OPENING MAY 31, 2019JUNE 1 - SEPTEMBER 9, 2019 Jay Heikes’ (American, b. 1975) diverse practice engages a range of…

OPENING MAY 31, 2019
JUNE 1 - SEPTEMBER 9, 2019

Jay Heikes’ (American, b. 1975) diverse practice engages a range of traditional media, including graphite, oil paint, and bronze, as well as found materials, such as dirt, rocks, and sheet music. Often conceiving strange or unexpected pairings of these and other materials, Heikes questions the relationships among the substances that make up the universe, an inquiry that stems from his lifelong interest in the natural sciences. The son of a chemist, Heikes is particularly fascinated by alchemy—the medieval precursor to modern chemistry—which proposed that transforming matter is possible, if not always explicable. As such, he embraces what he calls the mysterious “mutations” that accompany making art.

Although he is known primarily as a sculptor, Heikes recently turned to painting in response to the social and political turmoil that is gripping the United States. Rather than directly addressing current events playing out on Earth, however, Heikes has diverted his attention toward the sky, making paintings of voluminous clouds in a panoply of colors. In one sense, the artist sees depicting clouds as a necessary bit of escapism during a particularly turbulent historical moment, yet he is also drawn to the notion that a cloud embodies infinite possibilities. It can take on any shape, morph quickly, and, perhaps most importantly, no single cloud exists forever. At a time where the present often feels bleak, Heikes’ paintings allow us to acknowledge that the future is unpredictable and only minutes away.


Sculpture in the City, the City of London’s annual public art programme set amongst iconic architectural landmarks, has announced the…

Sculpture in the City, the City of London’s annual public art programme set amongst iconic architectural landmarks, has announced the initial 17 artworks which will make up this year’s outdoor sculpture park in the Square Mile, with more artists to be revealed soon. Launching on 27 June, the exhibition will include works from internationally renowned artists including Nathan Coley, Elisa Artesero, Nina Saunders and Lawrence Weiner. The artworks will be displayed next to some of the City’s most famous buildings, including 30 St Mary Axe (the Gherkin), The Leadenhall Building (the Cheesegrater), as well as new public spaces opening this year, including 70 St Mary Axe and Aldgate Square.

Adjacent to St Helen’s churchyard, Salvatore Arancio’s It Was Only a Matter of Time Before We Found the Pyramid and Forced it Open (2017) will be presented at 1 Great St Helen’s. Created under the influence of hypnosis, Arancio’s work forms a sculptural garden of totemic clay sculptures that recall the petrified trees of the ‘Lava Trees State Park’ in Hawaii. Through the work Arancio seeks to create a ‘healing area’ for visitors that aims to enhance their creativity. Patrick Tuttofuoco’s The Source (2017) a neon-light installation depicting the artist’s hands will hang in the historic Leadenhall Market.

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A ceramic sculpture and two works on paper by Salvatore Arancio have been acquired by the Contemporary Art Society for…

A ceramic sculpture and two works on paper by Salvatore Arancio have been acquired by the Contemporary Art Society for the Harris Museum in Preston, joining a display of 18th and 19th century landscapes, sculpture, ceramics, historic books, and an important but underused collection of prints from the 16th century to the present day.

The three works are a significant addition to Harris’ collection and will play an important role in their contemporary art programme – Harris Inspired – which will display works in and around the building.

Salvatore Arancio’s work explores beauty and the sublime in nature. He is fascinated by the merging of myth and science, exploring the state of suspension between the real and the fictional through an emphasis on construction and staging. Playing with images, shapes and symbols using found geological illustrations as a starting point, he suggests a sense of human inefficacy against nature, creating juxtapositions that are both beautifully evocative and deeply disquieting.

