Cristiano Tassinari’s work spins around the notions of heritage, culture and the shift of meaning that representations can undergo in society.
Employing a wide range of media into his practice, he not only uses long-established practices of art making such as painting, drawing and sculpture, but he also experiments with found objects and site specific installations. He searches the ambiguity of cultural representation and how contents can propagate and transform.
His work is concerned with the meaning that representations gain in a political and cultural context, and how this can affect themes of self-identification and identity. His paintings and installations at first view can appear sunny and cheerful, at the same time they tackle crucial political and autobiographical subjects.
This is delineated in his animated canvases of birds and neon works, related to his mother’s cultural imagery like in Mother’s Bliss project to neocolonialist hues in Africanella.
These works bring to light how representations and symbols can erode the immediate pleasure that is experienced when first viewing the image. The mixture of art and sociology constitutes one of the characters of his art-making.
His narratives blend historical and individual experience, personal events are often described as a mere social product. Not just a mere autobiography, which he intends as an illusory retrospective reconstruction of himself. He always tries to involve the viewer through his works, which themselves multiply implication, echoing the cultural characters which he aspires to investigate.
Il lavoro di Cristiano Tassinari ruota attorno alle nozioni di patrimonio, cultura e cambiamento di significato che le rappresentazioni possono subire nella società.
Impiegando una vasta gamma di media nella sua pratica, non solo utilizza pratiche consolidate di creazione artistica come la pittura, il disegno e la scultura, ma sperimenta anche oggetti trovati e installazioni site specific. Cerca l’ambiguità della rappresentazione culturale e come i contenuti possono propagarsi e trasformarsi.
Il suo lavoro si occupa del significato che le rappresentazioni acquistano in un contesto politico e culturale e di come questo possa influenzare i temi dell’autoidentificazione e dell’identità. I suoi dipinti e le sue installazioni a prima vista possono apparire solari e allegri, allo stesso tempo affrontano temi politici e autobiografici cruciali.
Questo è delineato nelle sue tele animate di uccelli e opere al neon, legate all’immaginario culturale di sua madre come nel progetto Mother’s Bliss al neocolonialista sfumature in Africanella.
Queste opere mettono in luce come rappresentazioni e simboli possano erodere il piacere immediato che si prova alla prima visione dell’immagine. La commistione di arte e sociologia costituisce uno dei caratteri del suo fare artistico. Le sue narrazioni fondono esperienza storica ed esperienza individuale, le vicende personali sono spesso descritte come un mero prodotto sociale.
Non solo una mera autobiografia, che intende come un’illusoria ricostruzione retrospettiva di se stesso. Cerca sempre di coinvolgere lo spettatore attraverso le sue opere, che a loro volta moltiplicano le implicazioni, riecheggiando i caratteri culturali che aspira a indagare.
![](https://i0.wp.com/www.diagonales.it/wp-content/uploads/2022/12/C-is-for-Cherry-Installation-View-2022-Francesca-Antonini-Foto-Daniele-Molajoli018-c.jpg?resize=940%2C627&ssl=1)
Rome, Italy, Photo, Daniele Molajoli
![](https://i0.wp.com/www.diagonales.it/wp-content/uploads/2022/12/C-is-for-Cherry-Installation-View-2022-Francesca-Antonini-Foto-Daniele-Molajoli_007.jpeg?resize=940%2C627&ssl=1)
Rome, Italy, Photo, Daniele Molajoli
![](https://i0.wp.com/www.diagonales.it/wp-content/uploads/2022/12/Green-Perrot-2022-oil-on-canvas-50-x-60-cm-C-is-for-Cherry-2022-Francesca-Antonini-Foto-Daniele-Molajoli-b.jpg?resize=940%2C788&ssl=1)
Francesca Antonini, Rome, Italy
