Bio agata treccani (b.1995) is an italian multidisciplinary artist. she lives and works between venice and brescia. holds a ma in visual arts from ...
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bio
Agata Treccani (b.1995) is an Italian multidisciplinary artist. She lives and
works between Venice and Brescia. holds a MA in Visual arts from venice
fine arts accademy and a precedent Ba in painting.
Agata treccani’s latest work has been publicated in mousse magazine
site with an article about her first solo show “forgive yourself” at Sm-
dot gallery in Udine. agata collaborated for a shooting of cloathing
brand “javio the brave” crearte a site specific work for the set. in 2019
she exposed a multimedia work titled ARTWORKPROFILEPROJECT at MACRO
museum in rome during a workshop. she also exposed her work during
several prizes: Nocivelli Prize, Artrights prize, 102ma collettiva bevila-
qua la masa, has a Special mention prize “Studiosenzatitolo” by curato-
rial group OTTN . She partecipated to collectives show as: (very) young
italians, curated by Edoardo Monti, Between Us at CARME (Brescia), Buil-
ding bridges at a.topos gallery (venice) and the Art night in venice.
www.agatatreccani.com
treccaniagata@gmail.com
Viviamo in un mondo in cui si urban, fluido, identità, società, tecnologia,
il mio lavoro collega queste parole in un
costruiscono alberi che emettono unica ricerca che si concretizza sotto for-
ma di dipinti, installazioni, video o nuovi media
dati. il nuovo ossigeno dell’uomo. opere che sfruttano tutte lo stesso og-
getto di ricerca comune: la “socialcontem-
poraneità”.
Un Narciso nativo digitale, cittadino di un’e-
poca nella quale sussiste la più imponente
We live in a world where trees intensificazione dei fenomeni legati alla digi-
talizzazione e alla comunicazione tecnolo-
are built to emit data. gica, dove la visione ha preso il sopravvento
sulla profondità, sulla intensità. L’eccesso
This is the new oxygen. della produzione di immagini ha generato
una saturazione dell’ambiente visivo con la
conseguente perdita dell’individuazione del-
urban, fluid, identity, society, technology, my work connects these la cornice e del relativo valore simbolico.
words in a single research that takes the form of paintings, installa- Agata concentra la sua ricerca su questa
tions, videos or new media works that all exploit the same common “miseria simbolica”, individuando e rappresen-
research object: “socialcontemporaneity”. tando la tribù che si riconosce in gesti, im-
magini, superfici, linguaggi, condivisi e rico-
It is a digital native Narcissus, inhabiting an era in which the phenomena nosciuti, scuotendola, portandola fuori
related to digitization and technological communication are massively dal suo stato narcolettico, usando tutti
intensified, where vision is more important than profundity and inten- gli strumenti contemporanei a disposizione,
sity. The excessive production of images has generated a saturation of senza mescolarli, rispettando le loro ca-
the visual environment with the consequent loss of the identification ratteristiche specifiche, ma nello stesso
of the frame and its symbolic value. tempo creando degli scarti estetici e con-
Agata focuses her research on this “symbolic paucity”, identifying and cettuali.
representing the tribe that sees itself reflected in gestures, images, Video, comunicazione pubblicitaria, moda, in-
surfaces, languages, shared and recognized. She shakes it awake from stallazione, editoria, realtà aumentata, pit-
its narcotic state, using all the contemporary tools available, wi- tura si alternano, ogni oggetto, ogni lavo-
thout mixing them, respecting their specific characteristics, but at ro mantiene la sua identità, ma si riflette
the same time creating aesthetic and conceptual shifts. nell’altro riconoscendosi, e invitando il
Video, advertising communication, fashion, installation, publishing, aug- guardante a riflettere a partecipare a que-
mented reality and painting stand side by side: each object, each work sto flusso, movimento di immagini e pensiero.
retains its identity, but is reflected and recognises itself in the other, La pittura abbraccia la fonte, diceva Leon
inviting the viewer to reflect and participate in this flow, this move- Battista Alberti, i lavori di Agata abbraccia-
ment of images and thought. Leon Battista Alberti said that painting no la tribù, scuotono il corpo dall’intorpi-
embraces the pool, Agata’s works embrace the tribe, shaking the body dimento, domandano con intensità perdono,
from numbness, intensely asking for forgiveness, a forgiveness whose un perdono che ha come obiettivo l’essere
goal is being just, knowing it is embracing the impossible. giusti, sapendo di accogliere l’impossibile.
