Camilla Mozzato (°1982, Venice, Italy) makes installations, drawings and sculptures. In a search for new methods to ‘read the city’, Mozzato seduces the viewer into a world of ongoing equilibrium and the interval that articulates the stream of daily events. Moments are depicted that only exist to punctuate the human drama in order to clarify our existence and to find poetic meaning in everyday life.
Her installations are often about contact with architecture and basic living elements. Energy (heat, light, water), space and landscape are examined in less obvious ways and sometimes developed in absurd ways. By emphasising aesthetics, she tries to create works in which the actual event still has to take place or just has ended: moments evocative of atmosphere and suspense that are not part of a narrative thread. The drama unfolds elsewhere while the build-up of tension is frozen to become the memory of an event that will never take place.
Her works sometimes radiate a cold and latent violence. At times, disconcerting beauty emerges. The inherent visual seductiveness, along with the conciseness of the exhibitions, further complicates the reception of their manifold layers of meaning. By putting the viewer on the wrong track, she finds that movement reveals an inherent awkwardness, a humour that echoes our own vulnerabilities. The artist also considers movement as a metaphor for the ever-seeking man who experiences a continuous loss.
Her works bear strong political references. The possibility or the dream of the annulment of a (historically or socially) fixed identity is a constant focal point. By questioning the concept of movement, she uses a visual vocabulary that addresses many different social and political issues. The work incorporates time as well as space – a fictional and experiential universe that only emerges bit by bit.
Her work urge us to renegotiate installation art as being part of a reactive or – at times – autistic medium, commenting on oppressing themes in our contemporary society. By demonstrating the omnipresent lingering of a ‘corporate world’, she creates with daily, recognizable elements, an unprecedented situation in which the viewer is confronted with the conditioning of his own perception and has to reconsider his biased position.
Her works never shows the complete structure. This results in the fact that the artist can easily imagine an own interpretation without being hindered by the historical reality. By merging several seemingly incompatible worlds into a new universe, she often creates work using creative game tactics, but these are never permissive. Play is a serious matter: during the game, different rules apply than in everyday life and even everyday objects undergo transubstantiation.
Her works are given improper functions: significations are inversed and form and content merge. Shapes are dissociated from their original meaning, by which the system in which they normally function is exposed. Initially unambiguous meanings are shattered and disseminate endlessly. By taking daily life as subject matter while commenting on the everyday aesthetic of middle class values, she tries to increase the dynamic between audience and author by objectifying emotions and investigating the duality that develops through different interpretations.
Her works are characterised by the use of everyday objects in an atmosphere of middleclass mentality in which recognition plays an important role. By rejecting an objective truth and global cultural narratives, she focuses on the idea of ‘public space’ and more specifically on spaces where anyone can do anything at any given moment: the non-private space, the non-privately owned space, space that is economically uninteresting.
Her works demonstrate how life extends beyond its own subjective limits and often tells a story about the effects of global cultural interaction over the latter half of the twentieth century. It challenges the binaries we continually reconstruct between Self and Other, between our own ‘cannibal’ and ‘civilized’ selves. By examining the ambiguity and origination via retakes and variations, her works references post-colonial theory as well as the avant-garde or the post-modern and the left-wing democratic movement as a form of resistance against the logic of the capitalist market system.
Her works isolate the movements of humans and/or objects. By doing so, new sequences are created which reveal an inseparable relationship between motion and sound. Camilla Mozzato currently lives and works in Prato.
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