The Eternit Rest

Pier Domenico Magri participates edition of 2015 with an installation entitled "The Eternit Rest" (2015). Through this work Magri is detached from pictorial mode only previously used to explore new and unusual aspects and processes of art making. We are in fact facing the first installation by allowing the unveiling of a component of an ironic and caustic taste, subtle and biting than in other works he had omitted. The installation was made using different materials and has many components which, joined together, reveal the overall meaning of the work.
the focal point of the installation, is the painting "No Where", n. 2 (2014). The work is part of a numbered series of oils on canvas of the same title and is characterized by the strong emotional impact that triggers from the first glance. Unlike previous works, which were played on the colorful and warm tones, here we are faced with the explosive power of the color black, which seems to enclose and absorb into its dark accent every luministic.
The darkness the canvas, however, are torn impetuousness impetuous brushstrokes almost phosphorescent ice color, blue and violet that are arranged on the paint film in a seemingly messy. The color scratches the darkness of the background along the entire surface of the painting but tends to concentrate particularly in the central area, in the form of agglomerate pictorial.
The semantic content is the most important to define more clearly, that is the struggle that is taking place on the canvas between darkness and light, between horror and blind rationality, between despair and salvation.
The canopy that protects the painting is made of a material similar to eternity, used in the building industry in the form of flat or corrugated sheets for roofing, otherwise used for the insulation of the pipes. Invented in 1901, the material was used until 1986, despite already in the sixties the results of some research had shown that asbestos dust produced by wear of the roofs and used as background material for the paving of roads, it was highly carcinogenic and does cause asbestosis.
On the sides of the painting they are placed two pedestals outweighed slightly with respect to the bottom and symmetrically spaced, at the summit are placed a bust of Adolf Hitler (left) and a stuffed animal (right). The bust of Hitler is characterized by a dull monochromatic, interrupted only by a hint of pink in the famous mustache in his time made fashion. It gives the image a lightness that you would not expect from the portrait of the man who ordered the extermination of millions of people, yet this touch "Pop" not clash at all with the overall character of the work. Hitler, after all, was able to create around himself a cult of personality that made him an icon in his own lifetime.