Italian Orientations

One of Italy's most highly regarded photo artists, Matteo Basilé, recently held an exhibition in Bali which brought about a new sense of excitement and hope to the island's art scene. But what exactly are his works like?

The long time impact and important role of the Italian expatriate community in Bali is undeniable, especially in the realms of art and design. One of the more cohesive national groups on the island, I was honoured although unsurprised when no less than three of the Italian community's premiere godfathers called me in succession in September. 'You must attend THISORIENTED II,' I was told, 'the opening of the exhibition by young award-winning Roman artist Matteo Basilé at the Italian owned Biasa Artspace in Legian'. 'It will be opened and curated by Achilles Bonito,' I was further informed, 'a legendary art critic whose many kudos include the 40th Venice Biennale'.

The opening left no doubt that the Italians truly know how to put on an event, dress well and enjoy the good life. I myself was impressed by Basilé's art and the towering presence of Achilles. In a nutshell, it was a great event that shone brightly in a Bali gallery scene often dominated by the mediocre and eminently forgettable.

Simply described, Basilé's show consisted of a series of fine art prints created by digital manipulation and collage of photos. As my Italian friends foretold most are distinctly surrealistic and incorporate exotic elements from eastern lands, in particular Japan and Bali. Basilé has a distinct flair for drama seen in his moody self-portrait (on the website) and in his impressive artworks. Now in his mid-thirties, Basilé enigmatically describes himself as an heir 'from a well-known dynasty of artists' and a 'forerunner of digital art' who 'uses avant-garde technology as a research prosthesis'. I am not sure how that sounds in Italian but in English it has a definitely vague and rather pretentious tone that makes me suggest he considers finding a better translator. For the sake of us ignorant non-Italians, it would be appreciated if information on his dynasty was either clarified or dropped.

Curiously for an artist who emphasises his avant-garde credentials, his images seem to be more anchored in classical European painting than anything approaching 21st century cutting edge design and technology. This does not detract from their impact but his reliance on perspective, the horizon, dramatic clouds and a single central figure in his landscape compositions is pure Renaissance. He also plays with other classical genres including nudes, theatrical portraits and the de Chirico-like ruins based on worthy but by no means radically new ideas or concepts. Even the injection of surrealism (now close to a century old!) is by no means startling and in two images – the girl before the temple gate (pure Hofker) and the borderline saccharin sentimentality of two make believe farmers tenderly embracing in a rice field – could lead to accusations of pandering to nostalgic neo-colonial tastes of the Balinese expatriate community.

Make no mistake, these observations do not diminish the art or the artist, who is obviously very talented and belongs to a new class of international artists who have been visiting or living in Bali. The issue here is not the art but rather a question of the packaging. In an art market in which photos are often viewed with suspicion as far as value is concerned, it is easy to voice the opinion that Basilé's chief aim is to promote a new and very valid art form through a form of shock and awe and unnecessary hype. His long-term success and dedication to the island will be proven by future exhibitions to which we look eagerly forward.