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5/5/2017 - JEY HEIKES | KEEP OUT, MARIANNE BOESKY GALLERY, NEW YORK, USA

Opening: May 5, 2017May 6 - June 17, 2017 In his upcoming exhibition at Marianne Boesky Gallery, Minneapolis-based artist Jay…

Opening: May 5, 2017
May 6 - June 17, 2017

In his upcoming exhibition at Marianne Boesky Gallery, Minneapolis-based artist Jay Heikes explores the entanglement of physical, perceptual, and intellectual barriers. Inspired by today’s social and political tumult, the show, aptly titled Keep Out, is Heikes’ meditation on the intensity and ubiquity of socially-constructed boundaries and their powerful ramifications to both individuals and communities. Keep Out, on view at 507 W. 24th Street from May 5 to June 17, 2017, features a large-scale copper, wire, and wax installation and a selection of new multimedia wall works from his “Zs” series. Together, the works reflect on and offer a prayer for transcendence in the face of the ongoing and seemingly endless onslaught of shocking and negative news.

For Keep Out, Heikes expands on his “Music for Minor Planets” drawing series, first started in 2013, releasing the delicate, graphite compositions from the two-dimensional confines of paper and wall and transforming them into a large-scale sculpture. The copper sculpture, which is made in three parts, each measuring 10 feet in height, 15 feet in length, and 10 feet in width, visually references sheet music and will occupy much of the gallery’s floor space. Its bars, made of bent wire, expand and contract within and beyond their frames, engaging the surrounding space and seemingly reacting to unseen forces. Its musical notes, appearing as wax orbs, are in some instances affixed to the bars and in others have fallen to the floor, scattered. The work at once compels and repels the viewer, contributing to the overarching sense of tension. The sculpture takes inspiration from some of Heikes’ favorite musicians like Terry Riley, and highlights the power of additive intervention to change and alter artistic intention and experience.

The sculpture is presented in dialogue with a selection of new “Zs” wall works, part of an ongoing series the artist began in 2016. These pieces signify the push-pull between introspection and the realities of the outside world. They reference the fleeting moment between sleeping and waking, and underscore the significance of the dreamscape to self-reflection and regeneration. At the same time, their physical form obscures the view beyond them and conjures the same sense of caution and exclusion that an “x” might. This dichotomy serves as the core of Heikes’ current explorations, looking at the way barriers are both imposed and overcome.

Of the exhibition and his recent work Heikes says, “I can see the horizon. It's a sunset shade of pink and brown, burned across the outlines of some thing’s lips. … Is this nature? Or a god to be heard in pale tones? … Either way, it's a view from a room that's been boarded up for years. It's a good room, though sometimes a filthy and misaligned place. But now it is suddenly scalped. Roofless. The elements have managed to erode its frame, and the imaginary guards have abandoned their posts. Is this what it feels like to surrender?

... So please, don't let my life be a cliché reborn as an ad campaign, sitting in a comfy chair as speakers sculpt my hair. Instead, let this current regression be the moment when sound becomes form, as if Kandinsky's' neighbor went from point to line to another planet. Let it be a place where all the billboards have been torn down to reveal nothing but sky...and a series of stories of how late capitalism led us back to the ground, the horizon and our bodies. Because in these bodies we defy madness, as our lungs remind us of the limitlessness of breathing. Language tries but fails in its ability to describe what it feels like to wake from a dream.”

More on: www.marianneboeskygallery.com

 

 

 

29/3/2017 - ISHMAEL RANDALL WEEKS | MALI in situ. TRIBUNA, EL MUSEO DE ARTE DE LIMA - MALI, LIMA, PERU

Curated by Sharon Lerner Opening: March 29 2017, 8.00 pmMarch 30 - June 25 El Museo de Arte de Lima…

Curated by Sharon Lerner

Opening: March 29 2017, 8.00 pm
March 30 - June 25

El Museo de Arte de Lima - MALI
Paseo Colon 125, Lima 1, Peru

More on www.mali.pe

29/3/2017 - ISHMAEL RANDALL WEEKS - TRIBUNA, In Situ. MALI, LIMA, PERU'

Tribuna, In situ. Mali, Lima, Perù29 March - 25 June, 2017 El escultor peruano Ishmaell Randall Week presenta Tribuna, proyecto…

Tribuna, In situ. Mali, Lima, Perù
29 March - 25 June, 2017

El escultor peruano Ishmaell Randall Week presenta Tribuna, proyecto que incluye dos esculturas de gran escala que tomarán la recepción y el vestíbulo del Museo de Arte de Lima a partir del 30 de marzo.

Las esculturas Apacheta y Tribuna forman parte de una nueva serie de trabajos que reafirman el interés de Randall Weeks por explorar – a través de evocadoras imágenes abstractas - la tensión entre el espacio natural y las ideas asociadas a la modernidad y el progreso.

La obra que recibe al visitante es Apacheta, una escalera de caracol de más de siete metros de altura que se ubicará al centro del ingreso al Palacio de la Exposición, uniendo visualmente la primera y la segunda planta del edificio. Esta monumental pieza estará conectada a un motor que la mantendrá en constante movimiento giratorio. En algunos de los peldaños interiores del armazón metálico se podrán apreciar rocas de plata y cobre en su estado bruto, girando en movimiento inverso al de la estructura externa; otorgando a la pieza un ritmo y tempo particulares.

[…]

More on: http://www.mali.pe/expo_detalle.php?id=143

Artists

9/3/2017 - ANDREA SALA | TACHIPIRINA

curated by Davide Giannella RAW RAW Edizioni Thursday 9th March h.19:00 - 21:30Spazio Sunnei, Via Vincenzo Vela 8, Milano Andrea…

curated by Davide Giannella

RAW RAW Edizioni

Thursday 9th March h.19:00 - 21:30
Spazio Sunnei, Via Vincenzo Vela 8, Milano


Andrea Sala takes a Tachipirina every day. It doesn’t matter if he’s sick or not, neither if this daily action is healthy for him. What really matters is to cultivate a well-defined methodology, like his personal creative path, which always starts from the creation of maquettes, in order to reach the final art piece.

TACHIPIRINA undermines certain perceptions and views and opens with a sly and sought uncertainty, an interlocking of surreal layers and values between the truth and the falsehood, the big and the small, original and it’s copy. This leads to multiple relationships and connections to the art and architecture history, which often give a useful key of reading to the artworks.

TACHIPIRINA is the third volume of Paper Space Collection (PSC#03).
PSC is conceived as a series of unedited exhibitions presented in the form of a book.
PSC is curated by Davide Giannella, designed by Studio Temp and published  by RAWRAW Edizioni.

In the occasion of the book launch, we’ll present an exclusive edition of fine art prints realized by Andrea Sala.

 

Artists

5/3/2017 - ARIEL OROZCO | ESPEJO AUTISTA, DIMENSION—VARIABLE, MIAMI, FL

Opening: September 5, 2017, 6 - 9 PMSeptember 5 - November 10, 2017 Dimensions—Variable300 NE 2nd AvenueMDC Building 1, 3rd…

Opening: September 5, 2017, 6 - 9 PM
September 5 - November 10, 2017

Dimensions—Variable
300 NE 2nd Avenue
MDC Building 1, 3rd Floor
Miami, FL 33132

More on dimensionsvariable.net

Artists

10/2/2017 - TODD NORSTEN | THE FUTURE THE PAST, ADAMS AND OLLMAN, PORTLAND, OREGON

February 10– March 11, 2017Opening reception: Friday, February 10 from 6–8 PM Adams and Ollman is pleased to announce an…

February 10– March 11, 2017
Opening reception: Friday, February 10 from 6–8 PM


Adams and Ollman is pleased to announce an exhibition titled THE FUTURE THE PAST with Todd Norsten. The exhibition will feature new paintings on canvas, as well as painting and collage works on paper and will be on view February 10 through March 11, 2017. This is the artist's second solo exhibition with the gallery.

Norsten's small-scale works on view at Adams and Ollman acknowledge the structure and history of paint and painting. Sampling liberally from historic techniques, such as trompe l’oeil, while also incorporating stenciling, flat surfaces and evocative brushstrokes, the paintings, which reflect Norsten's technically brilliant hand, feel collaged and fragmentary in a way that directly acknowledges that these canvases are about painting itself.

Norsten transforms vernacular images experienced throughout his travels—billboards, hand-lettered signs, and bathroom graffiti—into a meditation on the universal impulse to make art. Removed from their context, snippets of words, shapes and colors are transformed from their literal representation into something surprising, poetic and perhaps absurd. Norsten's to-the-point phrases—“The Wages of Sin Are Cheaper Everyday," "Highly Touted," or "Willing to Half Ass It” — are set against abstract fields of lush paint-for-paint’s-sake that speaks equally to modernist traditions as to faded paint on the side of a barn in Nebraska.

Todd Norsten was born in Minnesota in 1967 where he continues to live and work. He has exhibited at galleries and museums in the United States, Europe and Asia and was included in the 2006 Whitney Biennial at the Whitney Museum of American Art, New York. Selected solo and group exhibitions include Federica Schiavo Gallery and Fondazione Giuliani, both in Rome, Italy; Dayton Art Institute, OH; Leo Koenig, Inc. and Cohan and Leslie, both in New York, NY; Minneapolis Institute of Art, Walker Art Center, and Midway Contemporary Art, all in Minneapolis, MN. His work is in the collections of the British Museum, the Minneapolis Institute of Arts and the Walker Art Center, as well as numerous private collections.

More on: http://www.adamsandollman.com/Todd-Norsten-The-Future-The-Past

Artists

9/2/2017 - KARTHIK PANDIAN | ATLAS REVISITED, KAAISTUDIO'S, BRUSSELS, BELGIUM

a performance by Karthik Pandian and Andros Zins-BrowneEuropean Premier 09-10 Februrary 2017 - 8:30 pmKaaistudio's, O.L.V. van Vaakstraat 81, Brussels, Belgium…

a performance by Karthik Pandian and Andros Zins-Browne
European Premier

09-10 Februrary 2017 - 8:30 pm
Kaaistudio's, O.L.V. van Vaakstraat 81, Brussels, Belgium

A dance about freedom

In 2012 the visual artist Karthik Pandian and the choreographer Andros Zins-Browne visited the Atlas Film Studios in the Ouarzazate desert (Morocco). They rented a group of camels, which they tried to coax into dancing in amongst the film sets of old Hollywood productions. The result could be seen in the video Atlas/Inserts (2014).

With Atlas Revisited, the artists take a look back at this quest for an image of freedom, questioning their motives and attempting to probe deeper. They present brand new video material, shot in front of a green screen using expensive American camels. Was Atlas/Inserts actually staged by projecting these camels onto background images from Morocco? Pandian and Zins-Browne show the making, unmaking and re-staging of a dance about freedom – and the deception that is often required when creating images of it.

• Andros Zins-Browne was born in New York. He came to Brussels to study at P.A.R.T.S. In 2008 he presented Second Life, his first evening-length performance. After this came Welcome to the Jungle (2013), The Lac of Signs (2014) and The Middle Ages (2015). This season, he also presents three evenings of Atlas Insights.

More on: https://kaaitheater.be/en/atlas-revisited

8/2/2017 - SALVATORE ARANCIO - TROPICAL HANGOVER, TENDERPIXEL, LONDON, UK

8 February until 4 March 2017curated by Borbála Soós, Stella SideliArtist: Salvatore Arancio, Zuzanna Czebatul, Rowena Harris, Laure Prouvost, Suzanne Treister…

8 February until 4 March 2017
curated by Borbála Soós, Stella Sideli
Artist: Salvatore Arancio, Zuzanna Czebatul, Rowena Harris, Laure Prouvost, Suzanne Treister

Imagine a land full of swamps emitting suffocatingly sweet scents in the heat. The air is thick with poisonous substances left over after the party, which involved snorting and getting high on the lusciousness of the Earth. The intoxicating dance of consuming degenerates into entropy. Rhizomatic connections happen underground, underwater, and in the air. Algorithms mimic natural growth. Cells permutate and exchange. The senses are overloaded with the magical and the exotic, while we wonder about a nature after nature.

"This jungle was very thick and tall and lived mostly on dead seaweed and rotten fish. It grew as high as possible, and where it stopped it was met by sallow, rowan, and alder branches that bent down as far as they could reach. Walking between them with your arms outstretched was like swimming. Bird-cherry and rowan, especially rowan, smell like cat piss when they're in bloom."

– Tove Jansson, The Cave

More on: www.tenderpixel.com

4/2/2017 - SVENJA DEININGER | SECOND CHANCES FIRST IMPRESSIONS, NORTON MUSEUM OF ART, PALM BEACH, FL, USA

February 4 - April 16, 2017Norton Museum of Art, Plam Beach, FL, USA The Norton’s sixth RAW (Recognition of Art…

February 4 - April 16, 2017
Norton Museum of Art, Plam Beach, FL, USA

The Norton’s sixth RAW (Recognition of Art by Women) exhibition will premiere the first solo museum exhibition of Svenja Deininger (Austrian, born 1974) in the United States. Deininger is one of a new generation of abstract painters, aware of the rich history of abstraction, yet creating complex canvases originating from her sophisticated, knowledgeable and intuitive response to process, imagery, and materials. This exhibition of 22 canvases has been assembled with the artist’s participation and explores specific themes of the last five years. The Norton’s annual RAW exhibition was founded in 2011 through generous funding by the Leonard and Sophie Davis Fund/ML Dauray Arts Initiative to promote the work of living women artists. A publication will accompany the exhibition. Organized by the Norton Museum, Cheryl Brutvan, Director of Curatorial Affairs and Curator of Contemporary Art.

Organized by the Norton Museum of Art.
This is the sixth exhibition of RAW - Recognition of Art by Women - made possible by the Leonard and Sophie Davis Fund/MLDauray Arts Initiative.

