Alexandra Barth’s second solo show is held in Pescara. The exhibition, curated by Massimiliano Scuderi, represents the latest pictorial research of the Slovak painter who finds origin and inspiration in American Precisionism, a movement that saw, between the two great wars, artists such as Charles Scheeler and Giorgia O’Keeffe which articulate a language by merging cubism with realism.

Alexandra Barth (1989, Malacky, Slovakia) is interested in the peculiar aspects of human activity, in the systematic arrange- ment of space, in the intimate aspects of the architecture of utility objects. The use of airbrushing allows her to work with the imprint of “photographic reality”.
By merging minimalism with a postmodern taste for fragmentation and the infra-ordinary, she open the critical horizon of painting over painting. Giulio Carlo Argan in 1976 speaking of “painting-painting” stated that it is not a language, that is, a meaning beyond itself. Painting can only move within its own limits, painting cannot be judged except from within the painting, that is, that the critical operation is coextensive and contemporary with the pictorial operation.

The numerous paintings in the exhibition at A SUD gallery represent the essay of a careful pictorial practice that recalls illustrious predecessors such as Domenico Gnoli who worked by focusing attention on the details determined a new way of looking at everyday life, in the many aspects of a monumental ordinariness or the construction of Magritte’s enigmatic images.