Aura Monsalves Munoz
On the occasion of the day dedicated to the event In Opera. Natura e Artificio, the Bertugno-Moulinier Foundation invited the artist Aura Monsalves Munoz (Venice, 1992) to interact with the venue that hosted him: S.I.C.- Sculpture In Campo.
The result is Heliobia Spinellii, an audio work to be listened to on site, sitting on a small and personal rug of synthetic grass, laid on the hills of Bassano in Teverina (VT). Natural grass and its synthetic copy remain in contact, while a digital voice guides the visitor through a story poised between information and intimate memories.
The effort to remain on the border, to leave open the margins along which two parts are situated at the same moment, runs throughout Aura Monsalves Munoz’s research.
The result is Heliobia Spinellii, an audio work to be listened to on site, sitting on a small and personal rug of synthetic grass, laid on the hills of Bassano in Teverina (VT). Natural grass and its synthetic copy remain in contact, while a digital voice guides the visitor through a story poised between information and intimate memories.
The effort to remain on the border, to leave open the margins along which two parts are situated at the same moment, runs throughout Aura Monsalves Munoz’s research.
“We first met Aura Monsalves Munoz thanks to another young artist, Claudia Schioppa, who will soon be the subject of the FBM Focus project.
We were immediately interested in her artistic research, which is both sensitive and deep, situated on the fine limit of perception and inner experience, to which Aura gives shape in her work. Using varied media such as sound, photography, video or performance, the artist leads us into unique experiences, which start out from her personal vision, open spaces of deep sharing.
The expressive language of Aura surprises in its apparent simplicity, able to express, through personal and significant actions and visual associations, inner depths, intimate, embracing the world and communicating to it.
Her works are subtle, delicate and never overbearing, expressing beauty and strength. A whisper can say more than clamor can, in an age where everything shouts. We are happy to have met her and to support her.”
We were immediately interested in her artistic research, which is both sensitive and deep, situated on the fine limit of perception and inner experience, to which Aura gives shape in her work. Using varied media such as sound, photography, video or performance, the artist leads us into unique experiences, which start out from her personal vision, open spaces of deep sharing.
The expressive language of Aura surprises in its apparent simplicity, able to express, through personal and significant actions and visual associations, inner depths, intimate, embracing the world and communicating to it.
Her works are subtle, delicate and never overbearing, expressing beauty and strength. A whisper can say more than clamor can, in an age where everything shouts. We are happy to have met her and to support her.”
Simone Bertugno and Magali Moulinier
“At the borders they collide | They meet two parts, two discourses
Artificial-natural are one and the same.
They move like sinuous animals, or perhaps a single compost in which pieces are lost and others are picked up, as they creep into the corners of the world.
On the borders the worst battles are fought.
There, the sounds of the universe can be heard.
At the edges I know and discover myself each time.
Walking along the borders to keep them vibrant.
Synthetic voice | soft thoughts
Continuous translations.
In the line that separates and unites there are born coves, voids, margins, dark corners in which stories grow and die.”
Aura Monsalves Munoz
A veiled border
by Davide Maria Mannocchi
by Davide Maria Mannocchi
The human senses are readapting to ever more performative technologies that progressively permeate our daily lives. The delicate sharing of one's own emotional sphere is channeled through algorithms that know how to increase as much as stifle its disruptive potential. Today, the artist's gaze has the role of deciphering the enormous capacity of this interweaving of binary codes that should not necessarily be considered hostile, and which does not presuppose the exclusion of emotions.
The interaction between human elements and technology is a field that still tends to be virgin. As an explorer of this new frontier, the artist descends into the darkness of introspection to understand and, even more importantly, to make us understand the opportunities that this new scenario can bring to us contemporaries.
Aura Monsalves Munoz (Venice, 1992) places the relationship and contact with the world around her. Digital photography is the artist's favorite tool at the center of her creative commitment. Monsalves Munoz, however, chooses to free herself from any pigeon-holing and, in the name of experimentation, observes how the human body, the delicate envelope of its inner baggage, is itself the fruit of the hybridization of every element contingent on the life of the individual.
Time and space unravel in the language of the Venetian artist who also through the instrument of video, processes the rebound between stasis and dynamism. This contrast is the starting point for a revealing of an emotional relationship that is not necessarily projected outwards. In Munoz's reflections, in fact, this contrast is directed towards the interior, towards the care that must be dedicated to the self, as testified by the project Senza titolo, ambiente n.1 /Untitled, environment n.1. Here two media systems clash, two temporal gaps intertwine and overlap, approaching and retreating, showing a contrast between the moving time of the video and the still time of photography.
The interaction between human elements and technology is a field that still tends to be virgin. As an explorer of this new frontier, the artist descends into the darkness of introspection to understand and, even more importantly, to make us understand the opportunities that this new scenario can bring to us contemporaries.
Aura Monsalves Munoz (Venice, 1992) places the relationship and contact with the world around her. Digital photography is the artist's favorite tool at the center of her creative commitment. Monsalves Munoz, however, chooses to free herself from any pigeon-holing and, in the name of experimentation, observes how the human body, the delicate envelope of its inner baggage, is itself the fruit of the hybridization of every element contingent on the life of the individual.
Time and space unravel in the language of the Venetian artist who also through the instrument of video, processes the rebound between stasis and dynamism. This contrast is the starting point for a revealing of an emotional relationship that is not necessarily projected outwards. In Munoz's reflections, in fact, this contrast is directed towards the interior, towards the care that must be dedicated to the self, as testified by the project Senza titolo, ambiente n.1 /Untitled, environment n.1. Here two media systems clash, two temporal gaps intertwine and overlap, approaching and retreating, showing a contrast between the moving time of the video and the still time of photography.
The human essence is thus reconciled with technology, the latter presented in the guise of a promoter of the revelation of its own emotional globe. A veiled border, with impalpable nuances, is what separates us from the outside world. This is what Munoz documents in order to observe the moment in which the singularity of one's own interior world fragments, breaking against the wall of the world in which we live our time.
Fondazione Bertugno-Moulinier
Via Gabrio Serbelloni 67
00176 Roma - IT
+39 06 69 34 4828
info@fondazione-bm.org
Via Gabrio Serbelloni 67
00176 Roma - IT
+39 06 69 34 4828
info@fondazione-bm.org
Fondazione Bertugno-Moulinier
Via Gabrio Serbelloni 67
00176 Roma - IT
+39 06 69 34 4828
info@fondazione-bm.org
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Via Gabrio Serbelloni 67
00176 Roma - IT
+39 06 69 34 4828
info@fondazione-bm.org
©Fondazione Bertugno-Moulinier, 2022