More on: http://www.norton.org/index.cfm?fuseaction=exhibitions.details&content_id=3024

 

 

26/1/2017 - SALVATORE ARANCIO | ANDREA SALA - SOLO FIGLI, PADIGLIONE DE L'ESPRIT NOVEAU, BOLOGNA, ITALY

opening 26 gennaio, 19.0027 - 30 gennaio 2017Padiglione de l’Esprit NouveauPiazza della Costituzione, 11 – Bolognaa cura di Sergia Avveduti…

opening 26 gennaio, 19.00
27 - 30 gennaio 2017
Padiglione de l’Esprit Nouveau
Piazza della Costituzione, 11 – Bologna
a cura di Sergia Avveduti e Irene Guzman

Inaugura giovedì 26 gennaio 2017 alle ore 19.00 SOLO FIGLI, mostra collettiva che indaga la dimensione oggettuale della scultura di piccolo formato in stretta relazione con lo spazio che la ospita, il Padiglione de l’Esprit Nouveau di Bologna.

All’interno di questo edificio straordinario, progettato da Le Corbusier in occasione dell’Exposition International des Arts Décoratifs di Parigi del 1925 e ricostruito nel 1977 di fronte all’ingresso principale di Bologna Fiere, l’esposizione intende dare voce a trentatrè piccole, in certi casi inedite o per meglio dire neonate, opere d’arte.

Le sculture di piccolo formato si presentano dunque come costruzioni minime, capaci di interagire facilmente con l'idea architettonica e ideale dello spazio che ora abitano. Quest’ultimo diventa uno scenario scandito da un gruppo di elementi tridimensionali molto diversi tra loro, in alcuni casi dissonanti, ognuno dei quali mantiene un forte legame con la funzionalità degli ambienti: qui, tra gli indizi del tempo e caricate dal fascino della memoria immaginativa del luogo, le opere risultano come trasfigurate in “souvenirs” di viaggio, estremamente fragili e preziosi.

Salvatore Arancio, Sergia Avveduti, Simone Berti, Davide Bertocchi, Sergio Breviario, Jacopo Candotti, Gianni Caravaggio, Francesco Carone, David Casini, Alice Cattaneo, T-yong Chung, Cuoghi Corsello, Michael Fliri, Luca Francesconi, Giovanni Kronenberg, Stefano Mandracchia, Eva Marisaldi, Nicola Melinelli, Maria Morganti, Luca Pancrazzi, Alessandro Pessoli, Marta Pierobon, Andrea Renzini, Andrea Sala, Marco Samorè, Lorenzo Scotto di Luzio, Namsal Siedlecki, Vincenzo Simone, Natalia Trejbalova, Luca Trevisani, Marcella Vanzo, Serena Vestrucci, Italo Zuffi.

Maggior info: solofigli

9/1/2017 - SVENJA DEINIGER | ECHO OF A MIRROR FRAGMENT, SECESSION, VIENNA, AUSTRIA

Opening February 1, 2017February 2 – March 26, 2017 With Svenja Deininger the Secession is presenting an artist who represents a younger generation…

Opening February 1, 2017
February 2 – March 26, 2017

With Svenja Deininger the Secession is presenting an artist who represents a younger generation of Austrian painters in its main exhibition space. Deininger, who was born in Vienna in 1974 first studied in Münster under conceptual artist Timm Ulrichs and later painting under Albert Oehlen in Düsseldorf. Her idiosyncratic pictorial composition on the one hand and, on the other, the specific way in which the painting is designed layer by layer is characteristic of her works, which balance between abstraction and a figuration that is – at least – hinted at. This method of working corresponds to her interest in suggesting spaciality on the flat canvas or asserting a certain materiality that is permanently poised between becoming concrete and remaining indefinite. Deininger regards painting as a process: she does not consider her pictures, on which she often works over long periods of time, to be self-contained entities. It is, rather, that the process of creating an image serves to stimulate reflection and acts as a mental continuation of a form or composition – the imagining of the future picture and how is located in a spatial context are thus essential elements of the artistic process. As if working on a text the artist elaborates and polishes the syntax of her art. She considers her works to be parts of a system that require their interrelations to be analysed whenever they encounter one another. She alternates large and small format pictures and by means of combining and positioning them in a space she creates a tension, which, together with her range of shapes, results in a "Deiningerian idiom".

More on: www.secession.at

 

Artists

17/12/2016 - LUISA GARDINI AT GUIMARÃES, VIENNA, AUSTRIA

Opening December 17th, 2016 - 4-7 pmDecember 17th, 2016 - January 17th, 2017Guimarães, Linke Wienzeile 36/1C, Vienna Guimarães is a…

Opening December 17th, 2016 - 4-7 pm
December 17th, 2016 - January 17th, 2017
Guimarães, Linke Wienzeile 36/1C, Vienna

Guimarães is a project by the artists Hugo Canoilas, Christoph Meier and Nicola Pecoraro.
The space will open with an exhibition of works by Italian artist Luisa Gardini (born 1935 in Ravenna) and the presence of Felix.

Guimarães, 17/12/2016

Enter: a staircase leading nowhere; a horse in the middle of the room, surrounded by dark wood panels, tiles, and painted walls and bricks. The horse as both a remainder to the space ́s previous life as a stable, and a way of injecting a new life into the room. It is a sculpture in the classical sense, which has lost its pedestal and is wandering around. White, alive and warm, its stillness disturbed by a twitch in its black eyes; conjuring both docility and unpredictable tension; rather than as an image, it stands as a physical entity, plastic and nervous.

Turn right, up another staircase, into a room; the objects on show here consist of organic, non- orthogonal shapes placed on two thick squares that separate these volumes from the wall. There are layers of clay that seem as if a body had pressed them against the wall, transferred with photographic images, which have been stripped of their previous intent in order to become sculptural material.Like an arch in tension, the work of Luisa Gardini (born 1935 in Ravenna) seems to be taken by something similar to that of the horse: a pensée sauvage, or a position towards something present, not possible to organize here in words but possible to ingest and envision in a series of quick actions and gestures, which rendered the intensity that is in front of us.

‘Intensity’ as something that will affect matter; that will be received by another body and deliver, through sensation; like an analogue tongue impossible to decrypt, yet precise and sharp.

The fast and erratic act of making these works is time that was sulk into the stomach of the artist, and later into ours. Like a diagram, it seems to compress, all the events, works and possible references that one could bring here, with a sense of urgency and inquietude towards the quotidian.

More on: www.guimaraes.info

15/12/2016 - ISHMAEL RANDALL WEEKS | DESIERTO, IGNACIO LIPRANDI ARTE CONTEMPORÁNEAO, BUENOS AIRES, ARGENTINA

Opening: December 15 at 6.30 pmIgnacio Liprandi Arte ContemporáneoAvenida de Mayo 1480 3º izquierdoBuenos Aires, Argentina Un museo por fuera…

Opening: December 15 at 6.30 pm
Ignacio Liprandi Arte Contemporáneo
Avenida de Mayo 1480 3º izquierdo
Buenos Aires, Argentina

Un museo por fuera del tiempo
Sobre Desierto de Ishmael Randall Weeks

Nada queda a su lado. Alrededor de la decadencia de estas colosales ruinas, infinitas y desnudas se extienden, a lo lejos, las solitarias y llanas arenas
Percy B. Shelley
Ozymandias

More on: www.ignacioliprandi.com

Artists

14/12/2016 - ARIEL OROZCO | SUBLIMINA, MUSEO DELLE MURA AURELIANE, ROME, ITALY

Curated by Collettivo Curatoriale LUISS Master of ArtDecember 15, 2016 – January 10, 2017Opening reception: December 14, 2017 “L’idea di…

Curated by Collettivo Curatoriale LUISS Master of Art
December 15, 2016 – January 10, 2017
Opening reception: December 14, 2017

“L’idea di confine appartiene in maniera costruttiva all’arte e ai suoi territori. L’arte è sempre la tentazione, la proposta, il tentativo di uno sconfinamento” Achille Bonito Oliva

Gli artisti: Liu Bolin, Silvia Camporesi, Calori e Maillard, Loris Cecchini, Giulio Delvè, Luca di Luzio, Kaarina Kaikkonen, H.H. LIM, Eva Marisaldi, Marzia Migliora, Fiamma Montezemolo, Ariel Orozco, Luana Perilli, Alessandro Piangiamore, Pietro Ruffo, The Cool Couple, Glenn Weyant, Marco Maria Zanin.

Il Collettivo Curatoriale composto dagli studenti della sesta edizione del Luiss Master of Art – Master Universitario di I Livello, sotto la guida di Achille Bonito Oliva (Responsabile Scientifico del Master), presenta la mostra SUBLIMINA. L’esposizione, organizzata e sostenuta dal LUISS Creative Business Center e promossa da Roma Capitale, Assessorato alla Crescita culturale-Sovrintendenza Capitolina ai Beni Culturali, si svolge dal 15 dicembre al 10 gennaio, negli affascinanti spazi del Museo delle Mura in Porta San Sebastiano.

Il progetto si propone di dare forma visiva a una riflessione sul concetto di confine, in un momento storico in cui la questione sull’invalicabilità e ridefinizione di vecchie e nuove frontiere geopolitiche si manifesta in tutta la sua criticità.

Il Museo delle Mura in Porta San Sebastiano, una delle più grandi e meglio conservate aree delle Mura Aureliane costruite nel III secolo d.C., confine della città di Roma, barriera osmotica di scambio e di difesa, diventa luogo ideale per ospitare SUBLIMINA.

L’aleatorietà dei confini, segni tracciati dall’uomo per creare una demarcazione tra il sé e l’altro, vengono indagati dal collettivo curatoriale attraverso le opere di quindici artisti attivi sul panorama nazionale e internazionale. L’attuale tema del confine viene affrontato non solo nella sua componente geopolitica, ma anche antropologica e filosofica.

More on: subliminamuseodellemura

6/12/2016 - SALVATORE ARANCIO | EVOLUTIONARY TRAVELS, FUNDACIÓN ARTE, BUENOS AIRES, ARGENTINA

December 6, 2016 - February 28, 2017 Adaptation, contamination, confrontation, change, chance: Charles Darwin’s groundbreaking theory of evolution made clear…

December 6, 2016 - February 28, 2017

Adaptation, contamination, confrontation, change, chance: Charles Darwin’s groundbreaking theory of evolution made clear that the world has always been unstable, and adaptation is a necessary part of a species’ struggle to survive within it. Today change is brought about by an erratic global socioeconomic system and rapid technological developments, which has radically altered our relationships with each other, the environment, and other species.

Evolutionary Travels uses evolution as a concept through which we can approach today’s adaptation to an unstable world, constantly undergoing seismic economic, societal and technological shifts. If evolution considers how any species must adapt to a changing present and an uncertain future, how might human-made changes affect evolution? Have humans ‘transcended’ or altered evolution with their complex technologies and societies? The artists in this exhibition address both directly and indirectly these questions as they struggle to understand the present, rethink the past and speculate about the future.

Situating the need to adapt in the broader, speculative framework of evolution, Evolutionary Travels examines how artists today, engage with change and adaptation through appropriation, juxtaposition and archeological fictions. Interrogating the struggle induced by change and inherent in adaptation the works on view each provide a different lens through which these broad questions can be addressed.

Archeology or the recovery of pseudo-archeological artifacts stands out as a primary means to reconfigure the past in light of the present and in view of the future. Similarly the confrontation engendered by the juxtaposition of different layers of reality stitched together and the obsessive collection of artifacts and facts, questions the endemic need to conceive of history as a linear trajectory. In this struggle to adapt also art history itself with its now redundant classification into genres – such as still-life, portraiture and landscape – is intensely scrutinized. The adoption of what may appear as anachronistic genres becomes yet another means through which the contemporary struggle is broken down.

The physical and conceptual contemporary landscapes as well as the fine line between reality and fiction are questioned by Evolutionary Travels, which ultimately challenges and visually expands the model of evolution itself, whilst taking us on a journey asking how we critically engage with change today. Adaptation and evolution, as key components of awareness of our own existence, are at the core of the Fundación Arte’s collection. Thus Evolutionary Travels as the first show of Fundación Arte, aims to show the relevance and impact of contemporary art in the understanding of our everchanging world.

More on: www.fundacionarte.org - www.palaisdeglace.gob.ar

 

3/12/2016 - CARLO GABRIELE TRIBBIOLI - FRAGMENT 53 AT TRANSCINEMA, INTERNATIONAL COMPETITION, LIMA, PERU'

TRANSCINEMAInternational Competition, Lima, Perù FRAGMENT 53 a film by Carlo Gabriele Tribbioli & Federico Lodoli 71' | HD | Color |…

TRANSCINEMA
International Competition, Lima, Perù

FRAGMENT 53 
a film by Carlo Gabriele Tribbioli & Federico Lodoli

71' | HD | Color | Stereo | Italy/Switzerland | 2015

An evocation of the God of war introduces the film. A frame ties together and abstracts seven portraits of liberian warriors.
Through their voices war is present in a series of first person accounts, from the fighter's point of view, as an ineluctable human expression of destructive forces that are, at the same time, universal and individual, real and archetypical.

Sat. 3rd Dec. 18h00, Sala Centro Cultural España, Jirón Natalio Sanchez 181, Lima
Mon. 5th Dec. 19h30, Sala Ventana Indiscreta, Universidad de Lima, Cruz Del Sur 121, Lima

More info on: http://transcinemafestival.com/internacional/

 

10/11/2016 - SALVATORE ARANCIO | WHERE THERE IS SEA THERE ARE PIRATES, 3 137, EXARCHEIA, ATHENS, GREECE

10th November - 20th November 2016
Openign reception: 12nd November 2016
curated by Poppy Bowers Inspired by the Greek proverb 'Where there…

10th November - 20th November 2016

Openign reception: 12nd November 2016

curated by Poppy Bowers

Inspired by the Greek proverb 'Where there is Sea there are Pirates', the exhibition brings together sound, drawing, printmaking, film and text-works by artists who subvert conventional modes of mass communication. In a digitally saturated epoch, where capitalism reigns supreme, the show offers alternative and transcendental perspectives on our daily experiences. Prompted by Paul Klee's cry that 'Half winged-half in prison, this is man!', the exhibition captures a group of works that infiltrate the boundaries between conscious and sub-conscious, public and private expression, live and recorded action.

