DANIELE SIGALOT @danielesigalot - Tumblr Blog

Daniele Sigalot

Reflect

Stainless steel

2021

Pulchri Studio - Den Haag

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SUPERFICIAL

Inkjet print on Hahnemhule rag 300

Edition of 3

2020

“Seriously?”

Acrylic varnish on aluminum

150x150 cm

2019

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DANIELE SIGALOT

Everything that could have been but wasn’t, now is

Acrylic varnish on aluminum

300cm diameter

2018

On show at Anna Laudel Contemporary - Istanbul, as part of the solo show EMPIRES AGO - 13.9.18 > 26.10.18

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Empires Ago 13.9.18 Anna Laudel Contemporary Istanbul 🇹🇷 (at Istanbul, Turkey) https://www.instagram.com/p/BnJmWmOhIqA/?utm_source=ig_tumblr_share&igshid=1uvewljnzpsuz

Paper planes installations by Daniele Sigalot

More than 7000 paper planes have been crafted out of aluminum or stainless steel and than have been flying around the world, reaching more than 30 different cities, from Sidney to La, from Paris to London, from Berlin to Hong Kong.

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Daniele Sigalot

PARADOSSO (paradox)

steel - 900cm (h) x 60cm (l)

2018

The installation “Paradox” has been inaugurated on the 12th of April in the faculty of law at the LUISS university in Via Parenzo in Rome. This historical building was erected in the 30's as a “Home for blind workers victims of the war” during the fascist era, making the building a monument of the fascist aestethics of the time. Daniele Sigalot acts at the insterstice between new and old, between historical identity and future of this building. The project “Paradox” developes around the very roots of the space, read through the hyperbolic stylistic signature typical of the artist. A mimetic act, yet expolosive, a sort of Manzoni's Base of the World able to completely transform the meaning of a place through a single act. The facade of the faculty changes with the installation that covers it for whole its height: a monumental sign that spells the word “paradox” in braille alphabet, 25 iron half-spheres that compose a perfectly self-defining message: the paradox of an unusable comunication. Inaccessible to the touch, and unintelligible to the sight. The spheres, partially reflective, create a dialogue with the architecture of the regime, creating a majestic aesthetical structure apparently in contrast with the purpose for which the building was erected. Sigalot leaves a strong signal to the visitors, distilling the entire history of the place with just one sign, totally in contrast for its dimensions and materials, yet perfectly integrated in the structure, doomed from its objective unreadable nature to abandon its meaning and become a pure aesthetical feature. Carlo Maria Lolli Ghetti

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