Different Might Be Everything

Different Might Be Everything

January 19 – February 18 2024

Kraita317‘s project, “Different Might be Everything,” curated by Street Levels Gallery and Sofia Bonacchi, marks the artist’s debut in a prestigious institutional museum context. This piece offers the public the opportunity to immerse themselves in the rich symbolism of Kraita317, providing insight into the artistic movement associated with urban creativity, of which the artist is an emerging figure in both the national and Florentine scenes.
“Different Might be Everything” disrupts the museum’s exhibition path with a complex work that narrates the story of a bold and determined artist. This work emphasizes Kraita317’s deep connection to the streets and the urban context.”

A fascinating journey through the life of an artist who has constantly shaped his path, leaving a unique and indelible mark on our city.

 

 

Critical Essay

Different Might be Everything

Curated by Sofia Bonacchi and Street Levels Gallery

For the first time, the Museo Novecento’s loggia at the ground floor is hosting a street art intervention realized in collaboration with the Street Levels Gallery, set up in 2016 in Via Palazzuolo a few steps from the museum. The site-specific intervention is by the street artist Kraita317, one of the protagonists of the urban art movement in Florence in recent years and among the artists who last year took part in the great international urban art exhibition at the Fluctuart Museum in Paris.

An active member of the Romanian ANS crew since the late 2000s, Kraita317 in 2018 leaves his hometown of Brașov to move to Florence. This change is highly significant and triggers a rapid and constant evolution in his style, both in the stroke and in the chromatic selection, moving from the figurative to the abstract without ever abandoning a highly expressive stylistic signature.

Kraita317’s abstract and synthetic works refer to introspective and personal dialogues that exclude the use of words, relying on the ability of essential forms and primary colors to evoke complex sensations and feelings. What the artist returns, first in the studio and then in the street, is the end result of a long journey born of the urgency to respond to the energy collected and then assimilated in the urban space. Kraita317 deposits his creed directly on the street, entrusting his works to the wear and tear of time and the interaction with the city and its inhabitants, those hands that often tear or alter the original distinctive features of his works.

His interventions are intended as a gesture of generosity addressed to the same public that allowed their generation, in an act of mutual fertilization; his forms invade the city as the city has invaded his forms. Their true value is that of being part of the social fabric and urban complexity, on a par with a neon sign, a road sign, a waste bin. What is important for the artist is the adrenalin flowing through the system, the need to explore, to ask the city the right questions, to grasp and be part of its own limitations. Kraita317, a calm and quiet artist, conducts an intimate tale about himself, the city and his wandering nights, through a symphony of compositions where circles intertwine and corners brush against each other. The constructive matrix of the works is revealed in their expressiveness; although the gestures are pondered and the lines defined, one perceives a deep thirst and communicative urgency.

The intervention for the Museo Novecento is entitled Different Might be Everything. It is a unique and site-specific work, which originates in dialogue with Maurizio Nannucci’s 1988 work Everything Might Be Different, exhibited in the cloister of the Museo Novecento. The idea of reversing the semantic order of the words chosen by Nannucci supports the artist in the legitimization of his work, as well as the current to which he belongs. The new motto, ‘Different could be everything’, indicates precisely the desire for recognition of an artistic movement that is still underestimated, often controversial, but alive and bursting, such as that of street art. Kraita317 is, in fact, an enterprising representative of that circle of artists who began their journey with little means, driven solely by their own determination, perpetually escorted by family disapproval and by the communities to which they belonged that would have preferred to see them factory workers or employees behind a desk. Artists who grew up sacrificing a sense of security to pursue an authentic happiness, to be achieved through intricate and often bitter paths.

Kraita317’s works find their favorite medium in urban relics, particularly posters dedicated to promoting local events scattered around the streets. The back of the poster, the so-called blue-back, becomes the canvas on which to paint, thus preserving the original infographic function of the advertisements. The poster, originally affixed and superimposed on municipal spaces, then torn down to be destined for the rubble, here joins the wall surface in an amalgam that glorifies the urban scenario, accentuating the contradictions and paradoxes underlying the presence of a street art work in a museum context.

There are numerous references to 20th century art movements, which return reinterpreted in a new and glorified guise. The soul of this work unmistakably evokes the Nouveau Réalisme of the 1960s, with particular reference to one of its illustrious members, Mimmo Rotella, to whose expressive syntax Kraita317 refers.

Posters, playbills and advertisements, ripped out of their original context, are transformed into complex works of art, uniting the logic of mass communication with the artistic thought superimposed on it and emphasizing that expressive need intrinsic to every human being.

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