I participate in the group exhibition “Outskirts” at Casa Elizalde, Barcelona, from April, the 29th to May, the 23rd
La Escocesa presents the exhibition of most of the resident artists. A selection of representative works of each one of them, a good opportunity to map the frameworks of this emblematic space situated in Poblenou, Barcelona.
Continua a leggere Marco Noris in Extraradi (Outskirts) @ Casa Elizalde, Barcelona
En construcción es una panorámica sobre mi producción pictórica actual. En esta exposición (compartida con la artista alemana Stefanie Herr), presentaré diferentes líneas de trabajo, nuevos proyectos y objetivos para el próximo futuro.
Stefanie Herr / Marco Noris
Continua a leggere En construcción
Inauguración viernes 13 de septiembre de 19 a 22h.
El 6 de septiembre en Can Felipa se inaugura la colectiva dedicada a las diferentes comunidades artísticas de Poblenou. Mi proyecto fotográfico, Informalismo efímero, es uno de los tres seleccionados para representar La Escocesa, el centro de creación donde tengo taller.
Continua a leggere Informalismo efímero @ Can Felipa
DIFFERENT PULSES – FESTIVAL DELLE ARTI IMMATERIALI
Continua a leggere Marco Noris @ Different pulses 2013 (IT)
Cividale del Friuli (UD), 06-20 luglio 2013
I’ll be there with some small works, oil paintings on canvas and mixed media on paper.
From November 30, Montoriol Gallery, Barcelona.
+info: Galeria Esther Montoriol
Screening: Thursday October 20th. 2011, at 8 p.m.
Continua a leggere HFM #15
Remote Locations is the title of a series of paintings by Marco Noris, but the term could be extended to his work as a whole. If by ‘remote’ we understand somewhere that is inaccessible not through physical distance, but rather because it responds to some mental or psychological geography, then all Noris’s projects could be said to be journeys to nowhere.
Ephemeral Informalism is determined by the chance colours of paint splashed from the brushes that Marco and the other artists who share the studio clean at a communal tap. A puddle begins to form around it, an iridescent crucible where a riot of changing colours pools. The wet surface becomes a canvas, acting as a mirror that both reflects and inverts the creative space, absorbing in its water the residue of the creative process, condensing its volatile beauty. In this tiny, precarious swamp Noris gives form to the impalpable synergies of art and sees in it the confluence of individual exploration and social space.
Foucault talks of such inversions when he defines the mirror or reflective surface as a paradigm of the utopian place (“a placeless place”: “I see myself where I am not”) but also heterotopian, a term he coined to describe “enacted utopias”. Heterotopias are real places which allow representation, inversion and questioning of other places.
Noris’s work navigates between utopia and heterotopia too, with Remote Locations being an example of the former, images that seem mirages because of the fleeting nature of the ever-changing, never-completed shapes. And Postcards from Eternity evokes “placeless places”, like floating fragments or messages in bottles that bob about on the waves without any hope of reaching safe port. On the other hand, the work dedicated to the refugee camps corresponds to what Foucault called “heterotopias of deviation”, where anything that deviates from the social norm is placed. In Noris’s artistic process such places are also stripped of their historical context and become remote, caught up in the shifting flux of shared memory.
Anna Adell – Translation: Geraldine Mitchell