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curated by Luca Bochicchio11 July – 22 September 2019opening: Tuesday 9 July  6-9pm From July 11 to September 22 2019…

curated by Luca Bochicchio

11 July – 22 September 2019
opening: Tuesday 9 July  6-9pm

From July 11 to September 22 2019 Casa Museo Jorn presents the solo exhibition of Salvatore Arancio: Like a sort of Pompeii in reverse, curated by Luca Bochicchio, artistic director of the Museum. The exhibition is promoted by the Friends of Jorn’s House Association, under the patronage of the Municipality of Albissola Marina.

After participating in the 57th International Art Exhibition of the Venice Biennale (2017) and the solo exhibition at the White Chapel in London (2018), Salvatore Arancio arrived in Albissola with a new and site-specific project, designed and realized in situ.

Between 2017 and 2019 Arancio made numerous visits and several surveys to Casa Museo Jorn, fascinated by the situationist labyrinth that the Danish artist Asger Jorn created between 1957 and 1973 together with his friend and assistant Umberto (Berto) Gambetta.

More than by any other aspect or space in the house, Arancio was impressed by the polateraterial and pseudo-organic concretions created by Jorn and Berto in the garden, where he noticed not only the poetry of their inventive play, but the imaginative and creative potential of what we cannot see.

The artist has therefore started an experimental research, based on the modeling of the clay directly onto the shapes, surfaces and volumes of the garden, plastically detecting its negative aspects while reflecting on what cannot be seen but only potentially may exist.

Arancio focused in particular on the many elements of uncertain origin (natural or artificial) and of ambiguous and ironic paternity (by Jorn or Berto), to establish a relationship of continuity in Jorn's discourse on metamorphosis and imagination; a dialogue that develops from the language of ceramic sculpture, common to both Jorn and Arancio, and based on the complicity and collaboration of the genius loci: the local artisan shops.

Arancio has in fact chosen to take advantage of the collaboration of the Nuova Fenice of Barbara Arto for the third firing ceramics, and of that of the Ceramiche San Giorgio for the enameling of the pieces modeled at Casa Jorn. This last studio was founded in 1958 in Albissola Marina and is still run by Giovanni Poggi, a turner potter who worked with over two hundred artists in his life, starting with some great personalities from the 50s and 60s who were present in Albissola (Agenore Fabbri, Lucio Fontana, Asger Jorn, Gianni Dova, Wifredo Lam, Mario Rossello among many others). Casa Jorn is full of stories and traces of the collaboration between Jorn, Berto and Giovanni Poggi: Arancio wished to trace these collaborations between the artists and the craftsman.

During the ongoing project and during the frequent occasions of confrontation between the artist and the curator, the title of the exhibition was chosen: Like a sort of Pompeii in reverse is in fact a quote from the text that Guy Debord wrote in 1973 for Jorn’s book Le Jardin d'Albisola, created by Ezio Gribaudo for the Fratelli Pozzo Art Editions of Turin and published posthumously in 1974.

Arancio therefore proposes his own vision, which appears to have more than one contact with the interpretation of Jorn's garden given by Debord. What for Debord was the situationist result of Jorn's architectural experience, for Arancio it is the possibility of imagining the shapes, volumes and surfaces of the garden as casts of a space in the making, initial matrices born from the indistinguishable combined action of time, man's work and chance. The sculptures created starting from this inspiration will first experience an integrated dialogue with the garden spaces, after which they will be placed inside Jorn’s studio, in special classifying cabinets that will be offered to the visitor's analytical gaze, as archaeological findings of an invisible imaginary universe.


OPENING: MAY 23rd, 7 PM The permanent works created by Alicja Kwade, David Tremlett and Patrick Tuttofuoco for Ghizzano, a…


The permanent works created by Alicja Kwade, David Tremlett and Patrick Tuttofuoco for Ghizzano, a hamlet in the municipality of Peccioli (Pisa), fall within the framework of a cultural strategy that was put in place at the end of the 1990s and is still being pursued today.

The event, curated by Antonella Soldaini, is the fruit of a collaboration between the municipality of Peccioli, the Fondazione Peccioli per l’Arte and Belvedere SPA.