Artist: Salvatore Arancio, Jeremy Deller, Nancy Holt and Richard Serra, Theo Michael, Melvin Moti, Nina Papaconstantinou, Aura Satz and Weronika Trojanska

More on:
http://www.3137.gr/en/teaser
http://www.newstudio.org.uk/wherethereisseatherearepirates/

12/10/2016 - CARLO GABRIELE TRIBBIOLI | PATRICK TUTTOFUOCO - 16a QUADRIENNALE D'ARTE DI ROMA

CARLO GABRIELE TRIBBIOLI | FRAMMENTO 53 a film by Carlo Gabriele Tribbioli & Federico Lodoli71' | HD | Color | Stereo |…

CARLO GABRIELE TRIBBIOLI | FRAMMENTO 53

a film by Carlo Gabriele Tribbioli & Federico Lodoli
71' | HD | Color | Stereo | Italy/Switzerland | 2015 | V.O. sub Ita

SATURDAY OCTOBER 15, 2016 - introduction by Donatello Fumarola (Fuori Orario)
Palazzo delle Esposizioni Sala Cinema - 6:30 pm
Palazzo delle Esposizioni Sala Cinema - 8:30 pm
Via Milano 9a, Roma
free entrance subject to availability

SECTION: Orestiade italiana curated by Simone Frangi

Frammento 53 a production of Centre d'Art Contemporain-Genève, Ring Film & Federica Schiavo Gallery
with the support of FCAC, FMAC, MONA Museum & HEAD-Genève
produced by Tommaso Bertani & Federica Schiavo

An evocation of the God of war introduces the film. A frame ties together and abstracts seven portraits of Liberian warriors. Through their voices war is present in a series of first person accounts, from the fighter's point of view, as an ineluctable human expression of destructive forces that are, at the same time, universal and individual, real and archetypical.

 

PATRICK TUTTOFUOCO | GOOOONIES

GOOOONIES is a work by Patrick Tuttofuoco, conceived on the occasion of the 16th Quadrienniale d'Arte di Roma.
GOOOONIES is a portal to a time and a place of Patrick's past: the shores of the Adriatic Sea - the city of Pescara, in particular - and the beginning of the millennium. In Pescara, in 2000, Patrick created the work Grattacielo, along with four of his colleagues at the Academy of Fine Arts of Brera: Massimiliano Buvoli, Christian Frosi, Massimo Grimaldi and Riccardo Previdi.
Nearly twenty years distance from that first, seminal collaboration, GOOOONIES reflects on the value of friendship in an era in which art is increasingly a celebration of individuality.

October 13, 2016 - January 8, 2017
Palazzo delle Esposizioni
Via Nazionale 194, Roma

SECTION: Ehi, voi! curated by Michele D’Aurizio

8/10/2016 - SVENJA DEININGER - 4E | INTIMATE EDGES AT THE EMBASSY, BRUSSELS, BELGIUM

Opening: October 8, 6 - 8 pmOctober 8 - November 12, 2016 Artists: Svenja Deininger and Alain Bilteryest The Embassy…

Opening: October 8, 6 - 8 pm
October 8 - November 12, 2016

Artists: Svenja Deininger and Alain Bilteryest

The Embassy is pleased to announce the extension of the space to 4E, the fourth floor space of the private residence which will present experimental statements by contemporary and emerging artists in dedication to the Muse of the house. The inaugural exhibition will present the work of Viennese painter Svenja Deininger and Belgian painter Alain Biltereyst.

The show arose out of a desire to present intangible thoughts, and abstractions on a private scale that imprints on the mind, beyond the scope of the canvas. Set in the domestic space, with brick walls, glimpses of a tree-lined brownstone street, the works are removed from the sterile space of the gallery. Each painting is no larger than a piece of letter paper, and at first glance reads as a note, though upon closer inspection the viewer begins to perceive the fuller narrative. The constructed picture planes are punctuated by poetic lines and geometric nodes.

Deininger and Biltereyst have each distilled a distinct painterly vocabulary, focusing on capturing a concentrated entity in a flattened plane of the canvas. The approach to painting varies, but both artists are parallel in their aims to depict something beyond pure abstraction.

Deininger approaches her compositions as explorations of form and sees them “like a concrete description without bringing the idea to a physical appearance.” Moments of illusion catch the viewer’s gaze in play of shadows, edges, and gradients. Thin washes of luminous colour radiate from the works as a nod to the masters. Simultaneously, raw canvas reveals the material and edges pull at a conscious tension, that aligns her practice in a framework of the present. The paint conveys layers of intuition and evokes a kind of near spiritual depth.

Biltereyst’s works draw their inspiration from much more concrete referents. They are based on geometric forms the artist finds on commercial property, such as trucks, gates, buildings and signs around the countryside of Belgium. In turn, the industrial graphic motifs are actually appropriation of high modern art, which have entered the design lexicon. The unconscious permeation of art into everyday life gives resonance to the geometric shapes and blurs the boundary of referents. Curiously, this cycle of appropriation does not skew the shapes. Instead, they become more poignant and resilient, the further they imprint of the cultural psyche.

The two artists are presented in dialogue. The soft curves of Deininger next to the hard geometries of Biltereyst, multiplicity of intuitive layers against the rational logical deduction, each a slow unfolding of two minds. One is tempted to invoke a gendered attribution but that would not capture the complexity. Each work exists in its own picture plane and together they serve as inflection points in the greater romance.

More on: https://www.facebook.com/events/1781198645456277/

17/9/2016 - SALVATORE ARANCIO - THINGS THEMSELVES AT VERNON GARDENS, VERNON, CA

Opening: Saturday September 17, 2016, 5 to 8 pm September 17 - October 29 Things Themselves presents a collection of…

Opening: Saturday September 17, 2016, 5 to 8 pm
September 17 - October 29

Things Themselves presents a collection of objects that look like nothing in particular.
They are curious hunks of matter, distorted and mysterious, that sit beyond the grid of designation.
They can only be described in the loosest terms, as things. This thread ties them together: Thingness as such.
The exhibition includes an essay by Zully Adler and a special edition by Paul Salveson.

Vernon Gardens is a metal project cage, sculpture garden, and drive-in movie theater run by Zully Adler and Ben Wolf Noam.

Artists

16/9/2016 - GABRIELE PORTA - LA SOLITUDINE DEI MONUMENTI AT PALAZZO CANDIOTTI, FOLIGNO (PG), ITALY

Opening: 16 settembre 2016 - 18:0017 settembre - 14 ottobre 2016Palazzo Candiotti, Largo F. Frezzi 2, 06034 Foligno, PG Il…

Opening: 16 settembre 2016 - 18:00
17 settembre - 14 ottobre 2016
Palazzo Candiotti, Largo F. Frezzi 2, 06034 Foligno, PG

Il Monumento (dal latino monere, “ricordare”) è un’opera, prevalentemente architettonica, di grande valore artistico e storico, inteso a “definire e a mantenere simbolicamente l’identità di un popolo nel tempo” (M. B. Mirri). Esso si presenta sotto diverse forme e significazioni, attraversa sguardi condivisi e si adegua alla varietà di molteplici interpretazioni: figura mitica, oggetto simbolico e depositario di memoria collettiva, elemento di un rituale che si ripete, punto geografico di aggregazione e di osservazione privilegiato, quanto isolato nella sua indiscussa solitudine.

Nell’antichità i monumenti più importanti erano quelli funerari e, in epoca romana, quelli dedicati agli imperatori e alle loro imprese, prevalentemente statue e obelischi. Dai Menhir alle Colonne dei trionfi, dalle immagini iconiche agli altari, agli edifici di rappresentanza, il concetto di monumento abbraccia le espressioni più diverse conservando in ognuna di esse l’esigenza alla rappresentazione, al memento, alla riflessione e alla celebrazione.

In occasione del Settantennale della manifestazione della Quintana Moderna, la mostra La Solitudine dei Monumenti, a cura di Marta Silvi, con la consulenza artistica di Pier Luigi Metelli, raccoglie alcuni lavori eseguiti dagli artisti che, negli ultimi tre anni, sono stati coinvolti nella produzione dei Palii: Tomaso De Luca, Stefano Emili, Matteo Fato, Gabriele Porta.

Una statua è anche il simbolo della Giostra della Quintana a Foligno. Conosciuta da molti come Quintanone, essa rappresenta il Dio Marte ed è il simulacro posto al centro del Campo de li Giochi, nell’intersezione delle diagonali, con il braccio teso, che tiene gli anelli contesi dai cavalieri nella tenzone. Anche in questo caso un singolo oggetto si carica di una energia evocativa, ergendosi a simulacro di un’epoca, di tradizioni lontane e di antichi fasti, trasformati ormai in rito.

Artisti nati tra la fine degli anni Settanta e la fine degli Ottanta si confrontano con un tema ampio quanto, a tratti, anacronistico. Cosa significa “monumento” oggi? E’ ancora possibile fare esperienza di quella forma di rispetto e venerazione che accompagnava la realizzazione dei monumenti del passato?

La mostra La Solitudine dei Monumenti si sofferma su uno degli aspetti peculiari del monumento stesso, quello forse meno celebrativo e più intimistico, la sua solitudine, ovvero l’isolamento che nella ieraticità lo rende inconsueto e unico, portatore di valore e di memoria, ma anche frammento e reperto eletto, in mezzo a tanti che il tempo porterà inesorabilmente via con sé.

Gli artisti invitati si avvicinano a questo tema all’interno della loro personale ricerca declinando risposte e riflessioni differenti attraverso l’impiego dei media più diversi: dal disegno al video, dall’installazione alla scultura, alla pittura.

Gli spazi espositivi del piano nobile di Palazzo Candiotti, già di per sé altamente suggestivi, diventano scenario di un racconto personale e allo stesso tempo universale, in cui ciascun artista mette in atto le proprie visioni particolari. Qui si innescano pensieri e discorsi sulla capacità e l’esigenza umana a convogliare e raccogliere, oppure cancellare e dissolvere, la propria memoria e la propria presenza in oggetti catalizzatori, in grado di esercitare un memento per le generazioni future.

Maggiori informazioni: https://www.facebook.com/events/313252809029262/

12/9/2016 - SALVATORE ARANCIO - INLAND FAR AT HERBERT READ GALLERY, CANTERBURY, KENT, UK

Monday 12 September 2016 - Friday 07 October 2016 Salvatore Arancio, Miriam Austin, Adham Faramawy, Susan Finlay, Florian Roithmayr, Mimei…

Monday 12 September 2016 - Friday 07 October 2016

Salvatore Arancio, Miriam Austin, Adham Faramawy, Susan Finlay, Florian Roithmayr, Mimei Thompson and Esther Teichmann.

A slight cloud of steam hung as usual above the warm waters of the spring: rose and drifted away in the soft currents of air that circulated through the caverns. Our life, he said, is like a cloud that rises from the earth: it floats in the air until it strikes the cooler surface of the rock, and there condenses, and becomes the more solid element of water. The water in its turn changes its form, solidifying on the surface of the rock. Everything solidifies: that is the law of the universe.

The Green Child, Herbert Read

Inland Far was the original title of poet and critic Herbert Read's only novel, completed in 1934 and published asThe Green Child.  The exhibition uses the original title to foreground the emotional, philosophical and psychological landscapes that the work explores, which in turn connect to Read’s interest in psychoanalytic theory (in a letter to Jung he claimed that the novel was a product of automatic writing).

The book is mysterious, heavily symbolic, mythic and dream-like, and incorporates both Modern and Surrealist influences.  In the final section the protagonists plunge into a pool and, surrounded by a large bubble, come out in an underground, parallel world of crystals, caverns and grottoes, with green tinted people living in a sophisticated society structured around intricate rituals and philosophies.  It is the atmosphere of this section that Inland Far particularly draws upon, evoking a subterranean phosphorescent world, where the organic and inorganic, and animal-vegetable-mineral freely mingle.

Inland Far features work by a range of emerging and more established artists who work across different mediums, ranging from ceramics, sculpture and video, to painting and photography.  Mimei Thompson’s cave paintings investigate the idea that the natural consistently exists as a construct and are in many ways Surrealist, whereas Florian Roithmayr’s at first glance Modernist sculptures illustrate what happens when one surface yields to another.

Miriam Austin, Adham Faramawy and Esther Teichmann all explore imagined and hybrid territories. Austin works with organic materials including flowers and latex, in sculpture and installation; Faramawy on digital film with CGI effects, and Teichmann with installation and large scale painted photographs. Susan Finlay and Salvatore Arancio both share an interest in psychedelia. The point of departure for Finlay’s sculptures is art nouveau revivalism, whereas Arancio collages images from the cult 1980s TV series The Cosmos and sets them to a trippy prog soundtrack.

More on: http://www.uca.ac.uk

Artists

8/9/2016 - CLARA BRÖRMANN - pursuit of happiness AT SCHWARTZ CONTEMPORARY, BERLIN, GERMANY

Opening: September 8, 6 - 8 pmSeptember 9 - October 22, 2016 In the large diptych Ringdans, the remaining very…

Opening: September 8, 6 - 8 pm
September 9 - October 22, 2016

In the large diptych Ringdans, the remaining very thin applications of paint create the impression of a fading fresco. Similar to a collage, where individual sections are painted or pasted over, the silhouettes of red shapes underneath the white areas of Die Liebenden emerge. In Wald, the emerging shapes oscillate with the retreating ones, so that the painting seems almost like a piece of fabric.

The cut edges, the revealed canvas, the visible different layers of paint – all these are traces of the process of creation: Clara Brörmann’s modus operandi is a play with her painterly opposite, where the painting’s status quo is continuously subjected to interventions until a final point has been reached, making the various steps of the process visible and rendering them parts of a new whole.

Brörmann’s works create their own inherent temporal and spatial simultaneity: the numerous steps in the process generate a condensed temporality characterised by an interlinking of before and after. At the same time, a multilayered pictorial space emerges where the below of the canvas as the support and the above of the applied paint merge. And finally, in Clara Brörmann’s paintings, the sides of the stretcher frames are integrated; they, too, reveal an earlier state of the painting and at the same time lend it the appearance of a sculptural object. The works in the exhibition pursuit of happiness are an extension of this play of exploring colour, form, and composition. Searching for new possibilities of placing her abstract paintings in unusual situations for reception, the artist has added another rule to her game: the descriptive titles open up a space for interpretation that places the abstract forms into a concrete context.

The four circles turning inside one another thus become the wheel of the fickle decider of fates, the goddess Fortuna, who delivers happiness and unhappiness; the circle that can be made out in the large diptych can be interpreted as a trace left by the dancers in the circle, the Ringdans; and the geometrical white shapes reveal themselves to be trees in close proximity in Wald.

