Founded in 2010 in Paris, the international contemporary art fair YIA ART FAIR presents now 4 events in Europe: Maastricht, Brussels, Basel and Paris, along with a show in New York during the Frieze.
On the occasion of ART BRUSSELS and the Brussels Contemporary Art Week, we are pleased to announce our Brussels' edition the YIA ART FAIR # 09 - Brussels, which will be held from 20th to 23th April in the SQUARE BRUSSELS MEETING CENTRE located in the very heart of the capital on the Mont des Arts, close to our partner BOZAR and 5 minutes walk from Independent Art Fair.For four days, the SQUARE BRUSSELS MEETING CENTRE an iconic place of the capital, will host a selection of 45 international prospective galleries and of excellence. After 8 editions in Europe, YIA ART FAIR has a public of more than 15 000 collectors happy to support the fair and to discover in each edition an emerging international scene of quality. This new edition of the YIA ART FAIR #09 - BRUSSELS at SQUARE BRUSSELS MEETING CENTRE, is supported by major regional partners like BOZAR, le Mad, the BOGHOSSIAN FOUNDATION and VISIT BRUSSELS with whom we are currently constructing a media plan in the city (billboards campaign and community management).
For this edition of YIA ART FAIR we will present a Matteo Negri solo show with brand new artworks.
Part of Matteo Negri's most recent research mor-phologically seems to proceed in the abandonment of the three dimensional com- position (to a certain measure more congenial to the mechanisms of interaction) and the shifting of the investigation from object to plane. The volumes give room to a kind of sculpture based on two-dimensional formats that exist on the unrelated space of the white wall or that intersect among each other (Kamigami), between refractions, multiplications and visual snags (Piano Piano).
In truth, the formal abstraction, ever more rigorously geometric of these two series of work is necessary to the artist for the new horizon of his research; form becomes a liminal area the allows the uncovering of the work as something not distinct from the world that it contains but, rather, as a place of con- figuration, of the redefinition of that very world. By eliminating the playful reference in the work (with the little bricks that evoke, through a game, the simulation of the real and functional space of architectonic con- struction), Matteo Negri conducts a new test on the perception of reality through sculpture.
The almost as-cetic mounting in which the sculptures are presented express the desire to not refer to the pertinent space of the work exclusively within the confines of the ap- pointed place, but rather to dilate this area to the point of incorporating a sphere of the intelligible and the political; a dimension that aspires to no longer being the walls of a gallery but rather a new condition in which the artistic object becomes generative, a carrier of an autonomous vision of the state of things. This dimension of art is a ramified and root-like connection with the world but at the same time it acts in "a place unlike others" because it activates and authorizes the elaboration of critical thought; here in Negri's work, Steinberg's background noise is perceptible and inter- pretable in context to the completed form of the work, and it is here that the problem of reality and the ap- pearance in which it manifests itself begins.
(from A Space Unlike any other, by Pietro Gaglianò, in Matteo Negri, Seventee Sculptures in Color)