Born in England, now active in Berlin, Tacita Dean is one of the protagonists of contemporary creativity expressed through the video.
In 2009 the Trussardi Foundation dedicated to her Still Life, a very impressive personal exhibition at the Palazzo Dugnani in Milan.
In the meantime, however,
Tacita Dean - born in Canterbury, she lives today in Berlin - exhibits throughout the world and makes a good impression even in the
Turbine Hall of the Tate Modern in London.
If we want to find some poetry in our time, it is enough to look to the work of the English artist.
After a cursus studiorum between Great Britain and Athens, the artist received the first art awards and in 2000 she won a scholarship in Berlin. From then on she devoted herself to a production made of images, photographs and filming.
The preferred medium is not a modern camera, and the technologies are not the digital ones; Dean uses a classic 16 mm film camera, with which you can get a little blurry and grainy effect...a romantic artistic imperfection fixing simple moments, belonging to everyday life and nature.
So is Green Ray (2001), a video of a few minutes at a fixed camera, pointing straight at the sun at sunset on the sea in Madagascar, to capture that unique moment when the last ray, when about to disappear, turns green colour.
The sea is also the protagonist of Amadeus (2008), but this time the waters are stormy - it is the story of a troubled journey through the English Channel from France to Britain.
The relationship with art (which becomes in this way meta-art) is addressed in two works
Day for Night (2009), where Tacita enters into a symbiotic relationship with the objects in the studio of Giorgio Morandi, and
Mario Merz (2002, filmed just a year before the artist's death), a close dialogue - spoken and quiet - with one of the leading exponents of
Arte Povera.
Film (2011) is a work of ten minutes projected in the main hall of the museum: a short film that reflects on the cinema, on film projection and visual games offered by the expressive medium since its inception (The Magic Lantern). The colours, the overturning of the film format and the shooting contribute to twist the observer's point of view and to reflect on the amazing possibilities, albeit elementary, of the seventh art.
Demonstration that there is a valid alternative to the chaos, the ambiental-sentimental asepticity and the continuous affirmation of the new, that can make us feel alive in a continuously flowing stream of life.
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