The anomalous wave of contemporary art sweeps away the superfluous, the accidental, the useless reports and the stereotyped images to bring man back at the centre of the universe: from February 24 to March 25 the former church of Sant’Agostino in Bergamo Alta becomes a modern Noah’s Ark to host the exhibition “FLOODS – 10 floods for one city”.
The exhibition, organized by the cultural association Di+ and by Gianluca Ranzi, Giovanna Brambilla, Sara Mazzocchi is under the sponsorship of the City and the Province of Bergamo, of the WWF Lombardia and the sees the participation of Goethe Institut Mailand.

Ten international artists have developed the topic of flooding and drifting, contaminating the physical and psychological spaces linked to our daily experience; they are Alessandro Verdi (Italy), Markus Willeke (Germany), Diamante Faraldo (Italy), Andy Wauman (Belgium), Susanne Kutter (Germany), Aleksandre Ponomarev (Russia), Giuliano Lombardo (Italy), Boy & Erik Stappaerts (Belgium), Max Sudhues (Germany), goldiechiari (Italy). A striking set up specially conceived by the architects Nicola Russi and Chiara Piraccini gathers painting, video and installation in a gigantic water falls that breaks through the longitudinal space of the church.

Water is the red thread that runs through the show, creating a bewildering effect that unites and divides, creates and breaks up, submerges and keeps afloat the exhibited works. To the superfluous deluge we are in, the artists answer with a liberator deluge that sweeps away the daily mediocrities and brings back the attention to man and its presence in the world. Their floods do not cause victims but open up new scenarios, giving strength to an emptied world, fostering of new lymph a panorama lacking in vital energy. To let this energy overflow is what art asks society and the present exhibitions urges the visitors to let themselves being carried away by the vital flux of this artistic flood.

 
 
FLOODED HOME,Susanne Kutter, 2003
NARCISUS, Aleksandre Ponomarev, 2005
GIGA, Markus Willeke, 2004
 
 
 

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