The painting, the title and the beholder’s associations form a net in which abstract shapes become concrete situations. Whereas in Fortuna, Ringdans and Wald, the connection between the shapes and the titles is easily made, this is not so in the case of Die Liebenden. It is not easy to associate the pointed, drop-like structures in white and red with a pair of lovers. A further coordinate helps: in the second room of the gallery, watercolours are shown from which the titles for the paintings are derived. They are modelled on allegorical representations of medieval illuminations. The structure, shapes and colours of amants dans un lit illustrate the translation that took place from medieval representation to abstract painting. The additional visual material places the paintings in a further referential space, within which Brörmann confronts her paintings with the question of whether an abstract painting can embody an allegory, which itself is an image of an already abstract notion. And the beholder is called upon to ponder this question. Thus, the end of the walk through the exhibition becomes, as it were, the starting point of another walk, a second round of the game, this time with extended rules.

Text: Ferial Nadja Karrasch
Translation: Wilhelm von Werthern, www.zweisprachkunst.de

More on: www.schwarz-contemporary.com

13/7/2016 - CARLO GABRIELE TRIBBIOLI - FRAMMENTO 53 AT FID MARSEILLE, FESTIVAL INTERNATIONAL DE CINEMA, MARSEILLE, FRANCE

Frammento 53, a film by Carlo Gabriele Tribbioli & Federico Lodoli
71’, HD, Color, Stereo, Italy/Switzerland, Sub.Eng/Ita, 2011/2015 A production of…

Frammento 53, a film by Carlo Gabriele Tribbioli & Federico Lodoli
71’, HD, Color, Stereo, Italy/Switzerland, Sub.Eng/Ita, 2011/2015

A production of Centre d'Art Contemporain-Genève, Ring Film & Federica Schiavo Gallery
with the support of FCAC, FMAC, MONA Museum & HEAD-Genève
produced by Tommaso Bertani & Federica Schiavo

An evocation of the God of war introduces the film. A frame ties together and abstracts seven portraits of liberian warriors.
Through their voices war is present in a series of first person accounts, from the fighter's point of view, as an ineluctable human expression of destructive forces that are, at the same time, universal and individual, real and archetypical.

Wednesday, July 13th, 2016 - h 2:00 pm, Les Variétés 2

Saturday, July 16th, 2016 - h 10:30 am, Les Variétés 2

More on: www.fidmarseille.org

4/7/2016 - CARLO GABRIELE TRIBBIOLI - FRAMMENTO 53 AT 52a MOSTRA INTERNAZIONALE DEL NUOVO CINEMA, PESARO, ITALY

Frammento 53, a film by Carlo Gabriele Tribbioli & Federico Lodoli
71’, HD, Color, Stereo, Italy/Switzerland, Sub.Eng/Ita, 2011/2015 A production of…

Frammento 53, a film by Carlo Gabriele Tribbioli & Federico Lodoli
71’, HD, Color, Stereo, Italy/Switzerland, Sub.Eng/Ita, 2011/2015

A production of Centre d'Art Contemporain-Genève, Ring Film & Federica Schiavo Gallery
with the support of FCAC, FMAC, MONA Museum & HEAD-Genève
produced by Tommaso Bertani & Federica Schiavo

An evocation of the God of war introduces the film. A frame ties together and abstracts seven portraits of liberian warriors.
Through their voices war is present in a series of first person accounts, from the fighter's point of view, as an ineluctable human expression of destructive forces that are, at the same time, universal and individual, real and archetypical.

Monday, July 4th, 2016 - h 5:30 pm - Teatro Sperimentale

More on: www.pesarofilmfest.it

Artists

23/6/2016 - JAY HEIKES - I TALK WITH THE SPIRITS, GROUP SHOW AT MARIANNE BOESKY GALLERY, NEW YORK, USA

June 23 – August 12, 2016Marianne Boesky Gallery I Talk with the Spirits, an exhibition featuring the work of artists…

June 23 – August 12, 2016
Marianne Boesky Gallery

I Talk with the Spirits, an exhibition featuring the work of artists Thornton Dial, Jay Heikes, and Lee Mullican. The exhibition explores the enduring hold of spirituality on artists and their art throughout the 20th century and beyond, expressed across disparate generations, cultures, and artistic traditions. This show, which takes its name from a 1964 album by the great experimental jazz musician Rahsaan Roland Kirk, weaves their work together to create a nuanced picture of the ways in which the spiritual has engaged the artistic imagination. Curated by artist and writer Chris Wiley and organized by Kristen Becker, I Talk with the Spirits will be on view from June 23 – August 12, 2016.

The exhibition is grounded in the work of Lee Mullican (1919-1998), best known as one of the founders of the influential but short-lived Dynaton group, created in San Francisco in the early 1950s. Mullican was highly influenced by the art, artifacts, and rituals of Native American and Pre-Columbian South American cultures, by an interest in Surrealism, and by Zen Buddhism, to which the influential philosopher Alan Watts introduced him. The works that resulted from these varied influences blend the signs, symbols, and myths of ancient religious rites with meditative techniques of painting and drawing. Mullican's exploration of artistic transcendence through the patterns and repetitions in his abstract paintings sets the course for examining how spirituality is interpreted and questioned within Jay Heikes' and Thornton Dial's varied practices. Featured in the exhibition will be a selection of Mullican’s drawings and paintings, such as those of Kuchina dolls, totemic figures, or luminous depictions of cosmogenesis, as well as some of his ceramic or bronze sculptures.

As a self-taught artist from rural Alabama, Thornton Dial (1928-2016) wove a spiritual content through his work drawing from the surrounding Christian faith. His assemblage paintings, with their intricate construction and often-imposing scale, have their origins in his work building boxcars for the Pullman-Standard rail company, while his looping, whimsical drawings often touch on religious themes and frequently contain a motley assortment of totemic objects (dolls, discarded clothing) and spirit animals (most notably the tiger). Much of his work also addresses the trials and triumphs of black life in America, lending additional metaphoric weight to Dial’s transformation of cast-off detritus into works of art. I Talk with the Spirits includes a number of Dial’s assemblages, dating from the mid-1980s, as well as a selection of his drawings.

In contrast to Mullican and Dial, Jay Heikes’ (b. 1975) interest and engagement with spirituality comes from a place of skepticism. Many of his works appear to be artifacts from an unknown tribe, or the unfinished experiments of an alchemist’s laboratory. But Heikes himself is no neo-primitivist, or latter day alchemist. The son of a chemist, Heikes grew up fascinated by the seemingly magical aspects of scientific progress, which gave him an incredulous view of the spiritual tinkering of shamans and pseudo-scientists. Nevertheless, he has been drawn to imitate the trappings of these systems of belief, acting as a self-professed “poseur”, trying to speak in a foreign tongue. This position, though it is partially an ironic take on the well-worn trope of the artist-shaman, is also shot through with a very earnest yearning: Heikes’ work seems to suggest that he harbors the hope that he can work backwards through these objects and make his way to belief. For this exhibition, Wiley has selected a number of Heikes’ sculptures and paintings from the last three years, including several new works.

More on: www.marianneboeskygallery.com

15/6/2016 - CARLO GABRIELE TRIBBIOLI - FRAGMENT 53 IN COMPETITION AT DOC ALLIANCE FILMS, LOCARNO FILM FESTIVA, SWITZERLAND

The New Deal for Feature DocumentariesNominated by CPH:DOX FRAGMENT 53a film by Carlo Gabriele Tribbioli & Federico Lodoli71' | HD…

The New Deal for Feature Documentaries
Nominated by CPH:DOX

FRAGMENT 53
a film by Carlo Gabriele Tribbioli & Federico Lodoli
71' | HD | Color | Stereo | Italy/Switzerland | 2015

Fragment 53 is a feature-length documentary film on war considered in its necessary and universal dimension, faced both as an actual and archetypical event. The phenomenon has been investigated on the field in Liberia, a country of peculiar, radical and unsettled conflicts, presenting sceneries, personalities and events ascribable to the essential warfare that the authors aim to evoke.

The film develops through a set of first-person accounts selected from a wider amount of interviews with eminent warriors, generals and warlords collected in Liberia between 2011 and 2014. Seven self-contained portraits are presented one after the other, introduced by a voice-off statement from the authors and followed by an epilogue composed by nocturnal images on a set of quotations from former General Philip Wlue’s vision of the world.

DOC Alliance Films
69th Locarno Film Festival, Switzerland

More on: www.dafilms.com

10/6/2016 - CARLO GABRIELE TRIBBIOLI - FRAGMENT 53 AT OLHAR DE CINEMA, CURITIBA INTERNATIONAL FILM FESTIVAL, BATEL, BRASIL

Fragment 53, a film by Carlo Gabriele Tribbioli & Federico Lodoli71’, HD, Color, Stereo, Italy/Switzerland, Sub.Eng/Ita, 2011/2015 A production of…

Fragment 53, a film by Carlo Gabriele Tribbioli & Federico Lodoli
71’, HD, Color, Stereo, Italy/Switzerland, Sub.Eng/Ita, 2011/2015

A production of Centre d'Art Contemporain-Genève, Ring Film & Federica Schiavo Gallery
with the support of FCAC, FMAC, MONA Museum & HEAD-Genève
produced by Tommaso Bertani & Federica Schiavo

An evocation of the God of war introduces the film. A frame ties together and abstracts seven portraits of liberian warriors.
Through their voices war is present in a series of first person accounts, from the fighter's point of view, as an ineluctable human expression of destructive forces that are, at the same time, universal and individual, real and archetypical.

June 10th, 2016, H. 9:30 pm - Sala 4
June 14th, 2016, H. 5:15 pm - Sala 4
Cineplex, Alameda Dom Pedro II, 255 - Curitiba, Batel, Brasil

More on: www.olhardecinema.br

 

25/5/2016 - FRANCESCO ARDINI - WOOD OBSESSION, PALAZZO LOREDAN, ISTITUTO VENETO DI SCIENZE, LETTERE E ARTI, VENICE, ITALY

group show curated by Design.VeMay 25th - June 26th, 2016 A new design map has been drawn.From the 25 May…

group show curated by Design.Ve
May 25th - June 26th, 2016

A new design map has been drawn.
From the 25 May to the 26 June 2016 and coinciding with the first month of the International Architecture Exhibition – the Venice Biennale, Venice stages the first design fringe festival spread around the town.
Historic buildings, hidden cloisters, design boutiques, private galleries and unexpected places will become the cardinal points of DESIGN.VE design walks through Venice, a new format devoted to design and providing a wider look at the design world. It is characterized by the alternation of proposals by emerging designers and those of well established brands, industrial serial products and unique works or limited editions, site-specific installations and collective exhibitions of contemporary design or design names that go down in history and have become real international icons.

More on: www.designve.org

Artists

18/5/2016 - ANDREA SALA - IN THE STILLNESS OF THE LANDSCAPE ROOM, Z20 SARA ZANIN GALLERY, ROME, ITALY

a group show curated by Alessandro RomaArtist: Paolo Belletti, Giovanni Kronenberg, Alessandro Roma, Andrea Sala, Alberto Savinio, Marco StrappatoMay 18th…

a group show curated by Alessandro Roma
Artist: Paolo Belletti, Giovanni Kronenberg, Alessandro Roma, Andrea Sala, Alberto Savinio, Marco Strappato
May 18th - June 10th, 2016

All exhibitions have a rhythmic definition of a start and end time.
The experience is closed without second thoughts within a space and a very precise time.
There is no possibility of there being change, but only the expectation that the exhibition closes to usher in the next.
Instead, can you edit, through time and form, the structure of an exhibition?
You can take into account what happens when leaving a margin of space in which this can change?
Starting with some of these reflections, Alessandro Roma decides to change the role of One Foot in the World and The Other in the Stillness extending the duration time through other experiences from different worlds. The other artists work within the exhibition reflect and compliment the intimate environment created inside the gallery space by Roma.
One Foot in the World and The Other in the Stillness was created in Roma’s image and likeness, and the new artworks interact with this dialogue.
This transforms the sense of the exhibition with multiplication and overlapping of meanings and signifiers to return a varied landscape of media, aesthetic practices, and intellectual pursuits.

More on: www.z2ogalleria.it

12/5/2016 - SALVATORE ARANCIO - THE WATER THEY DWELL IN - QUARTZ STUDIO, TURIN, ITALY

Opening 12 maggio 2016 h 19.0012.5.2016 - 16.7.2016 Giovedì 12 maggio 2016 alle ore 19.00 Quartz Studio ha il piacere di…

Opening 12 maggio 2016 h 19.00
12.5.2016 - 16.7.2016

Giovedì 12 maggio 2016 alle ore 19.00 Quartz Studio ha il piacere di presentare The Water They Dwell In, prima mostra personale a Torino di Salvatore Arancio (Catania, Italia, 1974) organizzata al termine di una residenza presso l’azienda La Castellamonte.
Suggestionato dalla forma delle conchiglie, uno degli elementi naturali che Arancio aveva notato diversi anni fa visitando Casa Mollino a Torino e che aveva affascinato ed inspirato l' opera del celebre architetto, l’artista ha lavorato sull’idea di uno spazio chiuso che trascenda la dimensione terrena, trasformando Quartz in un ambiente mentale perfetto come lo è il carapace per il mollusco che lo abita, un paesaggio disorientante che è allo stesso tempo archeologico e lunare.

Thursday, May 12, 2016 at 7:00 pm, Quartz Studio is pleased to present the exhibition The Water They Dwell In, the first solo exhibition in Turin of Salvatore Arancio (Catania, Italy, 1974), organised at the end of his residency at the factory La Castellamonte.
Arancio took inspiration from the form of shells, he had noticed several years ago when visiting Casa Mollino in Turin. A natural element that had enchanted and inspired the famous architect. Arancio started from the idea of a closed space that transcends the earthly realm, rendering Quartz a perfect mental environment as the shell is to the mollusk that dwells in it, a disorienting landscape that is at once archaeological and lunar.

