L'Atteso, Mike Nelson's first solo exhibition in an Italian institution, transforms the OGR-Officine Grandi Riparazioni in Turin into a "different place" thanks to a large-scale installation that has occupied the entire nave of Binario 1 with a powerful intervention. The volume is not only a guide to the reading of the exhibition of the same name, but functions as a testimony and study material on the artist because in a series of references to the themes of the exhibition - memory and bequests - it constitutes a second stage, a further visit to the installation, an immersive experience in itself.
Conceived as a notebook, the exhibition catalogue L'Atteso by Mike Nelson provides a series of disparate materials, providing the reader with suggestions and references to trigger possible readings of the environmental installation created by the English artist in the spaces of the OGR. The documentation of the various phases of the exhibition is combined with a rich selection of texts, which provide possible keys to understanding the work: ranging from science fiction to writings by several artists, the cluster of texts and iconographic references accumulates, imitating the layers of meaning and materials that are characteristic of Nelson's work.
The OGR series, curated and published by Corraini Edizioni, takes up a key theme of the institution itself, that of movement, particularly in the sense of progression and forward projection. Each of the books produced is more than just a catalogue that brings together texts and images from the exhibition: the close and enduring collaboration between artists, curators, editors and book publishers makes it possible to create a "second act" of the exhibition each time, enabling the reader to delve deeper into the works, study them and visit the space through the pages.
Mike Nelson - Born in Loughborough (UK) in 1967, Mike Nelson lives and works in London.
His work has centered on the transformation of narrative structure to spatial structure, and on the objects placed within them, immersing the viewer and agitating their perception of these environments. The narratives employed by the artist are not teleological, but multi-layered, and often fractured to the extent that they could be described as a semblance of atmospheres) put together to give a sense of meaning.
The more discrete sculptural works are informed by this practice, often relying on their ambiguity to fade in and out of focus, as a sculpture or thing of meaning, and back to the very objects or material from which they are made. By working in this way the more overtly political aspects of the early works have become less didactic, allowing for an ambiguity of meaning, both in the way that they are experienced and understood. This has led to the possibility of the viewer being coerced into a state where the understanding of the varied structures of their existence, both conscious and subconscious, are made tangible.
Samuele Piazza - is curator for Visual Arts at the OGR in Turin. At the institution he curated Mike Nelson's solo show, L'atteso, and the exhibition Dancing Is What We Make of Falling. Among his previous projects are " On Limits. Estrangement in the Everyday", The Kitchen, New York, Still Frames and Far Festa, Fondazione Bevilacqua la Masa, Venice. In 2015 he took part in the Helena Rubinstein Curatorial Fellow at the Whitney ISP, he trained at the Centre for Research in Modern European Philosophy (Kingston University, London) and Iuav in Venice.