Mnemonic City: Beautiful Banality

Mnemonic City: Beautiful Banality follows the same basic principles of previous Mnemonic City projects in London and Madrid. What makes this instance unique in its approach so far is that it is the first time the project is undertaken in the form of a residency, therefore naturally bringing the artists together even closer. For the previous show, Inter-Scape, the group spent a few days camping out together in a North London post-industrial wasteland. The contrast could hardly be bigger this time with an entire month spent in one of the most historic, cultured and beautiful cities in the world: Florence. This intensity brought the collaboration to a new artistic level, and was also evident in the fact that there were several Magma Collective events taking place in the city from May until the end of June 2014. It began with an exhibition at the Biagiotti Foundation in a sort of preview of what was about to descend on Florence – showing some of the works created in previous editions of Mnemonic City – and concluded with a big exhibition at Galleria Xenos, showing the artworks produce during the time in Florence. And it would not be a true Mnemonic City project, were the results not asking questions, sometimes perhaps uncomfortable ones, thereby challenging conventional notions of beauty and culture.

 

For the main project, Magma Collective joined forces with Il Gatta Rossa, the most cutting edge experimental art group in Florence, to engage in a collaborative search for the identity of this strange city. By fostering a personal connection with the members of the local collective and their native environment the two groups created an active and multi-layered map of the experience through a joint research. This included the typical Mnemonic Walks, where the members of the group(s) explore an area together, drawing from concepts such as Psychogeography or the Situationist movement. Over time, the two groups, who initially had distinctively different perspectives, gradually found a common ground in the idea of a divided, quasi-schizoid city: the extreme beauty of the tourists’ Florence on the one hand, and the ‘real’, often socially neglected Florence, on the other. Somehow, all the artists involved seemed to perceive this deeply and this became the philosophical spine of the final exhibition in late June.

Galleria Xenos, where the resulting work was shown, acted as a workshop, studio and meeting ground, a veritable crater of creativity and communication during the entire duration of the project.

https://vimeo.com/118899005

 

Mnemonic City: Beautiful Banality was on show at Galleria Xenos in the centre of Florence, Italy,  from the 27 to 30 of June 2014. Participating artists were Alberto Gori,  Anna BurelAnna Capolupo, Bill Howard, Ines von Bonhorst, Jaime Valtierra, João Cristóvão LeitãoLaura Calloni, Pascal Ancel Bartholdi, Rodrigo Cesar, Rupert Jaeger, Sebastiano Benegiamo, Yasmine Dainelli and Yuri Pirondi.

The partners involved in the project were: Foundation Biagiotti Progetto Arte, Gattarossa, Mona Lisa Day, Visualcontainer, Lab Film Festival and Something Human. A special thanks to Jacopo Rachlik and Ken Thai.

© by Mnemonic City, all rights reserved

Mnemonic City: Moving Streets

With Mnemonic City: Moving Streets, the project returned to London, after its first overseas show in Madrid a few months earlier. As with the previous exhibition, the group uses this new instance of the project as an opportunity to analyze existing aspects of the group dynamic and identify common approaches and subjects between the different artists, in order to clarify the overall concept and objectives of the Mnemonic City project. During this process, a common interest in ordinary and sometimes hidden aspects of outdoor city life  became more apparent, in particular a flaneur-like approach to the experience of the urban environment. By giving this approach an art historical context, namely by exploring the Situationist movement of the 1960ies and the concept of Psycho Geography, a methodology for project development started to emerge, whereby the group would organize collective walks in and around Ridley Road Market in Dalston, North London, where Doomed Gallery is located. The sharing of thoughts, observations and ideas during these walks served as inspiration for the works of the different artists and performers involved in the project.

 

The pieces on show are a direct response to the particular experience of Ridley Road Market and the artists’ perception and interaction with the trade taking place there. The starting point of Moving Streets was to present the market as a question to the participating artists that seems simple when viewed as a single system – as a place of exchange. However, in the course of the group’s interaction it revealed itself as a complex organism, which reflects and contains an archetypal world of trade.
Doomed Gallery is situated right in the middle of Ridley Road. The market is among the most gloriously chaotic of London’s markets, a joyful collision of colours, sounds and smells.
The cultural differences, which form the unity of the market, the idea of a place of trade versus a public place, and the basic needs that preserve the market’s existence, all contribute to an artistic response which is an exploration rather than an answer. Moving Streets presents the immediate perception of the market in an emotional response that attempts to question ideas of the ‘spectacle’ as a central mechanism of society.

 

Mnemonic City: Plato’s Cave was on show at Doomed Gallery in Dalston, London, on the 26/27 of April 2013. Participating artists where  Anna Burel, Ines von Bonhorst, Jaime Valtierra, Julien Thomasset, Ken Flaherty, Pascal Ancel Bartholdi, Rodrigo Cesar, Rupert Jaeger Yasmine Dainelli and Yuri Pirondi.

© by Mnemonic City, all rights reserved

Mnemonic City: Plato’s Cave

Mnemonic City is exploring the idea of the city as a receptacle, taking inspiration from Plato’s Myth of the Cave. The allegory explores the relation of humankind with its environment, questioning what is real and what appearance is. The theme explores notion of identity, fragmentation and the idea of shadow. The exhibition is divided into two parts: The main body of the show consists of physical artworks, ranging from paintings, over sculptures to videos and installations. This is supported by a number of experimental performances, which thematically link to the main exhibition and take place around the artworks of the show.

The nature of the performances is intricately linked to this conjunction of natures by which disparate physical and emotional organized elements construct an image, a common space which becomes an internal metropolis of sensations, a ‘Mnemopolis’, city of remembrance, where ‘anasubstantial’ interconnections take form, and language turns back into a primordial sign. This points to the potential/virtual body, or what Deleuze and Guattari call “Phase Space”; in this instance, the result of an organic communion of ideas and their ramified manifestations among the performers whose devices interact electrically and electronically during the show. From the concept of the city, the exhibition moves to the concept of the cave and in doing so triggers a descent into the cave of our latent mind.

As the cave is explored, this opens to show the dark motions of the mind traversing territories of ancestral memory having embarked on the ghost ship of mythology. The character of the environment thus reflects the development of the rapport established between the phenomenological process taking place ‘on stage’ and the perceptual response of the members of the public ‘off-stage’ in which these very ‘on/off’ dividing rules become interchangeable and indistinguishable.

The show’s own artistic evolution defies Plato’s argument, since the work at hand affords the audience a form of knowledge through sensation rather than through the exposition of form as an idea to be unraveled by the intellect. The electrified chamber, the performers engineer, shows us how the cave can transmute into a lake, the retina of an interior gaze remembering a history in the making.

 

Mnemonic City: Plato’s Cave was on show at Doomed Gallery in Dalston, London, on the 21/22 of September 2012. Participating artists where  Amos Shein, Anna Burel, Ines von Bonhorst, Jaime Valtierra, Max Max, Pascal Ancel Bartholdi, Rupert Jaeger and Yuri Pirondi.

© by Mnemonic City, all rights reserved