QUARTZ STUDIO
via Giulia di Barolo 18/D
10124 Torino

More on: www.quartzstudio.net

8/5/2016 - SALVATORE ARANCIO - OH MEXICO! - KUNSTHALLE WINTERTHUR, WINTERTHUR, SWITZERLAND

May 8 – July 17 2016Private view on Saturday, May 7 2016 at 5 pm Wherever you send Salvatore Arancio (b. 1974 Catania, lives…

May 8 – July 17 2016
Private view on Saturday, May 7 2016 at 5 pm

Wherever you send Salvatore Arancio (b. 1974 Catania, lives and works in London), he will uncover strange facts, things and stories. Arancio’s exhibition harks back to a trip he made to Mexico in 2015, the original purpose of which was to visit the Cave of Giant Crystals. The caverns located below the Naica Mine in the Northern part of the country, contain the biggest natural crystals known on Earth. Unfortunately the site was closed in 2009 due to security reasons and despite several efforts, no exception could be made for the visiting artist. Nevertheless, Arancio’s fictional reading of the cave became the leitmotif for part of his exhibition at Kunsthalle Winterthur, extended by a video investigating an old Mexican fertility rite called Danza de los Voladores.

The cave inspired Arancio to a new installation comprising of more than thirty individual ceramic works titled These Crystals Are Just like Globes of Light. Also part of Arancio’s exhibition is his video El Mago (2015), which depicts the inside of a cave in various light hues. The sequences, filmed by Arancio himself, are superimposed with animations extrapolated from Turning a Sphere inside Out, a 1977 American educational film that features basic three-dimensional organic grid structures or nebula-like light bodies. The strategy to use the most basic forms as representations for an intelligence superior to mankind is often found in science fiction: in Stanislaw Lem’s Solaris (1969), a whole plasma planet is one gigantic conscious entity; in an early Star Trek episode dating back to 1969 and titled The Lights of Zetar, a light nebula similar to those found in Arancio’s video manifest a superior intelligence.

Most of Salvatore Arancio’s works combine his own filming with found footage, often using cross-fades, multi-frame and multi-channel techniques. A similar strategy of collage is employed in the sound rendering, with a careful sampling of both existing and new sounds, tones and tunes. A second video, also entitled And These Crystals Are Just like Globes of Light, is no exception and is based on the 1973 cartoon La Planète Sauvage, combining the subject of the cave with organic forms that seem to be the results of a mysterious creation.

Compared to light nebulas and foreign planets, Arancio’s video The Ascension(2016) appears rather down to earth, but the Danza de los Voladores, centre stage to it, has a similar bizarre effect on the viewer. Four men are shown attached to a rope, spinning down from a 30 metre high pole; they seem to be inspired by something that we do not understand anymore. No matter if it is about the hidden or the forgotten, the other or the extra-terrestrial: Salvatore Arancio’s work reads as a collection of forms, objects, sounds and images that serve as cyphers for an unknown or concealed secret knowledge.

MORE ON:
http://www.kunsthallewinterthur.ch/home/page.aspx?page_virtual_url=actual


21/4/2016 - CARLO GABRIELE TRIBBIOLI - FRAMES OF REPRESENTATIONS - UK PREMIER - ICA, LONDON, UK

FRAGMENT 53 a film by Carlo Gabriele Tribbioli & Federico Lodoli
71' | HD | Color | Stereo | Italy/Switzerland |…

FRAGMENT 53

a film by Carlo Gabriele Tribbioli & Federico Lodoli
71' | HD | Color | Stereo | Italy/Switzerland | 2015

An evocation of the God of war introduces the film. A frame ties together and abstracts seven portraits of liberian warriors.
Through their voices war is present in a series of first person accounts, from the fighter's point of view, as an ineluctable human expression of destructive forces that are, at the same time, universal and individual, real and archetypical.


Screening:
Frames of Representation - UK Premier
Institute of Contemporary Art, London, UK
Thursday 21th April, Cinema 1,  h. 8:15 pm      
More on: www.framesofrepresentation.com


Masterclass:
A masterclass with Carlo Gabriele Tribbioli and Federico Lodoli
Institute of Contemporary Art, London, UK
Thursday 21th April, ICA, h. 6:30 pm       
More on: www.framesofrepresentation.com/events-main-attempt/philosophicalimage

13/4/2016 - CARLO GABRIELE TRIBBIOLI - FRAGMENT 53 AT ART OF THE REAL, FILM SOCIETY OF LINCOLN CENTER, NY, USA

FRAGMENT 53a film by Carlo Gabriele Tribbioli & Federico Lodoli71' | HD | Color | Stereo | Italy/Switzerland | 2015An…

FRAGMENT 53
a film by Carlo Gabriele Tribbioli & Federico Lodoli
71' | HD | Color | Stereo | Italy/Switzerland | 2015

An evocation of the God of war introduces the film. A frame ties together and abstracts seven portraits of liberian warriors.
Through their voices war is present in a series of first person accounts, from the fighter's point of view, as an ineluctable human expression of destructive forces that are, at the same time, universal and individual, real and archetypical.


Screening:
Art of the Real
Film Society of Lincoln Center, New York, USA
Thursday 14th April, h 8:30 p.m.

More on: www.filmlinc.org

25/3/2016 - CARLO GABRIELE TRIBBIOLI - FRAGMENT 53 AT COURTISANE FESTIVAL NOTES ON CINEMA, GENT, BELGIUM

FRAGMENT 53 a film by Carlo Gabriele Tribbioli & Federico Lodoli 71' | HD | Color | Stereo | Italy/Switzerland…

FRAGMENT 53

a film by Carlo Gabriele Tribbioli & Federico Lodoli

71' | HD | Color | Stereo | Italy/Switzerland | 2015

An evocation of the God of war introduces the film. A frame ties together and abstracts seven portraits of liberian warriors.
Through their voices war is present in a series of first person accounts, from the fighter's point of view, as an ineluctable human expression of destructive forces that are, at the same time, universal and individual, real and archetypical.

Courtisane Festival Notes on Cinema

Minard Theatre, Gent, Belgium

Fri. 25th March, h. 22:00

for further information: www.courtisane.be

19/3/2016 - CARLO GABRIELE TRIBBIOLI - FRAGMENT 53 IN COMPETITION AT 54th ANN ARBOR FILM FESTIVAL, MICHIGAN, USA

FRAGMENT 53
a film by Carlo Gabriele Tribbioli & Federico Lodoli
71' | HD | Color | Stereo | Italy/Switzerland | 2015…

FRAGMENT 53
a film by Carlo Gabriele Tribbioli & Federico Lodoli
71' | HD | Color | Stereo | Italy/Switzerland | 2015

An evocation of the God of war introduces the film. A frame ties together and abstracts seven portraits of liberian warriors.
Through their voices war is present in a series of first person accounts, from the fighter's point of view, as an ineluctable human expression of destructive forces that are, at the same time, universal and individual, real and archetypical.

 

54th Ann Arbor Film Festival, in competition

Michigan Theater, Ann Arbor, USA

Sat. 19th March, h. 17:15

for further information: www.aafilmfest.org

21/2/2016 - FRANCESCO ARDINI - COSMOLOGIA DOMESTICA, MIDeC - MUSEO INTERNAZIONALE DESIGN CERAMICO, LAVENO MOMBELLO, ITALY

Il MIDeC – Museo Internazionale del Design Ceramico a Cerro di Laveno Mombello, presenta una mostra sulla ceramica contemporanea in…

Il MIDeC – Museo Internazionale del Design Ceramico a Cerro di Laveno Mombello, presenta una mostra sulla ceramica contemporanea in continuità con l’idea di ricerca e innovazione che ha animato la manifattura e che dalla metà dell’Ottocento ha resoLaveno uno dei centri di eccellenza della produzione industriale di ceramica.
COSMOLOGIA DOMESTICA a cura di Fabio Carnaghi è un progetto che si ispira, nel presentare artisti contemporanei che utilizzano la ceramica come mezzo espressivo nella propria ricerca, alle collezioni storiche dei servizi da tavola del museo.

In particolare gli artisti individuano un percorso culturale e geografico, in quanto scelgono di rivisitare le eccellenze della ceramica in funzione della loro provenienza da centri di produzioni storici.
Da Faenza provengono Chiara Lecca, con le sue composizioni ispirate al riuso di forme tradizionali da cucina e Devis Venturelli, che presenta una videoinstallazione con vasi da collezioni digitali.
La ceramica di Nove è rappresentata dalla tecnica di Francesco Ardini e Paolo PolloniatoEva Hide attualizza l’affascinante maestria della maiolica di Laterza. Lorenza Boisi propone un omaggio poetico alla tradizione lavenese.

More on: www.midec.org

19/2/2016 - SALVATORE ARANCIO - TELEONOMY AT CAFE OTO, LONDON, UK

South Kiosk and Where To Now present Teleonomy, a series of one-off, collaborative A/V performances by musicians and visual artists.…

South Kiosk and Where To Now present Teleonomy, a series of one-off, collaborative A/V performances by musicians and visual artists.

South Kiosk is a London based gallery, founded in January 2013. It focuses on the work of artists that recuperate dead or dying technological formats and those who build new platforms for the production and display of works of art, offering a commentary on the impact of technological advancement and that which is left behind.

Where to Now? is a London/Brighton based record label that has been releasing music since 2011. It has been a home to music from Beatrice Dillon, Tom James Scott, Helm, Jesse Osborne-Lanthier, and many others. It seeks to straddle and blur the lines between couch-listening head sounds and club focused body music.

More on: www.cafeoto.co.uk

29/1/2016 - CARLO GABRIELE TRIBBIOLI - FRAGMENT 53 AT GÖTEBORG FILM FESTIVAL, GÖTEBORG, SWEDEN

FRAGMENT 53 a film by Carlo Gabriele Tribbioli & Federico Lodoli 71' | HD | Color | Stereo | Italy/Switzerland…

FRAGMENT 53
a film by Carlo Gabriele Tribbioli & Federico Lodoli
71' | HD | Color | Stereo | Italy/Switzerland | 2015

An evocation of the God of war introduces the film. A frame ties together and abstracts seven portraits of liberian warriors.
Through their voices war is present in a series of first person accounts, from the fighter's point of view, as an ineluctable human expression of destructive forces that are, at the same time, universal and individual, real and archetypical.

FOKUS: ITALIEN
Video screening | February 1-3
Mon. 1 Feb. 2016, H. 17:45
Biopalatset 4, Kungstorget 2, Göteborg, Sweden
Tue. 2 Feb. 2016, H. 12:30
Göta 2, Götaplatsen 9, Göteborg, Sweden
Wed. 3 Feb. 2016, H. 20:00
Haga 2, Linnégatan 21, Göteborg, Sweden

Göteborg Film Festival
39th Festival,
January 29 - February 8
Göteborg, Sweden

for further information:
www.festival.giff.se

24/1/2016 - SALVATORE ARANCIO - TERRA PROVOCATA AT FONDAZIONE DEL MONTE DI BOLOGNA E DI RAVENNA E MUSEO CIVICO MEDIEVALE, BOLOGNA, ITALY

TERRA PROVOCATA. Percezione della materia e concetto nella materia 24 gennaio – 20 marzo 2016 Inaugurazione sabato 23 gennaio 2016…

TERRA PROVOCATA. Percezione della materia e concetto nella materia

24 gennaio – 20 marzo 2016

Inaugurazione sabato 23 gennaio 2016 
ore 17

a cura di Matteo Zauli e Guido Molinari

Salvatore Arancio, Bertozzi & Casoni, Giacinto Cerone, T-Yong Chung, Lucio Fontana, Formafantasma, Alberto Garutti, Francesco Gennari, Liam Gillick, Martí Guixé, Christian Holstad, Ilya Kabakov, Eva Marisaldi, Mathieu Mercier, Maurizio Mercuri, Jonathan Monk, Luigi Ontani, Adrian Paci, Alessandro Pessoli, Tomoko Sakumoto, Marco Samorè, Thomas Schütte, Daniel Silver, Luca Trevisani, Ai Weiwei, Sislej Xhafa.

Ceramica e arte si incontrano nuovamente nella mostra “Terra provocata. Percezione della materia e concetto nella materia”, promossa dalla Fondazione del Monte di Bologna e Ravenna in collaborazione con Istituzione Bologna Musei|Museo Civico Medievale e Museo Carlo Zauli di Faenza, e curata da Matteo Zauli e Guido Molinari.

Una mostra voluta e promossa da Fondazione del Monte di Bologna  che continua la propria programmazione per Artefiera e Artcity e il proprio percorso di collaborazione con le realtà più qualificate che operano sul territorio, per offrire al pubblico occasioni uniche e rare di approfondimento culturale e critico.

Terra provocata, che si terra’ e dal 24 gennaio fino al 20 marzo, cerca di dimostrare come i punti di contatto tra ceramica e arte non solo siano possibili ma ricercati dagli stessi artisti, che spesso operano delle vere e proprie incursioni creative nel territorio della ceramica. Molti degli artisti le cui opere saranno esposte in mostra hanno partecipato alle scorse edizioni della Biennale di Venezia.

Sempre promosso da Fondazione del Monte e curato da Maura Pozzati sara’  L’imbandita, performance dell’artista Sissi in programma all’Oratorio di San Filippo Neri (via Manzoni 5 a Bologna) domenica 31 gennaio alle 19.30 (ingresso libero, posti limitati),  la cui opera Servizio osseo sarà installata al Museo Civico Medievale da lunedi’ 1 febbraio.

More on: www.museozauli.it

15/1/2016 - SALVATORE ARANCIO - THE FIRST HUMANS AT PLYMOUTH ARTS CENTRE, PLYMOUTH, GB

Preview: Thursday 14 January, 6.30 - 8.30pm Introduction by Angela Kingston & Andy Harper: Thursday 14 January, 7pm The First…

Preview: Thursday 14 January, 6.30 - 8.30pm

Introduction by Angela Kingston & Andy Harper: Thursday 14 January, 7pm

The First Humans looks at contemporary art with a prehistoric feel. Often incorporating synthetic colours and materials and a sci-fi look, many of the artworks are spoof or tongue-in-cheek. An installation by Andy Harper has an ancient, tribal quality, and Caroline Achaintre’s wall hanging evokes primitive cave-dwelling. There are primeval landscape ceramics by Salvatore Arancio, and ape-man meets 2001: A Space Odyssey in a papier-maché boulder by Jack Strange. Vidya Gastaldon's watercolours mix stories of evolution and creationism, while in a film by Ben Rivers, a man tells how humans and fire first came into being.

This exhibition identifies and questions a trend among artists to evoke the very distant past. Could dramatic new archaeological findings explain it? Is society suffering an identity crisis? Do we wish we could start again? We’ll be inviting visitors to supply answers to these questions.