As if wishing to underpin the village with his presence, Tuttofuoco has created three works for Ghizzano with a single title, Elevatio corpus, located at crucial points of its fabric. The sculptures refer to a cycle of frescoes by Benozzo Gozzoli, who was active in this area at a particular moment of his life. The story dates back to 1479 when the plague obliged the artist, who was working in Pisa, to move with all his family to Legoli, a few kilometres from Ghizzano, where he decorated a shrine. Tuttofuoco took some details of the figures depicted by Benozzo – St Sebastian, St Michael and St John – as a starting point for his sculptures, made out of a variety of materials such as marble, neon and iron: ‘Elevatio corpus translates literally as lifting body. A body that is both architectural (structural) and anatomical (human). A lifting body that therefore implies the presence of something else that is lifted and carried, something capable of transcending matter, space and time. The main themes of this research turn around the idea of immortality, which are approached in different ways: on the one hand reflections closer to technology and science (artificial intelligence, relationship between man and machine, androids) and on the other a more spiritual vision in relation to the passage of time. The innate desire of human beings to represent themselves in an attempt to make themselves immortal allows us to insert a different notion of time, a timeline that tends to infinity, able to relate effortlessly with ancient aspirations and visions projected into a distant future. In this constant dualism between science and spirit, past and future, the body capable of resolving and transcending limitations is that of art. The work of art is the element able to project itself beyond everything and, comprising everything, free humanity from its dependence on matter, space and time. The hands are the human being’s link with the material universe, determining a precise moment in space and time that allows us to act by giving material form to thoughts which live far longer than that single instant’ (Patrick Tuttofuoco).

The operation carried out by Tuttofuoco, who created a large installation in the 3000 mq space of the OGR (Officine Grandi Riparazioni) in Turin in 2017 and who on this occasion has worked in collaboration with a team of engineers and other experts (Massimo d’Amelio and Massimiliano Buvoli), centres on the reinterpretation of the work of a great Renaissance painter whose linguistic code has been distorted and reworked in a post-modern way in order to arrive at a new sculptural reality that is nourished by the dimension of the past. Making use of citation and establishing a close dialogue with the frescoes at Legoli, the artist has succeeded in producing a series of surprising and complex formal solutions that have an imposing presence and are the fruit of dynamic and profoundly contemporary artistic research.



Ferens Art Gallery, Queen Victoria Square, Hull, HU1 3RA 'Is this Planet Earth?' is a Ty Pawb exhibition curated by…

Ferens Art Gallery, Queen Victoria Square, Hull, HU1 3RA

'Is this Planet Earth?' is a Ty Pawb exhibition curated by Angela Kingston

Visitors will encounter wondrous creatures and stunning landscapes filled with colours and sensations that are heightened and strange. Beautiful to behold and often sci-fi in feel, the exhibition will have darker undercurrents relating to our destruction of nature. The varied artistic work pays homage to visionary sci-fi writers and filmmakers who conjured apocalyptic landscapes and creatures such as; J.G Ballard, John Wyndham and Douglas Trumbull, to name just a few. 

There are sculptures by Salvatore Arancio, Halina Dominska and Alfie Strong, paintings by Dan Hays and Katherine Reekie, a sound installation by Jason Singh, a live performance by Patrick Coyle and videos by Helen Sear and Seán Vicary.

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Matera Alberga Arte Accogliente è un progetto della Fondazione Matera Basilicata 2019, curato da Francesco Cascino in collaborazione con Christian…

Matera Alberga Arte Accogliente è un progetto della Fondazione Matera Basilicata 2019, curato da Francesco Cascino in collaborazione con Christian Caliandro.

Le opere - che come tutti i progetti di Matera Alberga avranno una forte componente partecipativa, invitando i visitatori ad entrare in contatto diretto con esse - si configurano come interventi permanenti negli spazi dell’hotel. Con Matera2019, infatti, sei alberghi della città di Matera che riproducono i vecchi Vicinati dei Sassi diventano luoghi di accoglienza ed esperienza creativa, spazi di produzione culturale, luoghi di scambio tra abitanti e viaggiatori, di condivisione sociale e culturale.


