On the occasion of the 10th edition of “The Day Of Contemporary Art” – the annual appointment introduced by the Association of Italian Museums of Contemporary Art to allow a larger audience to visit art venues for free –, PAC opened its latest show with the evocative title “Glitch. Interference between art and cinema”. It was Saturday evening and the area surrounding the art space was teeming with families and groups of people of different generations (mostly men), decorously queuing to see a joint exhibition, which bodes to examine the actual overlapping among disparate languages and expressive mediums, putting in contact contemporary art and cinema. The crowd in and outside the museum is striking and cheerful – certainly the free entrance, the eye-catching design of the event and the summer spirit help to attract visitors –, but the situation doesn’t really allow to enjoy the exhibited works, especially the videos, so we opt for returning to the venue the day after.
As expected, Sunday morning is calm as it is clearly autumn and the number of people seeing the show is much more reasonable. Following a structure based on three levels – cinematographic, installative and performative – the exhibition presents three projection rooms arranged with red curtains, black walls and aligned chairs, while long corridors in front of the garden and first floor are devoted to installations, prints, sculptures, pictures and books developed by numerous participating artists (mostly Italian or living in Italy) invited by the curator Davide Giannella. The list of more or less well-known names is extremely long; sixty-two artists were asked to share their peculiar research, which redefines the increasingly undefined boundaries between different expressive languages, united by a common passing of established classifications.
Among these artists we want to point out: Yuri Ancarani (b. 1972, Ravenna), who presents his trilogy devoted to extreme jobs including “Il capo” (2010), “Piattaforma luna” (2011) and “Da Vinci” (2012); Meris Angioletti (b. 1977, Bergamo) and her multidisciplinary approach; Rosa Barba (b. 1972, Sicily, lives and works in Berlin) with her moving sculptures made of light; Rossella Biscotti (b. 1978, Molfetta, Bari), who displays a video, an installation and a set of pictures based on the figure of “Donnie Brasco”, and Adrian Paci (b. 1969, Scuturi, Albania, lives and works in Milan) with his “Electric blue” (2010), a video we already talked about a year ago in occasion of his show, also held at PAC.
It’s hard to mention all the artists that are worth being mentioned, even because it would take a full day to see nearly half of the videos that are projected at alternate days, thus the experience has to be repeated at least twice (there is a season ticket that gives the opportunity to visit the show several times until its end). Even though the set-up is clear and captivating, maybe decreasing the number of artists would have made the exhibition more fulfilling (“and to think that usually we complain about the lack of content…”). “Glitch” will run until 6th January 2015 at PAC in Milan and it definitely deserves a visit.