Caroline Achaintre, Salvatore Arancio, Vidya Gastaldon, Andy Harper, Ben Rivers and Jack Strange
The First Humans is curated by Angela Kingston and organised by the Pump House Gallery in collaboration with Plymouth Arts Centre.

More on: www.plymouthartscentre.org

Artists

27/11/2015 - JAY HEIKES - NECROPHILIAC AT GRIMM GALLERY, AMSTERDAM, THE NETHERLANDS

Opening Friday 27 Nov - 5 pm November 27, 2015 - January 16, 2016 “Necrophiliac is a reckoning with the…

Opening Friday 27 Nov - 5 pm

November 27, 2015 - January 16, 2016

“Necrophiliac is a reckoning with the inanimate obsessions we have as artists. Like smoking, sculpting becomes a dirty habit. At the end of the day you should feel as though you’ve been caught with your pants down, in a perpetual state of perversion.” –Jay Heikes

In Necrophiliac Jay Heikes presents new work inspired by nature and history, following the cycles of life. Through works in video, sculpture and print, the show illustrates the artist’s search for an individual language and freer artistic expression.

The exhibition includes sculptures made out of dirt, earthly elements as wood and shells, as well as utensils. Artist’s Artist (2015), for example, is made of empty bottles that seem to grow like a malignant fungus. An old, soiled look- ing pair of white corduroy pants and shoes with a top layer of steel slag illustrate that Heikes continues to subvert his metaphors for deterioration and historical decay. The sphere of his work is strongly related to the Arte Povera movement.

A series of monoprints titled Niet voor kinderen (2015) will also be shown. In creating this series of work, Heikes was inspired by how artists in the past have used material from Egyptian mummies that were ground up as pigment for a color known as ‘Mummy Brown’. Heikes draws a parallel to his various studio materials as a stand-in for the fractured body used in the Surrealist parlor game ‘exquisite corpse’. This lead to his use of the material asphaltum, an oily tar substance that was also used in mummification, but is nowadays mainly used in printmaking.

In Daily Rituals (Newday) (2015), a video that is part of a series in which Heikes documents his working process, footage from the La Brea Tar Pits in Los Angeles is used: An excavation site where studies on asphaltum are carried out, Heikes’ discovery of this oily substance to use as an ink for printing and the research into mummification laid the foundations forNecrophiliac.

More on: www.grimmgallery.com

Artists

21/11/2015 - KARTHIK PANDIAN - LEVITATE! TALK AT FREIRAUM Q21 INTERNATIONAL

h: 6:00 pm - Levitate! Talk The symposium puts a conceptual and philosophical frame around the exhibition “Levitate,” focusing on…

h: 6:00 pm - Levitate! Talk

The symposium puts a conceptual and philosophical frame around the exhibition “Levitate,” focusing on a brief history of levitation, the scientific colonization of sleep, and lucid decapitation.
Participants: Julijonas Urbonas, Karthik Pandian, Alexei Penzin, Aaron Schuster

Location:

Museumsquartier Wien, Museumsplatz 1, 1070 Vienna - Baroque Suite A, 1st floor

 

Artists

19/11/2015 - ANDREA SALA - LO MÁS NADA POSIBLE CON LA MENOR CIENCIA AT GALERÍA FORMATO COMODO, MADRID, SPAIN

Lo más nada posible con la menor ciencia 19 November 2015 - 14 December 2016 Opening: Thursday, 19th November 2015…

Lo más nada posible con la menor ciencia

19 November 2015 - 14 December 2016

Opening: Thursday, 19th November 2015 at 20h

The exhibition takes its name from a well-known aphorism by Alejandro de la Sota, a Spanish architect who transforms the more renowned "Less is More" through his pragmatic vision of architecture. And it is around this key to their interpretation that the works in this exhibition revolve:

My interest is related to the change that have taken place in the world of architecture in this specific period of history. There has not just been a change in building processes in parallel with post-war industrial development, but rather the very approach to design projects has sugared a profound transformation. In fact, the architect has ceased to "design" the details and almost starts by assembling standard solutions so as to select forms and materials from catalogue. And it is exactly in this period that the architect has experimented and mixed together new elements and therefore new materials. This way of assembling generates new atmospheres. In the houses deigned by deal Sota, too, the architecture fades away and is transformed into an atmosphere in which there is no longer any invention but only intention. This is the same atmosphere found in David Hockney's works, when he depicts the new houses of Los Angeles in a series of his best-known paintings.

I am interested in experiencing this creative/constructive process by associating materials and finishes more typical of the world of construction with other materials chosen from catalogues originating in other types of application, linking them through how they are used and their original functions. In this way, an overlapping of vernaculars is generated to constitute the aesthetic of the work.

More on: www.formatocomodo.com

13/11/2015 - FRANCESCO ARDINI - VIVID DREAM AT CERAMIC CREATIVE CENTER, CLAYRARCH GIMHAE MUSEUM, HONG-TI ART CENTER, SUD KOREA

Francesco Ardini, Kim Myungjoo, Nausheen Bari, Laura Mergoni, Lee Eunyeoung 13 November - 20 December 2015 Opening 13th November 2015…

Francesco Ardini, Kim Myungjoo, Nausheen Bari, Laura Mergoni, Lee Eunyeoung

13 November - 20 December 2015

Opening 13th November 2015 - 5 p.m

Ceramic Creative Center (C.C.C.), which is run by Clayarch Gimhae Museum, is the only professional ceramic studio in Korea. It provides visual artists in the field of architecture, ceramics, design, painting, sculpture, etc. with comfortable space and convenience so that they can focus on ceramic arts or architectural ceramics.

The programs of the C.C.C. will be operated in connection with the exhibition, academic and education events, international exchange, and architectural projects that are run by Clayarch Gimhae Museum. With the participation of artists, curators, critics, and visitors, our programs, including open studio, artist research seminar, education and experience program, and architectural project will enable free exchange of ideas on culture, environment, and architectural ceramics.

More on: www.clayarch.org

Artists

11/11/2015 - PASCAL HACHEM AND RANA HADDAD - GASPING AT BEIRUT ART CENTER, BEIRUT, LEBANON

An Installation by Pascal Hachem and Rana Haddad. 11 November - 22 November. Launching on November 10 at 6pm, in…

An Installation by Pascal Hachem and Rana Haddad.

11 November - 22 November. Launching on November 10 at 6pm, in the parking lot facing Beirut Art Center

“A bird that has lost its feathers can no longer sail through the skies. And a person who has lost her memories can no longer find her way through the world she once called home. But still, I keep my faith…” - I Am An Idiot Spammer

A mundane space, invaded. The subject is now isolated, the inside becomes an outside. The subject draws a new place that can be delimited as its own and serve as a base from which relations to exteriority composed of targets or threats can be managed: “how to delimit one’s own place in a world bewitched by the invisible powers of the other.” - Michel de Certeau Substituted by a practice inseparable from particular moments or opportunities it becomes a trace in place of acts, it is only their remainder; the sign of their erasure through time.

More on: www.beirutartcenter.org

28/10/2015 - CARLO GABRIELE TRIBBIOLI - FRAMMENTO 53 AT TEATRINO DI PALAZZO GRASSI, VENICE, ITALY

Wednesday 28 October 6.30 pm Palazzo Grassi presents the Biennale de l'Image en Mouvement. BIM is a festival dedicated to…

Wednesday 28 October 6.30 pm

Palazzo Grassi presents the Biennale de l'Image en Mouvement.

BIM is a festival dedicated to art videos and films commissioned and produced by the Centre d'Art Contemporain Genève. A selection of the 2014 edition will be screened at the Teatrino di Palazzo Grassi in the presence of the artists.

Frammento 53, Italy/Switzerland, 2011/2015, 71' 
by Carlo Gabriele Tribbioli & Federico Lodoli 
A feature-length film on war, conceived in its necessary and universal dimension, faced both as an actual and archetypical event. The film presents itself as a moment of critical confrontation with the values that war implies and expresses. The phenomenon has been investigated on the field in Liberia, a country of peculiar, radical and unsettled conflicts.

 

Thursday 29 October - Friday 30 October, 10 am - 1 pm

Workshop with Carlo Gabriele Tribbioli & Federico Lodoli. The young Italian directors, who both graduated in philosophy, will explain the working process that led to Frammento 53. Free entrance.

More on: www.palazzograssi.it

 

Mercoledì 28 Ottobre 2015 ore 18:30

Il Teatrino di Palazzo Grassi ospita una selezione di film presentati in occasione dell'edizione 2014 della Biennale de l'Image en Mouvement.

BIM, una delle più antiche e importanti manifestazioni in Europa per la presentazione di film d'artista, installazioni video e opere multimediali, è stata rilanciata nel 2014 dal Centre d'Art Contemporain Genève. Il curatore Andrea Bellini, in collaborazione con Hans Ulrich Obrist e Yann Chateigné, ha commissionato e prodotto 22 opere di giovani artisti internazionali. Il Teatrino ospita una selezione di 9 di questi film alla presenza dei registi.

Frammento 53, Italia/Svizzera, 2011/2015, 71' 
di Carlo Gabriele Tribbioli & Federico Lodoli
Un film sulla guerra, ambientato in Liberia, paese attraversato da radicali conflitti. Composto da sette ritratti di combattenti, il film propone un confronto con la guerra concepita come espressione di forze necessarie e universali, presenti in una dimensione che è al contempo concreta e archetipica.

 

Giovedì 29 ottobre - Venerdì 30 ottobre, 10:00 - 13:00

Workshop con Carlo Gabriele Tribbioli & Federico Lodoli. Entrambi laureati in filosofia, i due giovanni registi italiani presentano al pubblico il lungo lavoro che ha portato alla realizzazione di Frammento 53. Ingresso libero.

More on: www.palazzograssi.it

 

24/10/2015 - SALVATORE ARANCIO - A LEAP OF FAITH - THE LIVINGROOM ACT III, ST. LAURENCE CHURCH, LONDON, UK

24 October 2015 -  3 - 8 pm Orchestrated by Cristina Ramos & Sara Rodrigues Mark Aerial Waller, Salvatore Arancio,…

24 October 2015 -  3 - 8 pm

Orchestrated by Cristina Ramos & Sara Rodrigues

Mark Aerial Waller, Salvatore Arancio, Harvey Grant & Kerala Dust, Misha Bies Golas, Pil and Galia Kollectiv, Hannah Lees, Diana Policarpo, Hollie Slaughter, Michael Speers, Margita Yankova, Madalina Zaharia

The LivingRoom presents A leap of faith, the third act of the project that introduces the work of twelve artists in an extraordinary venue, St. Laurence Church in Catford. Built in the 60’s, the religious setting gives continuation to the Anglican tradition whilst also looking into the future through its architecture and decor.

A leap of faith is a combination of simultaneous temporalities, at once considering the universe, civilisation and the individual; questioning our existence in relation to infinite time and space or to a particular moment in history. Based on natural phenomena, scientific observations or constructed narratives, the works ponder on past ideas and beliefs whilst also constructing their contemporary ones. This cycle of renewal, found in religion as well as in other systems, is visible in the artists’ attempts to make sense of and reorganise traces of our existence.

The LivingRoom is a nomadic space dedicated to the curation, exhibition and promotion of sound, performance and visual art. Playing with the boundaries between the display of the work and the work itself, The LivingRoom hosts events within different contexts in found spaces.

More on: www.thelivingroomprojects.com

17/10/2015 - SVENJA DEININGER - UNTITLED/HEAD AT MARIANNE BOESKY GALLERY, NEW YORK, NY, USA

October 17 – November 14, 2015 | Opening Reception October 17, 6 – 8 pm Marianne Boesky Gallery is pleased…

October 17 – November 14, 2015 | Opening Reception October 17, 6 – 8 pm

Marianne Boesky Gallery is pleased to present Untitled / Head, an exhibition of new paintings by Viennese artist Svenja Deininger. This is Deininger’s second solo exhibition at the gallery and will be on view October 17 – November 14, 2015, at 509 W. 24th Street, New York.

For Deininger, painting is a continuous process of coating and uncovering, adding primer, color, and varnish, and then stripping back to raw canvas and opaque areas. She begins with layers of base coats and one abstract form – sometimes a shadow, other times a memory – proceeding almost magically, often without visual brushstrokes or gestural styles. Her resulting intimate abstractions have consistently shown the intensity that a painting can have within a larger space, its edges providing the only index for how it was made and its atmosphere created.

Experimenting here with her paintings’ physical framework, Deininger considers as always the architecture of her installation and the interaction between her viewer, work, and setting. The artist takes on specific sizes and forms, subtly quoting or inverting them throughout each painting. Colors like burgundy and chartreuse reappear vividly but with contrasting proportions, while shapes mysteriously reemerge either within the painting, as the painting's frame, or as the actual canvas-size. As such, Deininger crafts a faint thread of familiarity that travels from the most minimal and quiet work to the more complex and vibrant. Individually, her paintings pronounce themselves as a word or recognizable thought, while together formulating a clear sentence.

Moreover, Deininger is concerned with the connections and associations her canvases spark. Her aim is to find ground between figuration and abstraction, and for the viewer to perceive one painting as describing another, or painted elements as counterparts to others. She invents something very concrete in paint, at times symbolic or figurative, but without defining its subject or source – the idea nodding to painter Phillip Guston, who named several of his works Untitled / Head during his transition in the late 1960’s from painting pure abstraction to what he called “the thing.” Deininger pushes forward with this reference, and in her new body of work hones in on how to bring an idea to physical appearance.

More on: www.marianneboeskygallery.com

9/10/2015 - JAY HEIKES & TODD NORSTEN - CONSEQUENCES AT FONDAZIONE GIULIANI, ROME, ITALY

9 October - 12 December 2015 An exhibition by Jay Heikes with contributions from Felix Culpa, Jessica Jackson Hutchins, Ari…

9 October - 12 December 2015

An exhibition by Jay Heikes with contributions from Felix Culpa, Jessica Jackson Hutchins, Ari Marcopoulos, Josiah McElheny, Todd Norsten, Conny Purtill, Justin Schlepp, Gedi Sibony, Michael Stickrod, The Unknown Artist, and the ghost of Lee Lozano.

