Coronavirus is depicted like an explosion of matter, an energy that goes outwards from the centre, a force that pushes forward, radiating towards an external light.
In nature, all plants and flowers do something similar when they are born, thus giving rise to their beauty.This virus and the generations of other viruses that will follow may also have their own aesthetic qualities, like Earth’s future flowers.
We must return to a relationship with our Earth and with nature. Coronavirus tells us that we have done many things wrong, even a true relationship with science would help us to reconquer nature and our land. Why not enter into a confidential relationship with viruses and make them a game?
(technique: modelled coloured plastiline)
A Chinese dragon, depicted traditionally, with the appearance of real animals: a catfish’ moustache; a crocodile’s eyes, skin and nose; a snake’s tongue; a lion’s mane; a deer’s antlers. The good dragon helps us to destroy bad viruses.
Confronted by a strange evil, people need to get help from a hero, even if this hero is imaginary and immaterial.
(technique: light based coloured Ipad drawing)
It’s raining viruses
We need to improve awareness of the fact that the droplets in the breath of people and in the wind are all around us.
Every day is a day of resistance
We have to spend every second, every minute of our time protecting ourselves, it will be a strong daily resistance. With the right tools.
Checkmate to the virus
To defeat the coronavirus we cannot use the rules of the past, as in the game of chess which has precise rules; no one plays if the shape of pawns, kings and queens are unrecognizable. An ironic view of things invites us to reflect on the need to give us new rules for the future today. The difference between chess pieces is only aesthetic, therefore there are no losers or winners between the contenders.
(technique: light based coloured Ipad drawing)
形式上，艺术家巧妙地将两种对立的方式整合到图像空间中。在创造龙的形象时，Malagigi 利用了图形的平面表达的可能性。这反过来又在重要意义上唤起了米罗（Joan Miro）作品中近乎幼稚和梦幻的气氛。龙，Malagigi 认为，只是一个梦，一个超级英雄，其实并不存在。相反，病毒通过一种橡皮泥模型而不是一幅画来强化它的三维存在。坚固性带来存在感，就好像病毒真的漂浮在龙的嘴里。这种冲突给画面带来了张力，并在这两个元素之间创造了不可简化的视觉存在平面:我们只是在看一个童话故事。
By Xi Jiannuo
Edoardo Malagigi’s oeuvre for this exhibition includes three main series: The dragon that destroys the virus, Virus, and The Use of Irony. Through these creations, highly symbolic and yet interestingly playful, the Italian artist constructs a visual imagery of our fight against the Covid-19. They are a reflection not only on the destructive side of the pandemic, one should notice, but also on the creative possibilities that the deep transformations that have followed the outbreak have unleashed: They are hopeful representations not only of a war that humans can win, but of a moment where we can come together to realize our interconnectedness.
In The dragon that destroys the virus, a traditional Chinese dragon is devouring the virus. The mythical creature, whose impenetrable scales are of a dark green, has eyes wide open. Its mouth is stretched to its full extension: The virus is about to get crashed by the beast’s menacing teeth and then swallowed. There is an implicit tension in the picture, some kind of anticipatory sense of movement that remains yet suspended – as our fight against the virus is yet to be won.
“We are just like chess pieces in a game where there are no special roles: We are all the same – and so we are in front of the virus”
Formally, the artist skillfully integrates two opposite approaches to the pictorial space. In creating the figure of the dragon, Malagigi exploits the expressive possibilities of the pictorial flatness. This in turn evokes in important senses the almost childish and dream-like atmospheres of Joan Miro’s works. The dragon, Malagigi suggests, is just a dream, a superhero, that really doesn’t exist. The virus, instead, imposes its three-dimensional presence by being, rather than a drawing, a plasticine model. Its solidity gives presence to the virus, as if it were real in its floating inside the dragon’s mouth. This conflict brings tension into the picture, and creates irreducible planes of visual existence between these two elements: We’re just looking at a fairy tale.
It is hard, in effect to ignore the symbolism of the work. While combing some features of real animals, a dragon is a nonexistent creature. In facing an unusual and all powerful evil, a virus that has shuttered the world wherein which we have been living until the beginning of the pandemic, people are looking for a silver-bullet, a somewhat magical device that could help them get rid of this villain: They need a hero, but this hero is just imaginary and immaterial. The truth, Malagigi tells us in The Use of Irony, is much more mundane. We are just like chess pieces in a game where there are no special roles: We are all the same – and so we are in front of the virus.
Just like a modern jester, Malagigi reveals in the simplest of fashion that “the king is naked.” The technological revolution, the miracles of mass production and travel, and the rise of the internet have not protect us from this incumbent tragedy. Quite the opposite, they are largely responsible for the conditions that allow the very existence of a pandemic of this proportion. In his work, an umbrella is protecting us from the virus – a commonplace object that is as simple as reliable. It is perhaps time to look back at a simpler world, at simpler ways of living, as a strategy to reinvent our future.
直到 2015年为止，他一直是佛罗伦萨美术学院的教授，并从 1987年开始担任学院的 Erasmus 项目的发起人。
He has created site specific works in Brighton, Pula, Florence, Belgrade, Modica, Tokyo, Beijing, Genoa, Bucharest, Okinawa, Nanjing, Lugano, Milan, Kikinda. He has been “Member of the Advisory Board” of the Center for Contemporary Art of Afghanistan (CCAA).
He has held workshops and conferences on the art / design relationship in: Munster, Qingdao, Havana, Chengdu, Lugano, Chongqing, Seoul, Hangzhou, Lisbon, Shanghai, Boston, Freiburg, Florence, Nanjing, Newcastle upon Tyne, Beijing, Belgrade, Sofia, Kabul, Beijing, Priština, Wuhan, Rome, Tokyo, Naha, Cairo, Venice, Cetine, Milan, Tbilisi, Madrid.
His installations and works have been presented in exhibitions such as: Rome Quadrennial, Bari Art Expo, Venice Biennial, Bologna Municipal Modern Art Gallery, Milan Triennial, Palazzo dei Diamanti in Ferrara, Luigi Pecci Contemporary Art Center in Prato, Sensus Arte Contemporanea of Florence, Abaco Space Contemporary Art of Berlin, 1865 in Nanchino.
He has been a professor at the Academy of Fine Arts in Florence until 2015 and initiator of Erasmus projects in the same Academy since 1987.