TRIBE-Hood, fabric, pvc, 40x40cm ca., 2021 Forgive yourself, banner pvc, 488x26cm, 2022 The TRIBE series, influenced by the text “The Naked Monkey” by D. Morris, is made up of works of different nature: from TRIBE-767772BS, an installation consisting of two t-shirts and hot stamping up, Forgive youself a banner in pvc typical of marketing language up to paintings like Hug. The work appeals to our natural consumer instinct and our sub-education to the brand. The Brand represents a group and the wearer is part of it, the work shows the contemporary tribal tradition. Research in the Tribe se- ries works on the concept of branding as a new method of creating a hierarchy in the social system. As we have done in the past with tools like spears and pyramids, we refine this old system into meticulous new contemporary social codes. I see clans and tribes but under new clothes and a new code of behavior, outlined by branding and marketing. The research is based on the use of the same language (logos, clothing, design, graphics, animations, payoffs) placing it in context with natural elements or in contrast to its canonical use.
Catarinfrangente, acrylic on canvas,41x52, 2021 Maru, acrylic on canvas, 30x20cm, 2022
FOR-
The research includes installations, paintings and multimedia
installations. An evolved and processed concept using the
media suitable for the specific concept that i’m investigating.
In this case the media is the podcast.
GIVE
B: FLUID.
A: IS THE MEANING OF NOWADAYS, IS CONTEMPO-
RARY.
B: FLUID.
A: THE CONTEMPORARY NEED TO LET GO THE
YOUR-
PAST AND NEED TO LET IN THE FUTURE
B: FLUID.
A: IS A CIRCLE, IS A CONSTANT MOVEMENT AND AT
THE SAME TIME AN INSTANT, LIKE WATER.
B: FLUID
SELF
A: CONTEMPORARY IS PART OF HIS TIME, SO TO-
MORROW IT WILL BE OLD AND YESTERDAY IT WAS
NEW, BUT FOR US IT IS ONLY CONTEMPORARY.
B: FLUID
A: CHANGE AND STAY, BE THE SAME WITH THE
CHANGE, WE ARE OUR PAST, OUR FUTURE BUT
(ep.2, LOG IN CONTEMPORARY(ART), 2020)
ALWAYS OUR CONTEMPORARY TIME.
sustainability of the gene- retion awarness in the exercise of tought Sustainability of the generetion, acrylic on canvas, 64x50cm, 2021 Awarness in the exercise of tought, acrylic on canvas, 64x50cm, 2022
Smile_S/M, t-shirt, chain, dried flower, 50x70ca., 2021
TRIBE-767772BS, installation view, hot stamping on cloth, 2020 Wesh, acrilyc on canvas, 25x25cm 2022 TRIBE-logo loop, video 3d animation and sound, installation view, 2022
Hot innocent, detail, acrylic on canvas, 2022 Sustainability, detail, acrylic on canvas, 2021
LANYARD TRIBE, Installation, hot transfer on polyester, chain, lanyard, pvc, 200 cm ca., 2022 photography report on going, 2022
CONTEMPORARY SPOT, frames, video collage, 1,57 min, color, 2020. link_http://www.agatatreccani.com/video/ CONTEMPORARY SPOT deals the theme of contem- porary commercial aesthetics. A video collage with mi- cro fragments taken from commercial clothing spots, designed as a spot for modernity. The project contains the main components of our time presented with the same aesthetic rules that dictate the contemporary aesthetic standard.The desired contrast between con- tent and form shows the same global contrast betwe- en standardization and individuality.
