Giuseppe de Mattia: Dispositivi per non vedere bene Roma
Dispositivi per non vedere bene Roma is Giuseppe De Mattia’s first solo exhibition within Matèria’s full gallery space.
The show presents the evolution of the Dispositivo per non vedere bene (Device to impede a good view), an experimental artwork produced by De Mattia in 2014 that finds its final form in 2017 with the artist’s extended gaze on the Italian Capital. The newly produced set of works, showcased within the two gallery rooms and the open air courtyard, are the result of the extended fieldwork undertaken by the artist.
Dispositivi per non vedere bene Roma emphasises the importance and the function of raw working materials within De Mattia’s practice and the key role of the collaboration as a fundamental tool for the production of the works exhibited. In an attempt to ‘see’ Rome, the artist relies on the help of curator Chiara Argentino, artist Fabio Barile, art critic Luca Panaro, artist Stefano Canto, artist Luca Coclite and gallerist Niccolò Fano.
The Italian Capital is the location chosen by De Mattia as the emblem of the inability to see clearly what is in front of us. A reality – Rome – idealised and sustained by its beauty and millennial importance; a city in perpetual contrast between its history and its contemporary precariousness.
The impossibility being placed in focus, makes Rome the apotheosis of the paradox incarnated by Dispositivo per non vedere bene; whose ultimate function is to question the controversial role of photographic medium as a historically assigned tool for the documentation of reality.
Giuseppe De Mattia (Bari, 1980) lives and works in Bologna. He studied cinema and urban planning. For several years his research has been centred on the observation, study and recovery of objects destined to be discarded; he recuperates, transforms and then photographs or films his finds, giving them a new life and purpose.
He strives to salvage and take care of what has been created by the passing of time in the form of scraps and waste. His practice is often rooted in film archives such as ‘Home Movies’ (a family film archive in Bologna). With ‘Home Movies’, a long- term ongoing project, De Mattia develops work aimed at corroborating the theory that every film is unknowingly a photographic archive. This theory is both verified and theorised, firstly with ‘La coincidenza dello sguardo’ and subsequently with ‘Welt – Film’.
His modes of representation often involve the use of high-resolution scanners, photocopiers and the traditional photographic apparatus; moreover, every form of representational tool becomes part of his practice. All the objects chosen by De Mattia are part of an off-camera approach and action, centring his projects around the search for physical objects that in most cases do not appear in the final photographs; making the flea market a fitting birth-place for his research.
Most recently his work has found its final form through the use of photography, video, audio and drawing.