Manuele Cerutti

Algoritmo, 2 (Vulgivagus), 2018 – 2019

Oil on Wood

45 × 35 cm

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Algoritmo, 2 (Vulgivagus) by Manuele Cerutti belongs to his latest body of work inspired by the essay Algorithm by sociologist Gian Antonio Gilli. In his text, Gilli suggests that behind all natural phenomena there might be a hidden pattern; a design perhaps not as easily recognisable as the Golden Ratio or the Fibonacci sequence, but nonetheless deliberate. While mathematicians and scientists might not be able (or interested) to describe it, Gilli suggests that artists and poets might be best equipped to rise to the challenge, as their abilities are better suited to outline its inconstant nature. The shape of the bolt of lightning is suggested by Cerutti as representing such design, and it is pursued by the artist across materials, fields of knowledge, and history.

It is thus that the subtitle of the painting, the latin vulgivagus, discloses two different meanings: the most straightforward would be that of ‘vagrant’, the self-portrait of the artist as a tramp, wandering the streets with a piece of insulating cardboard. “All that is straight lies. […] All truth is crooked.” wrote Nietzche in Thus Spoke Zarathustra. One should in fact remember that Manuele Cerutti’s interest lies in the world of inanimate objects: humans are never the real subject of his paintings, they only serve as props for the things he is actually portraying. And here we discover the real ‘sitter’ of Cerutti’s portrait: a piece of corrugated cardboard, resting on the artist’s back, in the shape of a crooked, zigzag line, that of a lightning bolt. Vulgivagus, the inconstant.

the artist

Manuele Cerutti (b. 1976, Italy) is an Italian painter graduated from the Accademia Albertina di Belle Arti, Turin. His works have featured in numerous institutional exhibitions, including at the Wilhelm Hack Museum and Stadtmuseum Oldenburg in Germany, the Italian Cultural Institute in London and the GAM in Torino. In 2021 he was awarded the prestigious Rome Fellowship by the American Academy in Rome, where he completed in a yearlong residency. In 2022 his works were shown along with the other artists-in-residence of the foreign academies in Rome at the exhibition Spazi Aperti at the Romanian Academy. Other recent exhibitions include the online Artuner exhibition, "STUDIOSCAPES: 2021", an Artuner solo show in 2018 titled "Standing, Waiting" in Brussels, and the Artuner group show "Lost and found in paradis" in Paris in 2019. In 2004 he was awarded the Illy Present Future prize. He currently lives and works in Turin.

Manuele Cerutti's paintings are located at the intersection between the history of art, and the artist’s will of rediscovering the object’s essence, taking its pictorial representation as a springboard for further reflection. Stones, bones and scraps of metal, collected by the artist over the years, rest dormant in his studio, until the moment they turn from inert shapes into works of art on his canvases. Taken out of their original context, these ‘actors’ sit for the artist in compositions that are always on the border of balance and precariousness. The artist adopts clean lines and a thin layer technique, in order to create a dialectal relationship between different moments in his narrative. He considers the error, the pentimento as integral to the accomplishment of an artwork. His paintings call to mind stratigraphy; where amongst different layers it is possible to discern evanescent presences in his paintings. Often, such presences are human subjects portrayed in the act of supporting, or contemplating the object – the real focus towards which the whole composition points. In Cerutti’s oeuvre, even car mirrors are divested of all conventional attributes determined by their function, in order to experiment with new unstable relationships in space. In the context of his works, roles are subverted: the human being does not emerge as a protagonist anymore, it is rather the object that reclaims its status as a peer to Man. The artist leads the viewer to modify their perception towards daily life elements, which too often pass unnoticed. Although Manuele Cerutti's structures might seem comparable to the tradition of still-life painting, the difference between them is radical: the artist confers a subjectivity to forms that are traditionally inert, that are considered mere ob-jecta. Such subjectivity turns them into protagonists which should be interpreted on the same level as any other social actor.

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Cerutti’s oil paintings depict objects in a way that is more reminiscent of portraiture than still life. Humble, inconspicuous objects that belong to the artist, which were forgotten and then repurposed as a means for exploring a more universal set of values, become the sitters for these unlikely portraits.

Manuele Cerutti
on Artuner

Part of the

October 12th, 2019 until
October 30th, 2019
Curated by ARTUNER