via Manzoni 9/A

Sulbiate (MB) Italy

Mon - Sat 10.00 - 18.00

Sunday closed



Sulbiate TBOE


5 May 2018

Hour 8:00 pm



Stefano Cagol, with his videos, installations and performances, faces the socio-political context, focusing his attention on various topics related to contemporaneity, including the environmental issues so to participate in the exhibition of the German Ministry of the Environment for the world conference on climate change COP 23, at the inaugural exhibition of Haus Mödrath – Räume für Kunst in Cologne, at Manifesta 11 in Zurich and at the National Pavilion of the Maldives at the 55th Venice Biennale. A few months ago, one of his works was became part of the collection of the German Ministry for the Environment in Berlin. His last personal project “The Body of Energy” was presented at MAXXI in Rome, Museo Madre in Naples, Museion in Bolzano, Kunst Halle Sankt Gallen, ZKM in Karlsruhe, Folkwang Museum in Essen and at Landmark / Bergen Kunsthall.
Making the invisible visible.
Cagol highlights the contradictory nature of today’s symbolic elements and situations, and the changed value system of the present day through minimal digital processing or through site-specific installations of public art and performance. In particular, the images in photographic works and video works are often overturned, changed in orientation and split in the center, so much so that new forms are created from the fusion of the two mirrored parts, and the starting object and its meaning are made almost unrecognizable: the typical metropolitan landscapes and symbols of urban culture that are part of our imagination become multiform identities in continuous transformation. Within his artistic career, a fundamental factor has always been the journey, through which he researches or meets contemporary landscapes and symbols of our times.”

Klaus Wolbert

The performance “Sulbiate (TBOE)” by Stefano Cagol is part of a project – “The Body of Energy (of the mind)” – started in 2014 and left open to continuous developments to evoke the relationship between energy and the environment, territory and resources, stopping in places where energy is produced and – above all else – cultural energy, both as intangible as relevant.
Making the invisible visible. To do this, the artist uses technological equipment that includes an infrared thermal camera, usually employed for technical purposes, and for war, and here instead declined in an evocative way. The result is an unexpected vision of the relationship with the surrounding environment, exchanges of energy, emphasizing the permanence of our actions and our passage.