In Not For Nothing, Alessandro Moroder associates seemingly disparate themes such as nature, chance, and materiality by creating and confronting a new discourse of memory through endurance and personal history. In his second solo show with FIFI projects, he continues to examine performative markmaking processes where his work operates as a non-figurative representation of both the body and its traces. These monochrome works function as a record of a lonely journey, the summation of a performance, and the act of labor and manipulation of material elements.
In Dirt Painting, 2015-2018, Moroder buries pristine canvases and fabric in soil at various, personally significant, outdoor locations. The performative element of these actions is documented in the stains and markings of the dirt, which likewise serve to index the artist’s labor. He then strips away excess debris and enamel paint to reveal each impression, cataloguing the process in a study of material arrangement, nature, and gesture. In Dirt Painting #38 & Dirt Painting #39, Moroder forgoes the structural limitation of a canvas stretcher bar by incorporating installation pieces, hanging from the gallery’s ceiling from singular points, these works produce a looming, almost precarious spatial effect over the viewer.
Moroder also debuts his video work, Untitled, 2018, a stagnant shot of the Dolomite Mountains of Northern Italy where his extended family resides. The film shows a snow filled mountaintop and all its serenity, as the late afternoon fog slowly rolls in. An accompanying audio element of the wind howling can be heard throughout the gallery, connecting the exhibition space to the natural location. The film, captured at the top of the Castelrotto Mountains, depicts the culmination of a three-day site-specific installation the artist produced earlier this year, where works were physically displayed along a hiking trail leading to the summit.