Through a variety of media, from video, photography, sculpture to installation and action, the work digs into the wide range of natural and environmental sciences, such as biology, landscape architecture and geography to name a few.
Overcoming the logic of capitalism, Missika’s artistic practice nurtures a space for possible worlds.
Más o menos, 2018
12 measure displays, stainless steel, plexiglas, handwritten indian ink Dimensions (each): 10.3 cm. Width: 2.1 cm
Switching psychrometrics – the measurement of humidity – with psychometrics – the categorization of mental capacities and processes – we are taken through a survey of one’s mood swings and fragilities, and their fluctuations with the changing weather. These words can be read in the calligraphic inscriptions traced on the frontal parts of the hygrometers, leaving a subtle imprint of a human hand in this piece of industrial technology, where the measurements’ results depend, as if by magic, on the reaction of a hidden human hair. The perfected quality of the professional calligrapher mirrors that of an enchanted printer, or an industrial foreteller. We are introduced to a bionic gesture that appeals, as well, to a machinic subjectivization of the viewer.
Camino por desierto (Aquí, o allá o allá), 2018
Diptych, photographs, carton, ink, artist frame (American and European walnut) Framed dimensions (each): 70.2 x 50 x 3.2 cm
Caribbean Sea, 2020
Acrylic paint under glass, wood frame sourced from 4 cardinal points around the sea: Pinee, Cedrela, Amaranth, Jatoba Framed dimensions: 44.2 x 61.6 x 3.2 cm
Camino por desierto (O Allí o allí o allí o), 2018
Photograph, carton, ink, artist frame (American and European walnut) Framed dimensions: 70.2 x 50 x 3.2 cm
Camino por desierto (Allí, allá, allí), 2018
Photograph, carton, ink, artist frame (American and European walnut) Framed dimensions: 70.2 x 50 x 3.2 cm
North Atlantic Ocean , 2020
Acrylic paint under glass, wood frame sourced from 4 cardinal points around the ocean: Siberian Larch, European Cherry, Amaranth, American Walnut
Framed dimensions: 122.1 x 87.3 x 3.5 cm
South Atlantic Ocean, 2020
Acrylic paint under glass, wood frame sourced from 4 cardinal points around the ocean: Zebrano, Wenge, Sucupira, Cedrela
Framed dimensions: 122.1 x 87.3 x 3.5 cm
Playing with the idea of the map, the sea and the land, Missika takes on inspiration from navigational maps, creating framed Atlas. Placing a stencil on the back of a blue painted glass with the name of a sea or an ocean, a perception of depth is given due to its structure and frame. Same, which is ruled by the map’s compass, having each baguette of the frame built from the wood from the land around the ocean. Based on a research on wood sources, the frames are of major importance, coming all from sustainable wood plantations.
Palazzo delle Api, 2018
Luserna Granite
Overall dimensions: 160 x 144 x 144 cm
Palazzo delle Api, 2018
Luserna Granite
Overall dimensions: 160 x 144 x 144 cm
Palazzo delle Api is an autonomous object on the crossroads of art, architecture and ecology. It can be seen as a public sculpture, a monument, as well as an architectural solution for insects. Palazzo delle Api reflects the principles of Metabolism, the Japanese architectural movement of the 60s, which combined the ideas of urban megastructures with the concepts of organic biological growth. Inverting the principles of Metabolism, Adrien Missika is giving them back to fauna. Made solely out of Luserna granite, locally sourced in Piedmont, this insect-scaled architecture satisfies the housing needs for thousands of pollinating insects. About 2000 holes drilled on the edges of the stone slabs allow the accommodation for different insect species. Erected like a spaceship in the middle of a biodynamic agricultural complex, Palazzo delle Api unites the notions that might be perceived as extremely different and stands as an example of the harmonious existence of nature and humankind. Palazzo delle Api is located in La Raia, a wine yard and biodynamic agricultural complex in the heart of Gavi, it was commissioned by Fondazione La Raia and curated by Ilaria Bonacossa.