![](https://i0.wp.com/www.diagonales.it/wp-content/uploads/2022/12/Forli-Paris-2022-unfired-clay-33-x-20-x-4-cm-C-is-for-Cherry-2022-Francesca-Antonini-Foto-Daniele-Molajoli-008.jpeg?resize=800%2C1200&ssl=1)
Francesca Antonini, Rome, Photo Daniele Molajoli
![](https://i0.wp.com/www.diagonales.it/wp-content/uploads/2022/12/Bird-and-Apple-2022-oil-on-wood-42-x-67-cm-C-is-for-Cherry-2022-Francesca-Antonini-Foto-Daniele-Molajoli-004-b.jpg?resize=753%2C1200&ssl=1)
Francesca Antonini, Rome, Italy
![](https://i0.wp.com/www.diagonales.it/wp-content/uploads/2022/12/Mothers-Bliss-2019-Installation-view-Jigsaw-oil-and-varnish-on-canvas-250x-200-cm-Magic-shoes-2019-neon-light-tube-power-transformer-40x-50-x-9-cm-low.jpg?resize=801%2C1200&ssl=1)
porary Gallery, Milan, Italy
![](https://i0.wp.com/www.diagonales.it/wp-content/uploads/2022/12/Putto-2018-160-x-170-cm-oil-on-canvas-Mothers-Bliss-2019-Ncontemporary-Gallery-Milan-Italy.jpg?resize=801%2C1200&ssl=1)
Bliss, 2019, Ncontemporary Gallery, Milan, Italy
![](https://i0.wp.com/www.diagonales.it/wp-content/uploads/2022/12/Mothers-Bliss-2019-Installation-view-Ncontemporary-Gallery-Milan-Italy-low.jpg?resize=940%2C627&ssl=1)
on canvas / Perrot, 2018, 50 x 70 cm, oil on canvas,
Ncontemporary Gallery, Milan, Italy
![](https://i0.wp.com/www.diagonales.it/wp-content/uploads/2022/12/Mothers-Bliss-2019-Mothers-Bliss-intallation-view-Ncontemporary-Gallery-Milan-Italy.jpg?resize=940%2C627&ssl=1)
and varnish on canvas, 250x 200 cm, Magic shoes,
2019, neon light tube, power transformer, 40x 50 x
9 cm, Ncontemporary Gallery, Milan, Italy
![](https://i0.wp.com/www.diagonales.it/wp-content/uploads/2022/12/Gli-uomini-delle-scintille-2021-30-x-40-cm-190-x-130-cm-oil-on-canvas-courtesy-Ncontemporary-Gallery-Milan-Italy-.jpeg?resize=940%2C544&ssl=1)
130 cm, oil on canvas, courtesy Ncontemporary
Gallery, Milan, Italy
FUTURE PROJECTS
After the solo show 55m2 It’s Our Home at Museo d’Arte Contemporanea of Ravenna, dedicated to the boundaries between the post colonialist era and the Italian imaginary of the World War II through his father memories, the Berlin-based artist Cristiano Tassinari presents his new project titled Mother’s Bliss.
Looking at his mother’s collection of paintings, memorabilia, paraphernalia and accoutrements, the artist features a new corpus
of paintings alongside abstract displayers, grids and neons. The exhibition investigates the intimate correspondence of the artist’s personal experience – his own and his mother’s. It also employs the beauty of everyday objects to reveal how pop culture shapes and often defines a different aesthetic, far from artistic theories but mostly related to different perspectives.
With the aim to connect viewers back to the notion of ‘beauty’, intended as ‘familiar’, the show will bring visitors into a simple,
private, experience of reaching someone else’s bliss.
Dopo la personale 55m2 It’s Our Home al Museo d’Arte Contemporanea di Ravenna, dedicata ai confini tra il
post colonialista e l’immaginario italiano della seconda guerra mondiale attraverso i ricordi del padre, l’artista berlinese Cristiano Tassinari presenta il suo nuovo progetto intitolato Mother’s Bliss.
Osservando la collezione di dipinti, cimeli, accessori e corredi di sua madre, l’artista presenta un nuovo corpus
di dipinti accanto a espositori astratti, griglie e neon. La mostra indaga l’intima corrispondenza dell’esperienza personale dell’artista, la sua e quella della madre. Anche utilizza la bellezza degli oggetti di uso quotidiano per rivelare come la cultura pop formi e spesso definisca un’estetica diversa, lontana dall’essere artistica teorie ma per lo più legate a diverse prospettive.
Con l’obiettivo di ricollegare gli spettatori alla nozione di “bellezza”, intesa come “familiare”, la mostra porterà i visitatori in un ambiente semplice, privato, esperienza di raggiungere la beatitudine di qualcun altro.
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