Natasha Akhmerova Gallery
PROMENADENGASSE 19   CH-8001 ZURICH   +41 (44) 280 45 45


CURRENT PAST UPCOMING CONTACTS ARTISTS NEWS THE PRESS ABOUT US
ENG DE RUS


Anosmia
WORKS IN COLLECTION: 16
OTHER WORKS
WORKS IN COLLECTION: 16
1973
Born in Genova, Italy

Graduate in Art, Instituto Statale d`Arte Jona Ottolenghi Acqui Terme

Graduate in Graphic Design, “Arte e Messaggio” Castello Sforzesco Milano, Italy

Lives in Voltaggio, Italy



FRATTALI - Describing a Cloud

   
Observe a cloud: it is made of big mounds that consist of numerous protuberances, which at their turn include smaller swellings shaped by other swellings of inferior size and so forth down to the smallest visible dimension.

The most conspicuous characteristic of a cloud is its irregular, “interrupted” structure. The clouds, therefore, are an example of non conventional geometric objects. Mathematics concentrated on simple shapes: straight lines, squares, regular polygons (pentagon, hexagon, octagon), circumferences and parabolas, spheres, cubes, circles,  …. In nature, instead, regular shapes are mere exceptions. Where do you find a perfect cube, a perfect sphere? Trees, clouds, ferns, cauliflowers, lightings, mountains and rocks, coasts are all irregular, pointed, fragmented.

This phenomenon is well explained by the famous mathematician Benoit B. Mandelbrot when he indicates this incapacity of geometry in front natures games: “Why is geometry often described as cold and arid? One of the reasons consists of its incapacity of describing the shape of a cloud, of a mountain, of a coast-line. Clouds are not spheres, mountains are not cones, coast-lines are not circles and the bark is not smooth. Even the light does not travel in a straight line”. These considerations led to the development of fractal geometry. Mandelbrot’s study “The Fractal Geometry of Nature” (1982) creates the term fractal in allusion to the Latin word fractus that means fragmented, irregular. Most probably nature is organizing itself according to fractal parameters because such a pattern increases surviving chances of itself by improving efficiency of the system (of the structured set of all elements.

The fractals hence optimize the process of system evolution. For the same effect fractal organization can be found in other spontaneous phenomenon like social and economical systems and even, as has emerged from recent studies, connections to internet networks, physics of materials and of the cosmos refer to these rules.

But what is a fractal? The most simple and intuitive definition describes it as a geometric figure in which a structural element is continuously repeated in all directions in continuously reduced scale, following recursive patterns of equations, functions or algorithms. By zooming in the figure reveals constantly the same recurrent structures and at every step new details.

During a walk in the countryside or in a forest you can live a full immersion in nature in the midst of mountains, trees, herbs, flowers of any kind and size. A part from the unquestionable beauty of the environment, a closer glance can let you discover in the shapes of all these objects peculiar geometric properties. Think of a fern, at the branches of a tree, at a succulent plant, a sunflower, a snowflake under the microscope, the seacoasts, a river. You shall discover the magic of the fractal theory connected to the irregular shapes of nature, to its profound systems.

I have approached  the fractal theory with the purpose of interpreting and filtering it according to my sensibility, in order to create visions in which a poetic, evocative and rarefied geometry suggests , narrates and describes the mystery of nature. Nature has always been a fundamental category of western thought and, today, achieves an urgent topicality in contemporary reflection. Natural calamities, relation nature/culture, the future of environment, the limits of bio-ethic legislation… there is no way of considering nature less than the main protagonist of contemporary culture. Therefore I need to narrate it in its most hidden and deep expressions.

Tamara Repetto


ANOSMIA


The perception of this sinuous work by Tamara Repetto begins with these almost synaesthetic and total signals. The vibrant impellers of “Anosmia”, an installation of tubes of Plexiglas each containing a cascade of glass rods that are driven by a motorised thrust, moving the olfactory wafers, are “soul informers”, impulses that drive the regions of the mind beyond the tautology of “what you see is what you get” (13), thereby going beyond reality itself. This dichotomy requires some imagination, an expansion that only the lunar landing of art can provide, in order to measure itself against the zero degree and cause appearance and depth to communicate freely. From the Greek “σημεῖον semeion”, semiotics is the discipline which studies signs and the way in which they form a meaning, that relationship which, through memory, activates an awareness in us that triggers synapses. This process is an inherent part of the approach which man applies to the things of life, but escapes the codices of art which are enlarged and made possible and elastic under the drive of an unprecedented power, the strength of the work which continuously bounces us between instinct and instinctiveness, between understanding and alienation, in a space in which the virus of contamination alters the static incrustations in which we tend to barricade ourselves. Identity, connectivity and collectivity meet in the instability of the fractal object in order to conceive a necessarily multiple thought, both from the point of view of the crossovers of the multidisciplinary and technological language employed by Repetto, and from the point of view of a focus on a psychic and social interest that intervenes in the viewer. A milky way of plural creative procedures poised between lyricism and technology, between the warm temperature of the involvement of the senses and the cold temperature of glass, the clarity and the formal, incisive, almost statistic delicacy of transparent elements. A site-specific installation artist, Tamara Repetto concentrates on the characteristics of the place with which the work will coexist, beginning with the odours present and inherent to the place that will house the work and with which she builds an empathic relationship particularly focused on an olfactory and sometimes auditory map. The specific nature of her research revolves around the consideration of the change that these events bring about, the parrying of changeable perceptions by means of small insertions, omissions and developments and the deceptive ability which the geometry between the chemistry and architecture of the work of art help to create with disarming complicity. 


