Pingapa ▌PLUS▼

Il mondo non è banale? ░ Il linguaggio conveniente del Sublime Prefetto

edited by in data
¨ Sutta  (vedico: s ū tra; letteralmente: filo * ) del linguaggio conveniente del Sublime Prefetto ** Mia Nonna dello Zen così ha udito: una volta dimorava il Sublime Prefetto presso la Basilica di Sant’Antonio, nel codice catastale di Padua. E il Sublime così parlò: “Quattro caratteristiche, o mio bhikkh ū *** , dirigente dell’area del decreto di espulsione e dell’accoglienza e dirigente anche dell’area degli enti locali e delle cartelle esattoriali e dei fuochi d’artificio fatti come Buddho vuole ogni qualvolta che ad esempio si dica “cazzo di Buddha” o anche “alla madosca” o “gaudiosissimo pelo”, deve avere il linguaggio conveniente, non sconveniente, irreprensibile, incensurabile dagli intercettatori; quali quattro? Ecco, o mio dirigente che ha distrutto le macchie: un dirigente d’area parla proprio un linguaggio conveniente, non sconveniente, un linguaggio conforme alla Dottrina del Governo, non in contrasto con essa, un linguaggio gradevole, non sgradevole, un linguag

Davina Semo ░ SILK FLOSS

edited by in data
Davina Semo
ribordy contemporary
DAVINA SEMO SILK FLOSS
Ribordy Contemporary is pleased to present SILK FLOSS, an exhibition of new work by Davina Semo. A triangle begins wide, high, outstretched, catch-all, and it moves downwards, loses mass, pulls the eye, tapering, cuts, slides, tightens. The shape carries a kind of emotional charge, a melancholy. The triangle ends in a point. Aims down. Into the floor. Through the floor. I look down, as directed, to the floor. Nothing. And my eyes come back up. A triangle sliced in half. Teetering still, on a point, but bisected down what was its center, the long side is tall, with form. More elegant, in a way. The concrete sculptures in this exhibition are made by both covering the surface and impregnating the surface, variously. I like the idea of the works being a kind of mental landscape. I’m seduced by many of the raw materials themselves. Ropes and leather, that figure power and lust. Steel and glass, pipes and rods; a horizontal cross, a horse bit, a hard line, a barring off. It’s difficult to ignore the natural world in Northern California, where I’ve been for almost a year. Driving down Cesar Chavez Street, I’m seduced by the young trees with chunky trunks, covered in wicked looking spikes. Nowadays, silk floss trees are cultivated mostly for ornamental purposes. 
Davina Semo (b. 1981 in Washington, DC) received her MFA from the University of California, San Diego (2006) and a BA from Brown University, Providence, RI (2003). Recent solo exhibitions include WHERE LIFE IS HAPPENING, Lyles & King, NY (2015), APPROACH OR ENTER, CAPITAL, San Francisco, (2015), RUDER FORMS SURVIVE, Marlborough Chelsea, NY (2014) ; Davina Semo, White Flag Library, St. Louis, MO (2013). She has been included in group shows at Andrea Rosen Gallery, NY; Rolando Anselmi, Berlin (2014); Night Gallery, Los Angeles, CA; Derek Eller, New York, NY (2013); Bureau, New York, NY; Nicole Klagsburn, New York, NY; Greene Naftali Gallery, New York, NY; and the Bridgehampton Biennial among many others. She will have her second solo show at Marlborough Chelsea in December 2016. The artist lives and works in San Francisco.
< 1 of 41 >

Davina Semo

SILK FLOSS

15.09.2016 to 29.10.2016
DAVINA SEMO SILK FLOSS Ribordy Contemporary is pleased to present SILK FLOSS, an exhibition of new work by Davina Semo. A triangle begins wide, high, outstretched, catch-all, and it moves downwards, loses mass, pulls the eye, tapering, cuts, slides, tightens. The shape carries a kind of emotional charge, a melancholy. The triangle ends in a point. Aims down. Into the floor. Through the floor. I look down, as directed, to the floor. Nothing. And my eyes come back up. A triangle sliced in half. Teetering still, on a point, but bisected down what was its center, the long side is tall, with form. More elegant, in a way. The concrete sculptures in this exhibition are made by both covering the surface and impregnating the surface, variously. I like the idea of the works being a kind of mental landscape. I’m seduced by many of the raw materials themselves. Ropes and leather, that figure power and lust. Steel and glass, pipes and rods; a horizontal cross, a horse bit, a hard line, a barring off. It’s difficult to ignore the natural world in Northern California, where I’ve been for almost a year. Driving down Cesar Chavez Street, I’m seduced by the young trees with chunky trunks, covered in wicked looking spikes. Nowadays, silk floss trees are cultivated mostly for ornamental purposes.


> Press release