THE MICROMUSEO D'ARTE CONTEMPORANEA DELLA TUSCIA INAUGURATES IVÁN NAVARRO'S SITE-SPECIFIC WORK
The work Eccidio by Iván Navarro (Chile, 1972) will be installed from June 30, 2023 to June 30, 2024 in the Medieval Borgo of Sipicciano, Municipality of Graffignano in the Italian Province of Viterbo.
It is a small village in the area known as Tuscia, on the border between the regions of Umbria and Lazio, in the heart of central Italy. The ancient Tower of Sipicciano –of medieval origin that was used for three decades to illuminate the town by distributing electricity from its headquarters, and then abandoned in the 1970s– is today the Tuscia MicroMuseum of Contemporary Art's headquarters, founded by Antonio Arevalo, poet, critic, curator of contemporary art and former Cultural Attaché at the Chilean Embassy in Italy.
The founder explains: "Since the tower was the source of light for the whole town, the first artist to get involved in the project could not be other than Iván Navarro, an artist who has marked with his signature the research on the field of light. Iván Navarro uses light as a raw material, transforming objects into electric sculptures that modify the exhibition space through visual interaction. So, what better than to invite an artist like him to inaugurate this experience? His work is certainly playful, but it is also characterized by ideas of power, control and confinement. Iván Navarro's installations bring back the mystery and symbolic value of ancestral energy".
Iván Navarro (born in Santiago de Chile in 1972) has lived and worked in New York since 1997. In 2009, he represented Chile at the Venice Biennale. He has had solo exhibitions at the Jersey City Museum, New Jersey (2005 and 2007); Matucana 100 Cultural Center, Santiago, Chile (2007); Fabric Workshop and Museum, Philadelphia (2008); Towner Gallery, Eastbourne, UK (2009); Centro de Arte Caja de Burgos, Burgos, Spain (2010); Patricia and Phillip Frost Museum of Art, Miami (2012). Navarro creates sculptures and light boxes using neon lights, fluorescent systems and even incandescent sources. Although the fluorescent light and the use of mirrors initially fascinate the viewer and almost constitute an invitation to enter, their compositional structure plays with perceptual deception: the work leaves us on the threshold of a question that remains open-ended and without a definitive answer. The poetics of his work uses light as a tool and guide for the observer.