quinta-feira, 29 de janeiro de 2015

O centenário de Alberto Burri

Sacco e Rosso, 1954

No último fim de semana visitei a Feira de Arte de Bologna que, dentre suas atividades paralelas, contava com uma bela homenagem ao centenário de Alberto Burri, um artista italiano que eu não conhecia bem (e ainda não conheço, claro!). Gosto das datas redondas por isso: é uma excelente oportunidade para as novas gerações prestarem atenção à produção de artistas que estão em grandes coleções, mas que são exibidos poucas vezes sozinhos.

A programação completa do centenário pode ser acessada aqui.

Grande Ferro M1, 1958
"Alberto Burri nasce a Città di Castello (Perugia) il 12 Marzo 1915. Si laurea in medicina nel 1940. Quale ufficiale medico è fatto prigioniero degli alleati in Tunisia nel 1943 e viene inviato nel campo di Hereford, Texas. Qui comincia a dipingere. Tornato in Italia nel 1946, si stabilisce a Roma e si dedica alla pittura.

Dal 1950 assumono rilievo i "Sacchi", fino a predominare nelle mostre personali che, dopo Roma, si tengono anche in varie città americane ed europee. Agli inizi degli anni ‘60 si segnalano in successione ravvicinata, a Parigi, Roma, L’Aquila, Livorno, e quindi a Houston, Minneapolis, Buffalo, Pasadena, le prime ricapitolazioni antologiche che, con il nuovo contributo delle "Plastiche", diverranno vere e proprie retrospettive storiche, a Darmstadt, Rotterdam, Torino e Parigi (1967-1972). Gli anni ‘70 registrano una progressiva rarefazione dei mezzi tecnici e formali verso soluzioni monumentali, dai "Cretti", ai "Cellotex" , mentre si susseguono le retrospettive storiche in Italia e all’estero. Negli ultimi venti anni della sua carriera Burri realizza complessi organismi ciclici a struttura "polifonica".

Nel 1978 Alberto Burri istituisce a Città di Castello la Fondazione Palazzo Albizzini Collezione Burri che prende il nome dal monumentale palazzo che la ospita, le cui caratteristiche richiamano la sobria architettura rinascimentale fiorentina. Degli Albizzini si hanno notizie fino dal XIV secolo e i suoi componenti sono stati protagonisti di rilievo nelle vicende storiche della città: fu probabilmente un certo Ser Filippo di Lodovico a commissionare nel 1504 a Raffaello lo Sposalizio della Vergine per la Cappella di San Giuseppe nella vicina chiesa di San Francesco. Nel 1989 la Fondazione Palazzo Albizzini, per volontà dell’artista, acquisisce gli Ex Seccatoi del Tabacco. Queste architetture irripetibili, di insolita grandezza, completamente dipinte di nero all’esterno sono state trasformate in un’imponente "scultura", sede ideale per i grandi cicli pittorici e per le sculture in ferro esposte nello spazio antistante il complesso architettonico.

Alberto Burri muore a Nizza il 13 Febbraio 1995."

terça-feira, 27 de janeiro de 2015

O modernismo e seu duplo: A experiência sulafricana 1914-2014 #freecatalogue




Arrumando as malas, me deparei a papelada que peguei na Bienal de Arquitetura de Veneza de 2014. Abaixo, copio trecho do texto do catálogo do Pavilhão da África do Sul e o link para baixar um pdf da publicação.

------

Il modernismo ed i suoi doppi: L'esperienza sudafricana 1914-2014

Curato da Lemaseya Khama & Jean-Pierre de la Porte
www.southafricanarchitecturebiennale.com

------

"Between 1914 and 2014 South Africa experienced the most decisive events in its history. Beginning with the formation of the African National Congress and the Boer Republics antagonistic to the rule of the British Empire, South African people formed coherent visions and implementations of their collective future. A century of resistance and counter resistance ensued framed within the modernising terms of two irreconcilable nationalisms, contrasted visions of commonality and two mutually exclusive futures. These processes were imaginative as much as material, aesthetic as much as political and shared, despite their world famous antagonism, a set of commitments to the project of modernisation and with it, to the potentials, values and temporalities of Modernism. These opposed adventures within the modern project’s premises ensured that South Africa differed from most societies experiencing decolonisation and growing resistance to invasion, dispossession and Diasporas. It is the nature of this difference that is sought in the South African National Pavilion, and of the new aesthetic, cryptic, deliberately ephemeral but often monumentalising terms in which it was intensely played out. The viewer is invited to retrace the investment in modernism that made South Africa a global talking point twice in the last hundred years: through the highly modernistic social engineering of the 1961 mono-racial Republic and through the triumph and emergence into the post 1994 public realm of the dispersed, powerful imagination and capabilities that long opposed it, finally overcame it and now form its posterity. With the 1994 inauguration of the first democratically elected President and government after centuries of invasion, South Africa embarked on a path of reconciliation. This much celebrated event instantly blurred the boundaries between the forms and institutions of majority experience and the historically far more visible western derived outlines of the once minority rulers. The South African public realm and spatial imagination remains shaped by this recent alloying of once strategically opposed modernisms. South Africa 1914-2014: Modernism and its Doubles traces the paths of two distinctly conceived and realised modernisms that so often provided the momentum in South Africa’s defining century. Most strands of contemporary South African Experience still contend over the legacy of the modern, its ownership and denunciation and provide a laboratory for understanding what it meant and still could mean far from its place of birth in the northern hemisphere."