Hot Innocent, detail, acrylic on canvas,51x36cm, 2021 Claws, acrylic on canvas, 42x30cm, 2021 Hug, acrylic on canvas, 140x145cm, 2022
kabuku, essere fuori dall’ordinario, acrylic on canvas,80x80cm, 2021
PODSERIES, acrylic on canvas, installation, 2020 Pod is part of the word earpods, an English term re- ferring to the instrument for private listening to audio from devices. Now accustomed to this contemporary aesthetic, we ignore the innate separating and omnipresent nature of the instrument. Society has assimilated this fun- ction of isolation. Immersing ourselves in “our world”, we walk into the world of others with cables attached to our ears. In the PODS series we place ourselves in front of individuals that we observe but who do not observe us, being sensorially and mentally in a private place. Referring to the history of portraiture, from the Renaissance onwards, in which the subject was represented trying to grasp its essence, the research pods is exactly the opposite: the pictorial exercise is to represent in the best possible way the little presence of the subject that is it actually finds in another place, albeit not physically. Pod.hat01, acrylic on canvas,30x20cm, 2020
Pod.ID0, acrylic on canvas,30x20cm, 2020 Pod.Big01, acrylic on canvas, 140x100cm, 2020
Tribeserie, BlackandWhite, acrylic on canvas,20x10cm, 2021 PODseries, Pod.R01, acrylic on canvas,50x42 cm, 2020
LOG IN CONTEMPORARY (ART), Podcast, flayers, sound box, speaker bluetooth, 2020 E’ un progetto artistico che tratta il tema della contem- poraneità passando attraverso l’arte, portando l’or- ganicità del pensiero nel asettico digitale. Composto da 10 episodi in cui due voci sintetizzate parlano del nostro mondo e del nostro tempo. LOG IN è a tutti gli effetti intesa come opera, la cui struttura è composta dalle dinamiche del podcast anziché da discipline tra- dizionali. Un’opera che utilizza i nuovi mezzi espres- sivi e si muove nel sistema contemporaneo. Ispiran- domi a John Cage che compose 4’33” che è una delle opere più studiate nella disciplina delle arti visive pur essendo un opera musicale. LOG IN cerca di creare Listen now on sinergia e fluidità tra le discipline e gli spettatori. LOG IN CONTEMPORARY (ART) is an artistic project that deals with the theme of contemporaneity passing through art, bringing the organicity of thought into the digital aseptic. Composed of 10 episodes in which two synthesized voices speak of our world and our time. LOG IN is in all respects intended as artwork whose structure is composed of the podcast dynamics rather than the more academic ones of the traditional disci- plines. A work that uses new means of expression and moves within the contemporary system. Inspired by John Cage who composed 4’33“, which is one of the most studied works in the discipline of visual arts de- spite being a musical work. LOG IN tries to create sy- nergy and fluidity between disciplines and spectators.
PAPER DOCUMENTARY, web site, artist’s paper (inkjet print, paper 60g/m2, 21x33cm,) 2020 https://agatatreccani.wixsite.com/paperdocumentary Documentario alternativo che raccontano della nostra realtà tramite la realtà stessa. Un documentario destrutturato e non filtrato dal cre- atore, composto dalle fonti di studio: instagram, youtube, wikipedia ecc. Il progetto artistico consiste nella creazione di contenuti analogici (testi, fotografie, grafiche, ecc.) e di contenuti multimediali (video, registrazioni, pagina web) racchiusi in un’unica opera intitolata Documen- tary Paper. I contenuti multimediali sono inseriti nella parte analogica grazie all’uso di codici Qr, link e ogni genere di portale per la realtà digitale. In questo modo si ottiene un’opera fluida rendendo pratico e tangibile il rapporto tra virtuale e reale nel contemporaneo. L’opera riflette sulle attuali forme di informazione contemporanee e sul rapporto generazionale.
PAPER DOCUMENTARY, gen_Z, inkjet print, paper 60g/m2, 21x33cm, 2020 Alternative documentaries that tell of our reality through reality itself. A de- structured documentary not filtered by the creator, composed of the study sources: instagram, youtube, wikipedia etc. The artistic project consists in the creation of analogue content (texts, photographs, graphics, etc.) and multimedia content (videos, recordings, web page) contained in a single work entitled Documentary Paper. The multimedia contents are inserted in the analog part thanks to the use of QR codes, links and any kind of portal for the digital reality. In this way it is a fluid work, thanks to the relationship between virtual and real in the contemporary. The work reflects on current forms of contemporary information and on the generational relationship.
TRIBE-coloursscentM, Installation, hot transfer on fabric, dry leaves, pvc, nyolon,150x40 cm ca., 2020, installation view at CARME Brescia 2021
NATURAL CELLTOWER, Acrylic on canvas, 2019 SARIBUS, acrylic on canvas, 70x50cm The Natural Celltowers series was born from the observation of re- peaters for the emission of wifi and data. The network, which has become indispensable like oxygen, must be present everywhere and hence the need for an ever-increasing number of transmit- ters. To compensate for the aesthetic impact of the towers, man created tree-like repeaters or hid them in the branches of the tal- lest ones. By combining nature with the artificial, an aesthetic and conceptual contrast is generated that perfectly outlines the con- temporary. The new oxygen 2.0.