Martina Cavallarin 2012


ANOSMIA (ODOR BLINDNESS)


Before being “thinking substance”, we humans are sensitive beings, constantly assailed by sensorial impressions. Through our body we try out our existence and transform the continuous flow of impressions in images, sounds, textures, colors, landscapes and so forth, molding them into a precise meaning. All senses can be considered semiotic vehicles, “informants for the soul”. Through them we interact with the world, perceiving information that our brain interprets immediately in order to organize a reaction. I am paying particular attention to the olfactory sense. A creative sign can educate to gather its importance, to make us sensitive to “read” it. In general the olfactory sensitivity is not considered as prior sense. Humans are culturally rather anosmatic. We are much more sensitive to visual and acoustic perception. However, olfaction conditions all our emotional reactions. An outstanding Italian researcher, Eleonora Giorgi, was a pioneer in applying mathematic proceedings to describe the perception of olfactory molecules. Skarda and Freeman, in 1987, have started to use mathematical discoveries of the theory of chaos in human brain research referring to olfaction. In 2004 Richard Axel and Linda Buck were awarded the Nobel Price for specifying a large family of genes that rule the receptors of olfaction, defining new principals of olfactory physiology. Thanks to those studies olfaction has emerged from its marginality. The peculiarity of this sense, the smell has inspired me a great intellectual curiosity. Its enormous evocative capacity, its semiotic efficiency, its plasticity in front of environmental influences, its biological singularity, the apparent refractoriness to language have driven me to create works in which an olfactory path leads to new perceptions and reactions. Joining my visual research to the olfaction research of scientist teams I conceive sensorial environments in connection to the olfactory features of the territory where the showroom is collocated. A kind of map of smells of the place, or a “melody” of smells that refer to persons or substances. To approach the fascinating world of olfaction by the means of an artistic gesture is both, a challenge for who wants to understand better the reasons of the cognitive uniqueness of our species and an unusual perspective for the project of naturalization of knowledge and learning, which rehabilitates corporeity, instinctuality and emotionality in an articulated vision of human rationality.

Tamara Repetto

2012
Volta NY, New York, USA

2011
Inside outside Guidi&Schoen, Genova, Italy

2010
Soaopera, Castello di Rivara, Torino, Italy

2009
2 RxC, Gallerina Cavana Arte Contemporanea, La Spezia, Italy

2007
In Bianco Galleria BabelArt, Alessandria, Italy

2006
Self portrait, Galleria Traghetto, Venezia, Italy



2012
Talent Prize, MACRO La Pelanda, Roma, Italy

Undici allunaggi possibili, Ca Zenobio, Venezia, Italy

Ten Galleria Guidi&Schoen Genova, Italy

Sguardi sull`Italia, Associazione Fondo Giov-Anna Piras, Asti, Italy

2011
Senso Orario, Residenza Artistica, Valentina Tanni Voltaggio (curator), Italy

Palazzo del Monferrato, padiglione regionale, 54th Biennale di Venezia, Italy

2010
Selection, Yvonne Arte Contemporanea, Vicenza, Italy

Condotti Cronoarmonici, Mario Mazzoli Berlin, Germany

Totem sonoro, Rossana Orlandi, Milano, Italy

2009
Storia di essenze, Paglieri, palazzo del Monferrato, Alessandria, Italy

Channukka, Museo dei lumi, Complesso Sinagogale, Casale Monferrato, Italy

900 Cento anni di creativita in Piemonte Palazzo Cuttica, Alessandria, Italy

2008
Senses&Emotion, Galleria Artechiara, Alessandria, Italy

Cartefatti, Galleria Studio Legale, Rome, Italy

2007
Insonnia, Galleria Babelart, Alessandria, Italy

Cristalli di Rocca, Museo di Rocca Grimalda, Rocca Grimalda, Italy

2006
Nessun dorma Spazio Due Sotto l`Ombrello Ovada, Italy