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Stefano Canto Featured In Janela. Migrating Forms and Migrating Gods

Stefano Canto Featured In Janela. Migrating Forms and Migrating Gods
Stefano Canto, Our Lady of Sorrows, 2014, image courtesy of the artist.

art:i:curate artist Stefano Canto is featured in the Kochki Muziris Biennale in the art exhibition 'Janela. Migrating Forms and Migrating Gods', promoted by the Museum of Goa and curated by Valentina Gioia Levy

 

‘Janela’ is an art exhibition that intends to stir up histories. To dig into the recesses of historical archives, memory and celebrate the ‘connectedness’ of cultures. The waves that wash the shores of the west coast of India have not only carved and shaped rocks, but also ideas, dreams and narratives. The ocean has acted as a medium of intercontinental cultural diffusions. The word for a window in both Konkani and in Malayalam is adopted from the Portuguese language. It is ‘Janela’. ‘Janela’ is an attempt to peep into the shared histories of Goa and Kerala and also explore what historians A. G. Hopkins and Christopher Bayly described as proto-globalization. It is also an endeavour to narrate history through the contemporary idiom. Subodh Kerkar, Director of MOG.

 

The exhibition ‘Janela. Migrating Forms and Migrating Gods’ focuses on the question of visual forms – considered as shapes, archetypes or symbols – and their aptitude to being assimilated or modified during the process of cultural cross-breeding. A special attention is paid on the visual forms connected with the transcendent. In the past, the topic of the sacred image has always had a great importance in European and Indian art. The exhibition questions its redefinition, and the role that it might have, today, in the context of artistic researches focusing on identity, historical, socio-political and/or anthropological issues. 

 

 

 

 

 

 

Stefano Canto presented the mixed media installation, 'Our Lady of Sorrows' (2014), a rudimentary machine composed of several mechanical elements that when set in motion generate a rotary movement of the painting linked to it. The image’s rotation turns into a whirlwind of colours and the distinctive elements of the painting are totally lost in a swirl.

 

Just as in 'All That Fall', the latest installation created for the Museum Riso in Palermo (Italy), Stefano Canto acts on the modes of fruition of the work, building a destabilizing device that prevents the vision of the work itself. The title 'Our Lady of Sorrows' comes from the pictorial subject chosen by the artist for his installation, a eighteenth century painting, that is preserved in the Museum of Christian Art in Goa. The suffering Madonna is one of the typical images used by the Christian religious propaganda during the Portuguese colonialism. During a performance of a few hours the painting will be carried through the crowded streets of Fort Kochi.

 

Dislocation, insecurity, fatigue, lack of understanding, limitation of the fruition of the work, visual disturbance are all elements which come into play in this work of Canto in which the sacred image is the pretext to rethinking the relationship between religion and power.

 

 

Featured Artists: Stefano Canto (Rome, Italy), Kedar Dhondu (Goa, India), Bhisaji Gadekar (Goa, India), Kendell Geers (Johannesburg, South Africa), Siddharth Gosavi (Goa, India), Gonkar  Gyatso (Lhasa, China), Sweety Joshi (Mumbai, India), Katharina Kakar (Luebeck, Germany), Siddharth Kerkar (Goa, India), Subodh Kerkar (Goa, India), Chaitali Morajkar (Pune, India), H.H.Lim (Kedah, Malaysia), Kalidas Mhamal (Goa, India), Kazuko Miyamoto (Tokyo, Japan), Midhun Mohan (Goa, India), Krisna Murti (Jakarta, Indonesia), Pradeep Naik (Goa, India), Viraj Naik (Goa, India), Yoko Ono (Tokyo, Japan), Luana Perilli (Roma, Italy), Luigi Presicce (Porto Cesareo, Italy), Marco Tirelli (Roma, Italy), Diptej Vernekar (Goa, India), Friso Witteveen (Amsterdam, Netherlands), Kan Xuan (Xuancheng, China), Narendra Yadav (Ratnagiri, India)

 

 

All images courtesy of Stefano Canto

 

Collect art by Stefano Canto. 



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