Third appointment with the video review created by beatrice bulgari for in between art film, by paola ugolini, for the…

Third appointment with the video review created by beatrice bulgari for in between art film, by paola ugolini, for the cinema hall of the novecento museum. before we vanish, this is the title of the review in program from 12 april to 4 july 2019.

It is part of the Substainable Thinking project, in collaboration with the Ferragamo Foundation and Salvatore Ferragamo Museum and wants to show, the work of ten international artists (Masbedo, Janis Rafa, Oliver Ressler, Salvatore Arancio, Shadi Harouni, Sigalit Landau, Elena Mazzi and Sara Tirelli, José Guerrero with Antonio Blanco, Rä di Martino) and their relationship with the plant and animal world.


8th June – 30th October, 2019 After the stops in Beirut and Tunis, the MAXXI collection concludes its Mediterranean journey…

8th June – 30th October, 2019

After the stops in Beirut and Tunis, the MAXXI collection concludes its Mediterranean journey at the Villa des Arts de Rabat


Messenger works that open dialogue between people in an exhibition on the link between classical tradition and contemporary artistic research

Roma, 1st May, 2019. The Collection of MAXXI, National Museum of XXI Century Arts, is an ambassador of dialogue between peoples and an instrument of cultural diplomacy because even Art can establish bridges against closure and nationalism. For a year now, the CLASSIC RELOADED. MEDITERRANEA exhibit curated by Bartolomeo Pietromarchi, MAXXI Art director, together with Eleonora Farina, has brought along the Mediterranean a selection of works by Italian artists belonging to the Museum’s Collection.

The third and last stop of the traveling exhibit will be held from 8th June to 30th October 2019 at the Villa des Arts de Rabat, after having been hosted at Villa Audi – Mosaic Museum in Beirut and the Bardo National Museum in Tunis. The project is part of the cultural program that MAECI created in 2018 in the countries of the Middle East and North Africa, Italia, Culture, Mediterraneo and, in Rabat, it is in collaboration with the Italian Embassy in Morocco and made available thanks to the Italian Cultural Insitute of Rabat.

CLASSIC RELOADED offers a reinterpretation and revitalization of a shared identity heritage, a cultural and artistic base from which it is possible to resume a dialogue, to facilitate that understanding among people that more than ever is needed, a real antidote to all fundamentalism. Through the 20 works by 13 Italian artists belonging to the Museum's Collection, the aim of the exhibit is to represent the culture of the “sea that lies between the lands”, the cultural autonomy but at the same time openness to the other, coexistence between peoples, relationship between local and global, which has always characterized the nations of the Mediterranean. In Rabat, the works interact with the magnificent spaces of the Villa des Arts, a complex of art-deco pavilions built in the 1930s by Mustapha Alaoui and recently transformed into a center for contemporary art by the ONA Foundation.

The relationship with the city of Rabat and the culture of the Moroccan capital makes the mention of the Byzantine tradition of the Senza Titolo by Gino De Dominicis gold background or the ironic reference to the Roman mythology in Lapsus Lupus by Luigi Ontani even stronger. Remo Salvadori’s installation, La stanza dei verticali, with the sensual use of copper and the reference to the fundamental concepts of geometry, takes us back to classical architecture, while Bruna Esposito’s sculptures made of polychrome marble and bamboo brooms mix domestic and architectural dimensions. Mimmo Jodice’s photographs re-read and revive sculptures, paintings, and mosaics from the classical era, while Flavio Favelli with the collage of carpets of different origins that composes Fiori Persiani, reproduces that culture of dialogue and encounter which is part of the Mediterranean identity.

Salvatore Arancio’s ceramics take us back to native folk traditions with archaic and mythological references, Sabrina Mezzaqui’s works refer to a thousand-year-old culture of the highest artisan quality, the practice of embroidery and cutwork, which interacts perfectly with the Moorish decorations. An aniconic and ornamental aesthetics of Arab-Muslim matrix relates to Pietro Ruffo’s Icosaedro, while Luca Trevisani's compositions question the presence and absence, the fragility and the balance, pairs on which classical sculpture is based.