“Consequences is an attempt to keep a collaborative artistic pulse going. As awful as that sounds and after finally scrapping the term ‘collaboration’ because of it’s overuse and shortcomings, I’m hopeful that the exhibition will display the only space we have left; one that exists amongst a small group of friends that are enamored with each other and slightly suspicious of the outside world. I was reminded of the Lars Von Trier film, The Five Obstructions while working on the early versions of the show, searching for a novel way to change the process of making something we are all too familiar with. As we grow and fall in to the repetitive rituals that create any language, there’s a danger in it becoming predictable and manneristic, even to oneself. The Surrealists knew this and tried, through their parlour game of the same name (Consequences in French) to challenge this inevitable boredom. Through chance and a simple fold, multiple authors explored what I see more and more as the foundation of our everyday thoughts; a mixture of personal narratives, layered references and fused emotions. [...]".

- Jay Heikes

More on: www.fondazionegiuliani.org

Artists

22/9/2015 - KARTHIK PANDIAN - LEVITATE! AT FREIRAUM Q21 INTERNATIONAL, VIENNA, AUSTRIA

22 September - 22 November 2015 Curator: Daria Khan (RUS) The exhibition explores the potential of levitation as the power…

22 September - 22 November 2015

Curator: Daria Khan (RUS)

The exhibition explores the potential of levitation as the power to overcome gravity and make monuments and people rise, as a form of protest, resistance and liberation. Levitate! Curated by Daria Khan (RUS).

In July 1967 a group of social activists organized the action "Levitate the Pentagon."  The group was trying to exorcise the Pentagon by singing until it levitated and turned orange, driving out the evil spirits and ending the war in Vietnam.  People remained there day and night singing, but the Pentagon failed to move.

This action provides the thematic starting point for the exhibition: The image of the Pentagon rising and turning orange brings into the play the theatrical aspect of levitation as spectacle.  The artworks in the show deal with hocus pocus and delusion, with a performativity embedded in the act of levitation, and with cheating and pleasing the eye.

Karthik Pandian’s (USA) “Abracadabra,” 2013, is a sculpture consisting of readymade elements: a megaphone typical from use at demonstrations, topped with a magician's top hat and gloves.  This awkward composition engages with protest and the many aspirations related to it.  The aesthetics of the sculpture echo the button used for the 1967 action "Levitate the Pentagon."  Nothing touches the ground; the sculpture is an ironic reminder of the "miraculous" power that underlies social uprising.

More on: www.mqw.at

Artists

19/9/2015 - ANDREA SALA - BerlinRoma RomaBerlin - Reverse Inequality AT GALERIE PATRICK EBENSPERGER, BERLIN, GERMANY

19 September – 31 October 2015 Opening celebrations on Saturday, 19 September 2015, from 7 pm Plantagenstraße 30, 13347 Berlin-Wedding…

19 September – 31 October 2015

Opening celebrations on Saturday, 19 September 2015, from 7 pm

Plantagenstraße 30, 13347 Berlin-Wedding

Curated by Valentina Galossi and Amélie Grözinger

Participating artists are Elisabetta Benassi, Isabelle Borges, Alessandro Cicoria, Rä di Martino, Valerie Giampietro, Amélie Grözinger, Caroline Kryzecki, Philipp Lachenmann, Gemis Luciani, Bjørn Melhus, Olaf Nicolai, Max Paul, Andrea Sala, Guilio Squillacciotti, Maria Thurn und Taxis, Marlon Wobst, Peter Welz.

Galerie Patrick Ebensperger is happy to invite you to celebrate the opening of "BERLINROMA ROMABERLIN – Reverse Inequality“ with us on the 19th of September at 7 pm, followed by yet more celebrations hosted by Nice Bar.

Being at a foreign place for the first time you are hypersensitive to all the new and unfamiliar impressions, sounds, and visions. „BERLINROMA ROMABERLIN“ explores these sensations with the help of curators and artists from Rome and Berlin. It is an attempt to see each other’s city through each other’s eyes in order to open up accustomed perceptions and to create an unfamiliar yet intimate setting. Curated by Valentina Galossi and the artist Amélie Grözinger "BERLINROMA ROMABERLIN“ brings together artists inspired and influenced by living and working in Berlin or Rome. The two European capitals with their contrasting qualities and fabricated narratives both have exceptional pasts. Rome, the eternal and sensual city of illusions appears to be a monument of its past glories. Berlin, more of a monument of past doom and delusions, today is a worldwide magnet for artists and is considered to be a place for future visions. The show examines the common grounds and the diverse aspects of producing works in those two cities and how light, space, architecture, scenes, and social structures influence the works originating in each place. The exhibition is a search for similarities and distinctions and explores a common strangeness and peculiarity, a reverse inequality.

"BERLINROMA ROMABERLIN“ marks the first part of an exhibition exchange. The second installment will take place in Rome in 2016. The Berlin exhibt includes paintings, films, drawings, performative works, books, photographs, installations, sculptures, and wall paintings. Many works have been made especially for this show. In addition, and as an extension of its Rome issue, Flaneur Magazine will host a project room and a sound composition by Fabian Saul & Vittorio Giampietro at the gallery during the exhibition and two Rome themed evenings amid the show: "Questione Romana – Metropolis, Misery, Modernity", a panel discussion on October 15th; the premiere of Nico D’Alessandria's subtitled cult film "L’imperatore di Roma" (1987) will close the exhibition.

More on: www.ebensperger.net

12/9/2015 - SALVATORE ARANCIO - GROUP SHOW AT LYCHEE ONE, LONDON, UK

and the soft ground in the garden was also a constellation…   Nicholas Johnson Leonor Serrano Rivas Mark Essen Salvatore…

and the soft ground in the garden was also a constellation…

 

Nicholas Johnson

Leonor Serrano Rivas

Mark Essen

Salvatore Arancio

Katrin Hanusch

Alexandre Singh

Curated by Àngels Miralda

 

Private view 12 September 6-8:30PM

 

Soft. Because of the darkness, that smell of the archive, the loss of time that happens in this situation. Piles of books that all appear spread over the tables open to different pages colliding with each other as in a constellation. The book is also a format, for instance, an encyclopaedia, and it’s categorized into one of many systems.

Ground. Because the ground is what we grow from. Seeds sprout up towards the sun receiving nutrients and water. The ground is that against which the figure stands and it frames the figure, it presents in a context, it’s the base of painting. The ground sits opposite the open sky and the figures sit opposite the flickering stars.

Garden. Because it’s a pleasant hypocrisy. Plant life taken out of context, arranged in a certain way to please taste and fashion, to fit within design. The garden is like the archaeological collection, similarly the objects come out of chaotic states into organised patterns. Brazenly open to singular interpretation, they are placed into a fashionable formula.

Was. In order to relate to the past. History just as well as plant life is designed in a garden of pruned images, selected and presented. Fitting to our understanding of what history is, which is unknowable and distant from a textbook format.

And… Also. Because there’s no end to the relations between objects and contexts. Because everything is always a continuation of something else, flowing, demolishing the definition, and breaking the levies. Because there’s an excess of information that is untameable and wild.

Constellation. When all of these separate elements, all of these fragments, portions, and pieces, come together in a collective imaginary. Stories explain why these astral bodies are so mysteriously spread at random, and what this has to do with all of us.

Piton de la Fournaise is one of the most active volcanoes in the world, situated on the island of Réunion in the Indian Ocean. Fluid basaltic lava flows out of the vent and occasionally reaches the sea resulting in spectacular amounts of steam as molten rock meets the lapping water. The French naturalist Jean Baptiste Bory de Saint-Vincent termed the name “mamelon” that describes the volcano’s breast-like shape formed by the adding of volcanic material around a narrow vent.

More on: www.lycheeone.com

Artists

6/9/2015 - PASCAL HACHEM : ARTIST RESIDENCY & SOLO SHOW AT THE SOULANGH ARTIST VILLAGE, TAIWAN

Soulangh Artist Village is managed by Cultural Affairs Bureau, Tainan City Government. It was so called “Soulangh 14”, due to…

Soulangh Artist Village is managed by Cultural Affairs Bureau, Tainan City Government. It was so called “Soulangh 14”, due to 14 warehouses in the Tainan Chia-Lee Sugar Factory in old days. The land of 13.8 hectare is located between Siraya National Scenic Area and Taijiang National Park.

To provide an excellent suitable space for creative talents is the mission of Soulangh Artist Village. It acts as an exchange platform in Tainan for the interaction of global art groups. Soulangh Artist Village welcomes artists in performing arts, visual arts and cross discipline arts dedicated to environment, children art education and community engagement from all over the world.

Artists

18/7/2015 - ANDREA SALA - GROUP SHOW WITH MATT PAWESKI - CHERRY AND MARTIN, LOS ANGELES, USA

July 18 - August 15, 2015Opening reception: Saturday, July 18, 4-6 pm Cherry and Martin is pleased to announce an…

July 18 - August 15, 2015
Opening reception: Saturday, July 18, 4-6 pm

Cherry and Martin is pleased to announce an exhibition of new works by Matt Paweski and Andrea Sala. Intersecting perhaps only at their interests in the disciplines of design and architecture, Paweski's and Sala's works are wonderfully experiential due to their articulation of line and space and tactile material surfaces: paint-soaked wood, steel covered in powdery paint, candy-colored Bondo smoothed onto glass, Plasticine pressed into the cracks of shaped, buffed briar root.

Paweski and Sala's works slip slyly between drawing, sculpture, painting, and architecture. These artists co-opt the language of architecture and functional design to make their wall-bound and free-standing sculptures. The works on view in this exhibition highlight these shared interests and compliment each other in their contrasting forms—Sala's undulating, curvilinear, and painterly surfaces juxtaposed with Paweski's stark, geometric planes embedded with uniform color. Paweski, in particular, employs the terms of cabinet-making in the seductive surfaces, effortless joints, and delicate kerf-cuts of his wood and steel sculptures. Sala’s objects appear at once familiar—the inverted, stepped form of an 80s ceramic vase, column flutes, or the stem of a smoking pipe—and humorously subversive in their color palette and postmodernist spirit: the ceramic vase made into a capital-like support for a sheet of glass; the column flutes excerpted and coated in iridescent pigments; and the pipe stem sunk into a bulbous piece of briar root, patched with bright Plasticine.

Matt Paweski (b. 1980 in Detroit, MI) holds an MFA from Art Center College of Design, Pasadena, CA. Solo exhibitions include Herald St, London and South Willard, Los Angeles. His work has been included in group exhibitions recently at Wallspace, NY; Barrett Art Gallery, Santa Monica; The Pit, Los Angeles; 356 Mission, Los Angeles; and Richard Telles Fine Art, Los Angeles. Paweski lives and works in Los Angeles.

Andrea Sala (b. 1976 in Como, Italy) holds an MFA from the Accademia di Belle Arti di Brera, Milan. Solo exhibitions include Federica Schiavo Gallery, Rome; Galerie Antoine Ertaskiran, Montréal, Canada; Musee D’art de Joliette; Fondation Guido Molinari, Montréal; London Metropolitan University; and Kaleidoscope Space, Milan. His work was recently included in group exhibitions at CO2, Turin; the Triennale di Milano, Italy; Espace de L'art Concret, Chateau de Mouans, France; and Museums Quartier Wien, Austria. Sala lives and works in Milan and Montreal.

More on: www.cherryandmartin.com/exhibitions/182

Cherry and Martin
2712 S. La Cienega Boulevard
Los Angeles, California 90034
+1 310 559 0100 / info@cherryandmartin.com

 

15/7/2015 - SALVATORE ARANCIO - THE LONDON OPEN 2015 - GROUP SHOW - WHITECHAPEL GALLERY, LONDON, UK

15/06/2015 - 06/09/2015 The London Open 2015 is the Whitechapel Gallery triennial exhibition.  Sculpture, painting, performance, moving image, photography, printmaking…

15/06/2015 - 06/09/2015

The London Open 2015 is the Whitechapel Gallery triennial exhibition.  Sculpture, painting, performance, moving image, photography, printmaking and many other media and practices showcase some of the most dynamic work being made across the capital in 2015.

From a record number of 2,133 applicants, 48 artists have been selected by a panel of high profile art world figures, including writer and critic Ben Luke, artist Angela de la Cruz, collector Nicoletta Fiorucci, gallerist Jake Miller and Whitechapel Gallery curators Daniel Herrmann, Eisler Curator and Head of Curatorial Studies and Poppy Bowers, Assistant Curator.

Manual labour and the ways we work is a theme investigated throughout the exhibition. A number of artists use more traditional techniques such as painting and photography whilst others use more unconventional methods from bricklaying to using panes of glass in their practice to explore the world today. The exhibition includes a fully functioning fishmonger’s counter in the galleries by multi-media Sam Curtis, a brick sculpture built on site by artist Demelza Watt’s father and a tense video work by Nelmarie du Preez of a robotic arm programmed by the artist to stab a knife between her fingers.


Whitechapel Gallery
77-82 Whitechapel High St London E1 7QX
+44 (0)20 7522 7888 / info@whitechapelgallery.org

More on: http://www.whitechapelgallery.org/exhibitions/coming-soon-london-open/

13/6/2015 - SALVATORE ARANCIO - INNER LANDSCAPES OF TIME - GROUP SHOW AT UPSTREAM GALLERY; AMSTERDAM, THE NETHERLANDS

13 June - 18 July 2015 Artists: Salvatore Arancio, Michael Fullerton, Georgie Grace, Fabienne Hess, Lloyd Corporation, Kentaro Yamada. Curated by Frank…

13 June - 18 July 2015

Artists: Salvatore Arancio, Michael Fullerton, Georgie Grace, Fabienne Hess, Lloyd Corporation, Kentaro Yamada.

Curated by Frank Ammerlaan, Elsa Coustou and Ned McConnell

“a series of bizarre images of the inner landscapes of time.” 
- La Jetée: Academy One by J.G. Ballard

Inner Landscapes of Time is a group exhibition that brings together new and existing works by artists based in the UK. Through a particular focus on time and imagination the works in the exhibition remediate found material and imagery, creating new narratives that slip between temporalities.
The works in the exhibition address this through a process of collapsing or stretching time to reframe old and new narratives, re-appropriating collected data, individual stories and collective memories. Reflecting on the construction of reality, through ways in which information is circulated and disseminated, the works expose the intricate layers of temporality behind natural and found material.

