Don’t Mind The Gap
Do you know what a ‘aedo’ is? In the ancient Greek, it was a professional singer, a bard, considered as a prophet who, thanks to his blindness, was able to sharpen his attention and sensibility, without getting sidetracked by anything and anyone around. And “a contemporary aedo, interested in history, with force spells”, is the self-definition of our unusual guest: a little storyteller and mythology lover – so short that he needs to be carried to get closer to the artworks –, thrilled about the idea of visiting and freely reviewing an art show for us, unconsciously turning himself into its added value. We are at Massimo De Carlo gallery in Milan and Rodrigo B. (b. Milan, 2008) tells us something fresh and original about The Bronze Age, an exhibition that, at first glance, didn’t seem to have so much to say.
The gap between the size of the works and the child’s height influences his first impressions, but the point of view is undoubtedly fun, imaginative and genuine. The Ghost of Human Kindness by Huma Bhabha reminds Rodrigo of a bogeyman “the monster’s body is made of white stones, while one of his foot is of wood. He has a scary face, and the stones have pockets where he can hide arms. He is a giant, or maybe it’s me, I’m too little. Do you think he’s a friend of Gulliver’s? (…) I think the monster is a ghost, he is white as usually ghosts are”.
The sculptures seem to come alive, and from the “stubborn head” exhibited by George Condo we move to Steven Claydon’s A Corrupted Alloy: “This man is looking at me. He is made of silver and has a long beard. It is a blurred sculpture. Yes, I’m pretty sure he is Ulysses. I can recognise him from his beard, which grew while travelling ten years to go back home. He has a bulky head, enlarged to host the memories of all the events he lived. If you look at him from behind, you see two colours, dark yellow and black. It seems that his hair moves. Then, I cannot see it, but behind the sculpture there is a bone, I’m wondering why, maybe it is a magic arm that Ulysses will use when in need. You know, he is so smart”.
The Ibo created by the ironic, conceptual/pop French artist Bertrand Lavier attracts Rodrigo’s attention “he looks like a baby, a silver, super smooth baby with a belly full of ice cream. He is a baby coming from a tribe, here’s why he is undressed; he doesn’t need clothes where he lives. Isn’t he afraid of living among such strange sculptures?”
“Look, what a beautiful sculpture – Untitled, 2008 by Thomas Houseago. It has only an eye; the other one is closed. Astute face. It’s all black and it makes me feel the need to bite it like a piece of chocolate. I would ask Santa Claus to bring it to me, is it for sale? Where could I buy it?”
Time goes by so fast, and in a flash the visit comes to its end, we make the point of the situation: “This exhibition is for brave guys like me. It is a show for men, or for women, who are not afraid. I like the sculptures, and also the wood on the corner (Ed. Note, Bartolini Massimo, Deposito 2013); is it a sculpture too, right? This gallery doesn’t have the flooring. The works of art displayed are not so much; I think that’s good because you don’t get tired. Maybe we need some music and pillows to sit down comfortable while chatting about our impressions. The works are set too high for children like me. I’d like to touch the sculptures, why isn’t it possible? I’ll be careful; I won’t break them, I promise!”
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