Site-specific installation by Daniele Papuli
Site-specific installation by Daniele Papuli
From 4 September to 16 October
From Wednesday to Friday 3 to 7pm, Saturday by appointment
Special opening for Salone del Mobile Monday 6, Tuesday 7 and Saturday 11 September 3 to 7pm
Performance Sunday 19 September at 5pm and 6 pm, exhibition open until 8pm.
Saturday 4 and Sunday 5 September 4 to 8pm
Access upon reservation on Eventbrite
More info email@example.com
Daniele Papuli’s installation Cartoframma Bianco is a site-specific work made up of 42,000 strips of paper measuring 70cm, structured in 420 lamellar modules composed of 100 stripes of white paper weighing 190gr, without any chemical alterations, obtained from the recycling of other typographic manufacturing.
‘Paper transforms its physicality. In the distance and by sliding the slats, shadows and reflections are generated and the large white shape reveals its DNA. Dark, vibrant guidelines follow us, they follow each other, they slide. An island within and industrial architectural context to be circumnavigated, to touch its curvilinear profiles.
On Sunday 19 September, Daniele Papuli performed Cartofonia, a participatory sound performance in which the vibrations of paper were orchestrated and amplified.
Watch the VIDEOCLIP
Daniele Papuli (Maglie, Puglia, Italy, 1971) lives and works in Milan. Papuli graduates in sculpture at Accademia di Brera in 1996, after discovering his passion for paper at a workshop in Berlin at the beginning of the Nineties. Papuli’s research focuses on exploring paper, proceeding with numbered editions, scenography, installations and unique works in dialogue with contemporary art and design. He calls himself a ‘scultographer’ and his work has been presented in scientific publications on paper art and artisanal craftsmanship.
Papuli’s artworks have been exhibited and performed at: Triennale, Milano; MUBA Museo dei Bambini, Milan, Italy; Flux Laboratory, Geneva, Switzerland; Fondazione Giorgio Cini, Venice, Italy; Palazzo Ducale di Martina Franca, Taranto, Italy; Casa Dugnani, Robecco sul Naviglio, Milan, Italy; Castello Aragonese, Ischia, Naples, Italy; Fondazione Fansinaptico, Maglie, Lecce, Italy; Biblioteca Ambrosiana, Milan, Italy; ART for MOGAO, Dunhuang, China.
Whenever somebody asks me why paper, I suddenly feel as fragile as the light page of a book and at the same time as strong as a book of a thousand pages browsed over the centuries by hundreds of hands. Leaving aside the power of the word printed on the page, for me paper is a vibrant, ever-changing living material. Scultografia is my open investigation in and around paper, a collection of actions performed with tools unfamiliar to a sculptor, in particular blades and scissors.
In the early nineties my first creations were made from stone, wood, plaster and in ’96 in Berlin during an international workshop, I discovered and learned the methods of paper manufacturing. I experiment and mix cellulose, colours, fibres from pieces of paper varying in size and weight, which become visual and material supports for several copies of the artist’s book by Alina Kalczynska and for the art book Triptych by Wislawa Szymborska, published by Vanni Scheiwiller, the first person to become a “guardian” of one of my small paper sculptures.
Sibille,Soprani, Volumerie, Tattometrie are lamellar volumes achieved through calculated compositions, obtained by repeated and numerous cuts made manually.
The continued research and exploration of the material, also through the choice and careful selection of its constituent modules, with the reuse of scraps from different processes or materials with similar flexibility to the strip of paper, lead me to create unique pieces, limited editions, objects that present an all-round sensory experience and promote a deeper dialogue with the space, site-specific installations and scenographic systems. I have come to acquire a multitude of experiences within the fields of contemporary art and design, I have collaborated on numerous occasions with well-known fashion brands, art galleries, foundations, design and laboratory activities dedicated to the world of children, such as at the Triennale and the Muba in Milan.
In 2011, I had my first major installation Cartoframma at the Aragonese Castle on the island of Ischia, witnessing a dialogue between dance, gesture and sound. For Le Gèant de Papier, within the same year, at the Flux Laboratory in Geneva, the staging of four sets for the dance performances was created ad hoc and was my first live Paperdance. A gestural narration told through a type of “lamellar harp”, made of paper of course, which stretches and repeats on the ground until it becomes an island of shadows and reflections, and through our hands the sounds and vibrations are amplified. This same work was proposed again in 2015 during The Electric Blue Night, a small and brief artistic action at the Teatro dell’Arte in Milan. In 2018 another Ule carte visionarie project dedicated to Ischia and its Aragonese Castle with a twenty-five minute video piece that tells the memory of paper, water and ink through drawings and spots on 285 metres of lightweight coils, which were applied with ink in 2009. A complete sensory experience, between concretions of paper materials of various types and shapes, the video that flows from right to left and the sound that records actions, improvisations with paper instruments, in a multi-handed project, from those who pluck the strings of Gianni De Rosa’s viola to the hands of Renato Ferrero dedicated to editing. My hands, after thirty years, still sink into the same material that continues to produce signs, drawings and visions. Through the completely natural metamorphosis, when the material goes back to its mother, its maker: the tree, this makes me feel even stronger and grateful”.
I first came across Daniele Papuli’s work almost by chance in 2014 on the occasion of his exhibition at Palazzo Ducale in Martina Franca. I didn’t know anything about or his artistic practice. It was a discovery. In the torrid climate of the Apulian summer, those paper waves, that watery feeling, recalled a lightness, a coolness, a sensuality with extraordinary kindness and wisdom. Paper, a material that I had always experienced as a support for printing or drawing or for practical uses, assumed a vitality of its own and invaded the spaces of a historic building with delicate grace and respect, interacting with the frescoes, the crystals, the light…Just wonderful.
Six years have passed since then and the wonder has not faded. I met Daniele, I visited his studio in Milan, and came to know his works and his dedication to this material that he knows how to mould in an unprecedented way. I am delighted that he proposed to organise his first large installation in Milan right here at Assab One. I think there will be many who will feel the same wonder as me for an artwork that in my view conveys a feeling of well-being, almost happiness.