Steady sideslip

First exposition in Italy for the French young artist, Nicolas Momein. The exhibition, cureted by Stefano Castelli, put together the latest operas which well represent his unusual approach to the sculpture. Replacing the plastic style, even  compared  with its most recently evolution, Momein overtake the dichotomy between sculpture and installation, exploring the relationship between the artwork and the exposition area, connecting the artwork with the social situation of which it come from.  A lot of his creations originate from a tour in atelier and small factories of his land. The direct relationship with the artisans drive the artist to follow the way of unusual art’s technique and material.

In the exhibitions, the artist Momein renews his proposal, imaging every exhibition as a dialogue between exhibition space and operas and also operas with themselves. In Steady sideslip, the panels “bulgomme” hide the space, conditioning the visitors’ movement but revitalizing the space, introducing an renovating use. Their minimal’s shape is redeemed  by their  majestic but also playful effect, they have on the visitors, despite their serious look . The sculptures placed between the panels are a paradigmatic example of the Momein’s approach to the objects, among ready made and alteration, precariousness and fullfillment of the forms, essentiality of the gesture and ironic expressivity.

The works positioned upstairs decline clearly the relationship between object, interior design and architecture. A shower cabin is altered and becomes unusable and illogical in its form, but its remains a familiar and human scale object. The  Archimobilier it's at the same time cage, bizarre furniture piece and abstract sculpture. The contrast between essentiality and ironic characteristics is well represented by the Fingers, coming out of the third opera, sculpture that it has found a balance point between stability and precariousness.

A cross section of the collaborative works that characterizes Momein's art research is in basement floor. The sign of an excavator is in a sculpture, with the result that minimal and tactile perception are combined together, between precision and imperfection of the form.  The factory-works remains are finally the protagonist of the plate, used as unpublished artistic materials (the work's technique and the place where the opera was born literally leave them mark also on an abstract work like this)

text by Stefano Castelli