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4/5/2019 - SALVATORE ARANCIO | IS THIS PLANET EARTH?

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

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

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

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

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

More on: Farens Hull

20/4/2019 - SALVATORE ARANCIO | MATERA ALBERGA ARTE ACCOGLIENTE

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

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

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

14/3/2019 - SALVATORE ARANCIO | PROSPETTIVA ARTE CONTEMPORANEA

Fondazione Fiera Milano presenta per la prima volta al pubblico, con la collaborazione di Intesa Sanpaolo e Gallerie d’Italia, una…

Fondazione Fiera Milano presenta per la prima volta al pubblico, con la collaborazione di Intesa Sanpaolo e Gallerie d’Italia, una selezione di opere provenienti dalla propria collezione che, a partire dal 2012, è stata costituita attraverso acquisizioni realizzate nel contesto di miart, la fiera internazionale d’arte moderna e contemporanea di Milano. Ogni anno, infatti, una diversa giuria composta da direttori e curatori di musei internazionali è invitata a selezionare opere d’arte presenti in fiera con l’obiettivo di incrementare la collezione di Fondazione Fiera Milano.

Prospettiva Arte Contemporanea restituisce uno spaccato della ricerca artistica italiana e internazionale attraverso le opere di artisti appartenenti a più generazioni e attivi dalla seconda metà del Novecento fino ai giorni nostri. Portavoce di linguaggi artistici differenti, le 43 opere appartengono alla pittura così come alla scultura, al film, alla fotografia, al disegno e all’installazione, e insieme costruiscono un percorso attraversato da temi quali il rapporto tra l’immaginario naturale e quello culturale, i meccanismi della visione e della rappresentazione, la tensione tra astrazione e figurazione, tra parole e gesti, tra spazio e architettura.

 

- JAY HEIKES | JOSLYN MUSEUM, OMAHA, USA

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

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

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

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

- PATRICK TUTTOFUOCO | ELEVATIO CORPUS, TRE PROGETTI PER GHIZZANO, PISA, ITALY

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

OPENING: MAY 23rd, 7 PM

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

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

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

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