Landscapes

Eugenio Tibaldi has approached these places and kept them. Territories that are not abandoned, but intensely lived, to the point of being overcrowded . Places proven to excess, occupied by a myriad of objects that, minute by minute, reaffirm, silently, the human presence. The intervention of the latter is replaced by nature, by ensuring that it is lived to the extreme, cleared to give way to the ambitions of the man who lives it.

Eugenio Tibaldi behaves like an anthropologist who observes changes every day and records human interventions on the territory. This everyday observation is accompanied by shooting. The image is then encoded through painting. The latter is the paint that clears the universal fact to bring out the particular distinguishing characteristic fragments of the world.

A house looms: is under construction and seems to continue to grow unabated. There exists a ground floor. A first floor is being built, but it is not enough because it already promises the construction of the third. Nothing is finalized and it seems that everything is left to chance, as the bricks in the balance on the roof. We do not know who is the owner, or by whom it is governed the desire to build, however, we see a satellite dish documenting human data, and a fir tree which documents the natural one.

The billboards line the street and take a rigid and clear presence which confuses. The messages overlap and impose destabilizing anyone willing to read. So in the different representations Eugenio Tibaldi then records their physical presence, it becomes communicative absence. Other times it takes stock of specific messages that become effective for the grotesque and paradoxical intake.

Beyond a gate will distribute the tires of the car: from day to day increase, to cover the landscape. They pile up and become true architecture, artifacts mountains.

An installation of watercolors recapitulates a thematic process and the use of a constant color makes it less shrill advertising messages that continue to slide even quieter. A guardrail deformed by violent with a car is abandoned and, assuming a new form, become a characteristic element of a landscape. Mufflers and engine shreds piled as sculptures tell, the strings of bins that are developed along the streets: these are the architectures that animate Landscapes by Eugenio Tibaldi, suburban landscapes, far from the city, and close to man, who lives there until you change them, revoking any historical continuity, giving a new social reality, specific and abnormal, real and authentic.