This is the practice of the fragment that is detectable, in the dissection of the photographic image, in the artwork of Gian Luca Bianco, in terms of disarticulation and reformulation of a textual apparatus, in the artwork of Giorgio Centovalli while, in the broken forms of a discontinuous texture, in the work of Daniele de Lorenzo. The evident variety, reached here through the selection of emblematic outcomes useful to argue the narration explicated by the exhibition, is expressed, in the single artwork, showing the autonomy of each author while, in the overall philology of the exhibition, allowing to see a shared operative subtext that, according to different modalities, can be found in the work of each interpreter, functioning so as a common denominator. In fact, the selected artworks reflect this attitude, ranging technically from photography to installation, from painting to sculpture, always accompanied by a recognizable attention to the materials and to the linguistic tools used.
The event, curated by Lorenzo Fiorucci and hosted in the spaces of CasermArcheologica that so renews the relationship with art criticism, delineates with these accents and thanks to the work of the artists Gian Luca Bianco, Giorgio Centovalli, Daniele de Lorenzo, Massimo Luccioli, Gianni Moretti, Antonio Ottomanelli, Alice Pedroletti, like a summa of diversified aesthetic positions that characterize the exhibition of a significant index of heterogeneity, reflecting in this aspect the miscellaneous composition of the ancient medieval codes. Understanding the reasons behind so much diversity is undoubtedly one of the most urgent tasks of art criticism and exhibitions as the collective show Codex-frammenti di narrazioni visive, can represent a valid opportunity to solve some of the paradigms proposed by the present.
This indicates not only the coexistence in the same artwork of several expressive means, but also the plurality of directions towards which experimentation in the field of visual arts is currently oriented, indocile to any statute. Starting from an assumption, one could say that the greater distinctive trait of contemporary artistic research is interdisciplinarity.