W.FILIFERA, acrylic on canvas, 50x40 cm, 2019 SUMMIT, acrylic on canvas, 30x30cm,2019 YELLOW PALM, acrylic on canvas, 50x40 cm, 2019
A.I.P.O.P. (Art is the physics of philosophy)
pay off, 3d graphics, augmented reality, 2020
a.i.p.o.p. è un concetto, una riflessione che prende la
forma di opera. L’arte è in rapporto alla filosofia come la
fisica è in rapporto alla matematica. Ovvero l’arte è un
pensiero espresso in immagini a differenza della filoso-
fia che esprime in concetti. Applicato al merchandising,
come in qualisasi azione marketing di un brand l’opera
è composta da più elementi come filtri AR Instagram,
il possibile sviuppo di merchandising pubblicitari, del-
lo slogan, di poster grafici, fino ad un possibile spot
pubblicitario televisivo, shop pop-up e performance. Un
opera estremamente fluida basata sul concetto “Art is
the physics of philosophy”. Trattando un concetto filo-
sofico come un payoff si gioca sulla natura di tale prati-
ca e si riflette sull’attuale importanza delle parole nella
comunicazione contemporanea della società
a.i.p.o.p. it is a concept, a reflection that takes the form
of a work. Art is in relation to philosophy as physics
is in relation to mathematics. That is, art is a thought
expressed in images unlike philosophy which expres-
ses in concepts. Applied to merchandising, as in any
marketing action of a brand, the work is composed
of several elements such as AR Instagram filters, the
possible development of advertising merchandising,
slogans, graphic posters, up to a possible television
commercial, shop pop- up and performance. An extre-
mely fluid work based on the concept “Art is the physics
of philosophy”. Treating a philosophical concept as a
payoff plays on the nature of this practice and reflects
on the current importance of words in the contempo-
rary communication of society. (try AR filter on insta-
gram searching a.i.p.o.p)
https://www.instagram.com/ar/836900630051945/
https://www.instagram.com/ar/636540170540006/SCROLL, video, color, duration 5,20 min, 2019 The video shows a girl who spends five minutes scrolling the phone, reacting to what she sees and illuminating her face according to what she looks at. The opara highlights our behavior by allowing us to see what we often experience from the out- side. By observing it we identify ourselves and at the same time we feel a sense of voyeurism, we feel to assist in an instant of intimacy.
LANDSCAPE PORTRAIT, Acrylic on canvas, Qr code,40x30cm, installation view Gallery Bevilacqua la Masa, Venezia 2019 The paintings portray two subjects with a QR code on the face that hides the physiognomic features. The QR code, if scanned, leads to the precise coordinates of a place (in- dicated by the subject) which is fundamental in the life of each of the two, showing the place that has contributed to delineating the human nature of the person represented. So we have portraits of a landscape that we cannot see, since they show the fruit of the interaction between space and mind and between reality and the virtual. The use of the codes also allows the digital space to be involved, a fundamental part of my research, and to show the rela- tionship that the human being has with digital reality in relation to physical space, visible but invisible like human relationships
Legami_
PROPOSTA PROGETTO
installation view
“Legami”_un progetto di pittura installativa
che tratta dell’ambiguità dei legami e della
complessità del rapporto umano con noi stes-
si e con gli altri. Il titolo annuncia da subito
questo tema essendo la parola scritta senza
accenti, si potrebbe leggere in due significati
diversi:
- legame tra persone di natura emotiva o altro
- affermazione imperativa all’azione di legare
l’interlocutore
La disposizione dei due dipinti, di grandi dimen-
sioni (circa 200cmx200cm 200cmx150cm),
narra di questa ambiguità. La vicinanza ma
l’impossibilità di guardarsi delle superfici dipin-
te e di conseguenza dei soggetti. Allo stesso
tempo la possibilità di vedere il retro e la parte
più intima del dipinto, ciò che lo sostiene. Una
riflessione visiva sul rapporto umano e sulla
costruzione di noi stessi in rapporto alla so-
cietà e al nostro io ego profondo.
I soggetti dipinti rispecchiano la mascolinità e
dunque una ultertiore riflessione dei rapporti
sociali rispetto questo aspetto, che cambia a
seconda di chi guarda.Legami_ L’installazione prevede il possibile accompagnamento di documenti esposti in dialogo: pagine di manga, poster usati, album, foto di ricordo, oggetti, conetnuti analogici foto- copiati e rilegati, facenti parte del bagaglio culturale della personalità, le fonti originali che vanno a comporre la persona. (immagii a scopo illustrativo)
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