A work by Liliana Moro closes the itinerary. It is the sound of a bird’s chirping whistled by the very same artist, which is a counterpoint to the ornamental motifs of the Villa du Parc; next to this two works that take us back to the cult of the dead, to burials, to the hypogea: Mother, the buried fakir by Maurizio Cattelan and Porta addormita by Enzo Cucchi, a painting with clusters of skulls, works that capture our attention and lead us beyond the threshold.

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opening May 31, 2019 | 6-9 pm June 1 - June 30, 2019 Salvatore Arancio / Miriam Austin / Christian…

opening May 31, 2019 | 6-9 pm

June 1 - June 30, 2019

Salvatore Arancio / Miriam Austin / Christian Bang Jensen / Astrid Myntekær / Rolf Nowotny / Andrea Zucchini
Curated by Caterina Avataneo

The exhibition also includes extra events during its run:

Saturday 15 June, 6pm Screening: Hyperstition by Christopher Roth and Armen Avanessian

Sunday 23 June, 6pm Lecture Performance: Tell(III), Future Primitive by Philip Speakman

Part of DEMO: Deptford Moving Image Festival.

In the early XVIII century Italian Enlightenment philosopher Giambattista Vico stressed the centrality of culture in and for any intellectual venture, the natural sciences included. He claimed that knowledge relies upon understanding, and, in turn, understanding relies upon tacit beliefs, which are the result of the history of one’s personal development within a variously-layered historical reality. Vico specified a fundamental “dialectical” structure regulating the historical development of human knowledge, represented as a moving spiral of Occurrences and Recurrences (Corsi e Ricorsi Storici) along which moments of collapse and regress in the human understanding of the Universe, are as unavoidable as the overall progress of the human species. History repeats itself, but never in an identical fashion, adding new steps to the old ones, and never erasing any.

Future Primitive takes on similar considerations and speculates on hybrid civilizations of trans-subjectivity where entropy paradigms manifest and devolute from ideologies of progress, going back to primitivism, ritualism and medieval superstition.

Geological rhythms and deep time introduce alternative temporal forms based upon acceleration, recurrence and retroaction. Epic history becomes quasi-religious and radically atheist as strange narratives mix, interconnecting and fantasizing on past, present and future. A time travel between fantasy peasant ecological sensibility and science fiction technological awareness leads to something yet un-discovered, or perhaps, something to be found again.

Thus there is the Inside, and the Outside, which is the inside of an outside. Loop.

Hallucinatory interchanges between human and its surrounding. A voyage in psychedelic caves. Dream.

Silicon skins, post-human leather hanging like a hunting trophy. Wormholes.

Spirulina, a super food and the oldest form of life on earth. Recurrence.

Traditions and poetical metaphors of human culture that give access to future systems of collectivity. Cycle.

Arrowheads forged by a medieval fletcher using a meteorite bought through Google. Glitch.

And so on...

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21- 23 giugno 2019a cura di Matteo Zauli In occasione delle Festa della Ceramica, giunta alla XXVII edizione, che coinvolge…

21- 23 giugno 2019
a cura di Matteo Zauli

In occasione delle Festa della Ceramica, giunta alla XXVII edizione, che coinvolge in maniera corale e festosa la città di Montelupo Fiorentino, due sono gli eventi ideati e curati da Matteo Zauli, invitato per il secondo anno a esaltare le dimensioni più contemporanee del materiale della tradizione espressiva del territorio: la mostra collettiva Il colore interiore e il Ceramic Performance Festival.

A completamento e supporto della mostra, nel percorso ideato e curato per indagare l’eterogenea contemporaneità del materiale tradizionale, il festival utilizza in senso performativo la ceramica attraverso canali di grande ampiezza espressiva.