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Neïl Beloufa Digital in Milan

Painting, collage, new materials, sculpture, installations, video, digital are all main tools of expression in Art. Generations, more or less new, find themselves within in these for who decide to attend the Academy or alternative paths. Precisely in the latter, there are courses in which it is possible to “explore” further the artistic interaction along various interdisciplinary aspects. Often they are more confidence in this perspective rather than in the previous.
If this approach can be understood and evaluated without indifference whatsoever, it becomes possible to better understand the new expressive researches.
Neïl Beloufa’s solo show at the Pirelli Hangar Bicocca in Milan moves along new interactions among concept, message and final fruition.
Born in 1985, the Franco-Algerian artist exhibits until 9/1/2022 his first in an institutional Italian venue.
“Digital Mourning”, the title of the exhibition, traces endless examinations by touching on issues such as digital connectivity, the lack of real life, communication and dialogue. An exploration made of simulations for probable and unlikely realities.
Beloufa, in the exhibition itinerary, immerses us in lights, sounds and images by means of visual synchronizations between switching off and on of multimedia tools, determining multiple choreographic perceptions, thanks to immersive installations conceived through sculptures, videos, feature films and technologically composed works useful to generate interaction and reflection.
Mentally, the visitor finds himself, especially at a perceptual level, confronting in the different nuances that we undergo, live and witness on and inside the web, political, television, news and information within relationships, assumptions, dialogues and virtuality.
Neïl Beloufa places his examination as an “editor”, electronically assembling a reality he has broken down and dissected, returning it to new always interpretable concepts. Therefore, an artistic concept that remains unchanged over the centuries but changes only in the medium of ideation and creativity. Beloufa puts us in endless examinations retracing the thesis of the Canadian sociologist Herbert Marshall McLuhan: “the new electronic interdependence recreates the world in the image of a global village”.

by Alain Chivilò