Among the most recent ones: Tutto sembra funzionare, Analix Forever Gallery, Geneva (2013) • Past Forward, Palazzo Panichi, Pietrasanta, Italy (2013) • Back home, Spazio Morris, Milan (2012) • The Mediterranean Approach, SESC Pinheiros, Sao Paolo, Brazil (2012) • Oceanomania, Villa Palma, Noveau Musée National de Monaco, Principality of Monaco (2011) • Celebration, Museum Alex Mylona – Macedonian Museum of Contemporary Art, Athens (2010) • Oltre lo specchio, Istituto Italiano di Cultura, Belgrade (2009) • Nouvelle vague, Villa Noailles Hyeres, France (2009) • Focus on Contemporary Italian Art, MAMbo – Museo d’ Arte Moderna, Bologna (2008) • Nothing but sculpture, XII Biennale Internazionale Carrara, Italy (2008).