The exhibition takes its title from J.G. Ballard’s quote on Chris Marker’s famous film La Jetée (1962) and has been convened in response to the continued construction of an imagined future.

Upstream Gallery
Van Ostadestraat 294
1073 TW Amsterdam
The Netherlands

t. +31(0)20 - 428 428 4 / m. +31(0)6 - 5495 6545
e. info@upstreamgallery.nl

For futher information: 
http://www.upstreamgallery.nl/exhibitions/130/inner-landscapes-of-time

 

23/5/2015 - SALVATORE ARANCIO - SOLO SHOW AT THE CENTRE D’ART CONTEMPORAIN LA HALLE DES BOUCHERS, VIENNE, FRANCE

Federica Schiavo Gallery is pleased to announce a Solo Show by Salvatore Arancio at the Centre d'Art Contemporain La Halle…

Federica Schiavo Gallery is pleased to announce a Solo Show by Salvatore Arancio at the Centre d'Art Contemporain La Halle des Bouchers, Vienne, France.

An exhibition curated by Mark Bembekoff
23 May - 9 August 2015

For further information:
http://www.cac-lahalledesbouchers.fr/expositions/venir/salvatore-arancio

Centre d'art contemporain La Halle des bouchers
7 rue Teste du Bailler F-38200 Vienne
mediation.cac@mairie-vienne.fr / +33 04 74 54 51 37

16/4/2015 - SALVATORE ARANCIO - PROJECT 09 - CONTEMPORARY ART SOCIETY, LONDON

Opening reception: 16 April 2015, 18.30—20.30Exhibition will run, 17 April – 28 August 2015Members and Public, free PROJECTS is a…

Opening reception: 16 April 2015, 18.30—20.30
Exhibition will run, 17 April – 28 August 2015
Members and Public, free

PROJECTS is a series of exhibitions within the Contemporary Art Society space at 59 Central Street that transform and use the architecture of the building, drawing into focus questions around modes of display and the encounter between contemporary art and architecture.
The Contemporary Art Society will present a selection of work by Salvatore Arancio.
The main concern at the centre of Salvatore Arancio’s artistic practice lies in the potential of images. He is interested in how images and their meaning can be re-framed or re-viewed and plays with symbols always aiming to retain a certain ambivalence in his work. This manifests itself through the use of a range of media such as ceramics, etching, collage, animation and video.
Arancio aims to give the sensation of a compact and homogeneous concept regardless of the fact that his practice is paradoxically composed of contrasting elements. Each facet of his practice contains an intertwining juxtaposition of the roots and representation of images: natural and artificial, mineral and vegetable, two-dimensional and three-dimensional, scientific and mythological. Departing from their literal meaning, Arancio creates new juxtapositions that are both beautifully evocative and deeply disquieting. His work functions like an atlas of confusion, like figures in positivistic scientific volumes devoid of any substantial image and left only with a vague ambiguous frame.

This event is free and open to all but space is limited. To attend please RSVP to info@contemporaryartsociety.org

More on:
http://www.contemporaryartsociety.org/event/preview-project-09-salvatore-arancio/

Contemporary Art Society

59 Central Street
London EC1V 3AF

3/2/2015 - SALVATORE ARANCIO & FRANCESCO ARDINI - 59TH FAENZA PRIZE 2015 - MUSEO INTERNAZIONALE DELLE CERAMICHE IN FAENZA, FAENZA, ITALY

We are glad to inform that Salvatore Arancio and Francesco Ardini have been selected to be part of the 59th…

We are glad to inform that Salvatore Arancio and Francesco Ardini have been selected to be part of the 59th Faenza Prize – International Competition of Contemporary Ceramic Art.


For further information:
http://www.micfaenza.org/en/concorso-internazionale-premio-faenza/

15/1/2015 - CARLO GABRIELE TRIBBIOLI - ROYAL GARDEN #6 - SIXTH EDITION OF CREDAC'S VIRTUAL REVIEW DEDICATED TO THE EXHIBITION PROJECT "THE REGISTRY OF PROMISE" - CURATED BY CLAIRE LE RESTIF AND CHRIS SHARP - LE CREDAC, CENTRE D'ART CONTEMPORAIN D'IVRY, FRANCE

Online since 2008, Royal Garden is an annual and virtual, multidisciplinary, multimedia supplement designed to accompany Le Crédac’s activities. As a…

Online since 2008, Royal Garden is an annual and virtual, multidisciplinary, multimedia supplement designed to accompany Le Crédac’s activities.

As a virtual extension of the Crédac’s artistic mission, Royal Garden amounts to a critical, theoretical and artistic exquisite corpse, and is available to all at the Crédac’s website. A

The sixth installment of Royal Garden is designed as a prolongation of The Registry of Promise, a cycle of four shows developed by Chris Sharp and jointly mounted by four art venues in Europe. All of the artists who took part in the shows, along with the four venues’ directors who worked together to make this undertaking a reality, were each asked to come up with an entirely new intervention echoing the cycle, and have thus created an open and evolving archive like the “Registry of Promise” that lies at the heart of the four exhibitions.

Contributors include Patrick Bernatchez, Becky Beasley, Juliette Blightman, Peter Buggenhout, Nina Canell, Michael Dean, Adrienne Drake, Alexander Gutke, Jochen Lempert, Claire Le Restif, Jean-Luc-Moulène, Marlie Mul, Antoine Nessi, Sandra Patron, Jean-Marie Perdrix, Reto Pulfer, Hans Schabus, Lucy Skaer, Michael E. Smith, Chris Sharp and Carlo Gabriele Tribbioli.

Curators: Chris Sharp and Claire Le Restif

Royal Garden #6 on view here: http://credac.fr/rg6/?l=en


For futher information about Royal Garden's project:
http://royalgarden.credac.fr/en

For further information about The Registry of Promise's exhibition project:
http://vleeshal.nl/en/tentoonstellingen/the-registry-of-promise-the-promise-of-literature-soothsaying-and-speaking-in-tongues


Centre d'art 
contemporain d'Ivry - le Crédac
 La Manufacture des Œillets
25-29 rue Raspail, 94200 Ivry-sur-Seine
+33 (0)1 49 60 25 06
 / contact@credac.fr

7/11/2014 - SALVATORE ARANCIO - CERAMIC FELLOWSHIP 2014/15 - CAMDEN ARTS CENTRE

Selected for the Ceramic Fellowship 2014/15, the artist Salvatore Arancio will be at the Camden Arts Centre from 7th October…

Selected for the Ceramic Fellowship 2014/15, the artist Salvatore Arancio will be at the Camden Arts Centre from 7th October 2014 until 7 July 2015.

For further information: www.camdenartscentre.org

- SALVATORE ARANCIO - TRAVELLING CIRCULAR LABYRINTHS, MUSEO CIVICO CASTELBUONO, CASTELBUONO (PA), ITALY

curated by Luca Cerizzaopening: Thursday August 4th 2016 at 7.00pmAugust 5th – October 3rd 2016Museo Civico di CastelbuonoPiazza Castello –…

curated by Luca Cerizza
opening: Thursday August 4th 2016 at 7.00pm
August 5th – October 3rd 2016
Museo Civico di Castelbuono
Piazza Castello – Castelbuono (Palermo)

On Thursday August 4th 2016, at 7.00pm, on the occasion of the 20th edtion of Ypsigrock Festival, the Museo Civico di Castelbuono, welcomes Salvatore Arancio’s solo show, Travelling circular labyrinths, curated by Luca Cerizza, in line with the institution's aim to promote contemporary art, and the intertwining of this with the territory.

The exhibition, that celebrates the opening of the 20th edition ofYpsigrock, is included within the programme of collateral events, “Miglior Festival d’italia”, which will that will animate the beautiful and sought-after scenarios of Castelbuono from the 4th to the 7th of August. Ypsigrock is one of the most charming boutique festivals of Europe, built on an original format, which is the result of a mixture between selected music research and the rediscovery of the beauty of the area. Many exclusive gigs will animate this year’s lineup, which will alternate Crystal Castles, The Vaccines, Daughter, Mudhoney, Kiasmos, Savages, Minor Victories, Giant Sand, LUH and many others on the stages of the Festival.

During the evenings of the Festival (August 4-7), a selection of Salvatore Arancio's videos will be projected onto the facade of the Ventimiglia Castle, to seal the partnership with Ypsigrock and enhance the evocative relation between art and contemporary music Castelbuono Through a variety of techniques (sculpture, film, video, collage, print-making, etc.), the work of Salvatore Arancio (Catania, 1974) defines an aesthetic imagery in which the natural landscape is viewed through what Luca Cerizza defines as a form of "psychedelic sublime". Here is an excerpt from Cerizza’s text:

"In Arancio’s work, the natural landscape is read at least by a dual point of view. On the one side, it is felt in its most erotic, intense and energetic form. The prints that the artist continues to create since 2006, installed in the former stables are derived from the late nineteenth century bookWonders of the Volcano by the English writer Ascott R. Hope and describe stories and legends related to volcanoes and other geophysical phenomena related to them (earthquakes,

sulphurous gas springs, fire springs, etc.), similar to other Victorian-era books that the artist collects. On these images, Arancio has made a number of manipulations, albeit in barely perceptible ways, that contribute to erase the human presence, to increase the terrifying aspects of the landscape, typical of the aesthetics of the Sublime, or to define new hybrid forms, inserting geological types belonging to other latitudes. Another alteration is operated by Arancio applying a coloured vinyl surface, over the glass covering the medieval road visible in the same room of the former stables. With a simple gesture, the artist highlights this historic relic and – at the same time – gives it a new connotation as the picture of a distorted memory, a dream, a hallucination that reflects its colours in the room and the surrounding works (What I Saw, 2016). On the other hand, nature is sacred in Arancio's work, seen as an expression and the subject of religious, magical and

esoteric instances. An example of this is the short film Cathedral (2014), presented in the S. Giorgio room. Filmed on the island of Staffa, part of the archipelago of the Scottish Hebrides, the film portrays the so-called Cave of Fingal. This takes its name from the Irish legends about Finn mac Cumhail, a giant who was believed to have built a bridge to take him from Ireland to Scotland, of which the cave would be the place of landing. With this story the ancient Irish narratives explain the continuity of the same geological basalt formations on the two sides of the same sea that divides Ireland and Scotland, cliffs, which are indeed derived from the same lava flow of about sixty million years ago. In Arancio's short film, this amazing geological structure of hexagonal columns becomes the place of a possible pagan worship. After exploring closely the rocky surface, the camera moves away, giving a better idea of the context. While a repetitive and hypnotic soundtrack grows in the background, almost in a subliminal way, the artist inserts some geometric designs of scientific studies on the geological formations of the island itself. Other chromatic alterations applied to certain visual images, help to increase the hallucinatory atmosphere of these sequences. When the camera shows us the cave from the inside, a cabbalistic symbol, hexagonal in shape like the basalt columns, appears at its entrance. At this point it is clear how this cavity is considered a mystical place, as Arancio suggests also by the title, the cathedral a site of a possibly esoteric cult, a place for the rites of a religion devoted to natural forms to which man can only give mythological explanations. Playing with the quality of the media used – the Super 8 film seems like

documentary material at the end of some scientific exploration – and with chromatic alterations superimposed on the image, the artist defines an alienating temporal ambiguity, the climate of a past perfect future, as in the series of prints previously mentioned. The large production of ceramics also developed by the artist from 2011, refers to the forms of an uncontrollable geological vitalism, an erotic nature erupting in increasingly diverse and unexpected shapes. Vice versa, for the new installation conceived for the second room of the Museo Civico di Castelbuono (Loblolly Knobcone Jack Gray, 2016), Arancio has presented a series of differently sized ceramics that reflect the shape of the pine cone. On these ceramics, produced in collaboration with an artisan of Castelbuono as an expression of an ancient craft tradition, Arancio has applied colours, which give this work a psychedelic flavour, as if to give an altered, "hallucinated", vision of tradition. If the shape of the pine cone refers, in fact, to the values of birth, immortality, fertility and abundance found in many religions and in the same Sicilian culture, Arancio seems to weld together different chronological moments culturally similar, in their ritual relationship with the cosmos, nature and myth. Finally, with a curious reversal of perspectives, this installation can also be read as a synthetic and stylized image of the woodland landscape of the Madonie, as if it were viewed from above by a giant creature: the viewer of the exhibition. It is easy to see how two different visions of nature seem to weld and question themselves in Arancio's work. These correspond to different moments in the artist's own biography. The pantheistic and sacred character, which refers to a certain natural landscape and its pagan and mythological connotations, are certainly linked to the Sicilian origins of the artist, for which the volcano and its energy – fertile and destructive at the same time – represent an essential presence for life in the region around Mount Etna. On the other hand, the long experience of life and study conducted by the artist in London, links him to the poetics for the sublime of northern European origin, to the Gothic tales and the nineteenthcentury Anglo-Saxon medieval revival, as the perceptual distortions of old and new musical psychedelia, from the '60s until today. In Arancio's work, these two visions overlap, converging the natural to the cultural in a syncretism without laceration, in a continuity of thought that jumps every purely rational explanation in order to walk the paths of myth. Finally, the prehistoric drawing of a maze, engraved on a fifty cent euro coin inside the Ventimiglia Castle tower, is another reference to this pre-historical time, a previous era of what we now call the Anthropocene, and it symbolizes the difficult attempt of man to orient himself in nature, in the complexity of its forms and its paths. This new and almost invisible intervention suggests a short circuit between alienating forms of production and of modern economy and a "other" time, as if old myths came back to take possession of our new, and often very uncertain, rites".

Luca Cerizza

The Museo Civico di Castelbuono wishes to thank Elenk’Art for the support and promotion of the cultural activities of the Museum and for the effort invested in encouraging the diffusion of contemporary art. We also wish to thank the Grand Hotel delle Palme; The HotelSphere Hotel & Villa Collection in Palermo; Villa Catalfamo in Cefalù; Hotel Paradiso delle Madonie in Castelbuono; b&b Donjon in Castelbuono; Ecologia e Ambiente SpA. We thank Federica Schiavo Gallery in Rome for the precious collaboration to the organization of this exhibition, and the Restaurant “Il Giardino di Venere”, Castelbuono.

MORE ON:

http://www.museocivico.eu/scheda.php?id=107