----

Um pdf do catálogo completo pode ser baixado aqui

quarta-feira, 14 de janeiro de 2015

O machismo segundo Nick Darmstaedter


Mais um take one pro meu arquivo público digital (risos)! Desta vez trata-se da exposição T2MamaTambien, de Nick Darmstaedter na galeria T293, em Roma. Darmstaedter é um jovem artista americano que, nesta exposição, trabalhou em torno da construção social da masculinidade a partir de uma perspectiva bastante particular. Adotando como ponto de partida o ano de 1972, as referências da cultura pop (música e cinema), da publicidade e do esporte da época são a matéria-prima da produção do artista, que já conta com um vasto currículo.

Nick Darmstaedter, My Name Is It Doens't Matter What Your Name Is, 2014, UV curable ink on concrete, 24x38 inches.


Nick Darmstaedter
T2MamaTambien
17 December 2014 - 31 January 2015
Opening 16 December 2014, 7pm
T293, Via G. M. Crescimbeni 11, Roma
T: +39 06 88980475
info@t293.it

T293 is pleased to present the first-ever solo exhibition in Italy by American artist Nick Darmstaedter. Entitled T2MamaTambien, the project takes inspiration from the spirit of masculinity that shaped American cultural production in the last quarter of the twentieth century. Darmstaedter has selected 1972, a pivotal year in America's social, economic, and political development, and the longest year in history according to the Coordinated Universal Time (UTC), as the focal point for a broader exploration of divergent and often competing associations and expectations for the male gender.

During the leap year 1972, while the scientific community was adding two extra leap seconds to the calendar in compensation for the slowing of the earth's rotation, men were undergoing their own critical reassessments as they faced a new array of influences from the media and the accelerated dissemination of mass culture. Presented with an expanding body of products and tastes, men were urged from all sides towards an ideal definition of manhood. Gathering and filtering his sources from advertising, popular music, films and magazines from 1972, Darmstaedter draws upon these archetypes to examine this deeper, and ultimately subjective, idea of "machismo".

A series of five oil paintings inspired by the album covers of groundbreaking musical artists Al Green, Black Sabbath, Ca, Lou Reed, and Neu! touch upon the impact that these musicians with their larger-than-life personalities had on a generation of men. Each album, released in 1972, contributed to a larger moment in which music, the most widely distributed art form, and the men responsible for its creation, played a significant role in informing the attitudes and behaviors of its male listeners.

The cinema of 1972 had an equally momentuous impact on the male psyche in that year and today. Darmstaedter borrows quotes from masculine classics like The God Father and Deliverance as titles for some of the exhibited work. His sculpture, I Could Dance Forever... Oh My Hemorrhoid!, featuring 72 sticks of locally-sourced Italian marble disguised in wax papper butter wrappers, pays homage to a legendary scene from the film Last Tango in Paris, in which famed American actor Marlon Brando sodomizes a young woman using butter as a lubrificant, in a theatrical gesture both intensely crude and virile.

Nick Darmstaedter, I Could Dance Forever! Oh, My Hemorrhoid, 2014, Italian marble, 72 salted sweet cream butter stick wrappers, dimensions variable

Meanwhile, a series of silkscreens derived from generically beautiful lanscapes featured in KOOLS cigarette advertisements from 1972 dissect the brand's marketing strategies of seducing male consumers to indulge in their unattainable desires. The independence and freedom associated with wilderness cater to the stereotypical male predisposition toward exploration and ingenuity. That these values can often mutate into selfshness, is addressed by several ultra violet curable ink prints on concrete, whose images are appropriated from articles about makeshift inventions and photos of stereotypically masculine men and desirable women born in 1972. In isolating these subjects, Darmstaedter sardonically underscores man's unsteady balance between personal pleasure and familial responsibility.

Nick Darmstaedter, I Could Dance Forever! Oh, My Hemorrhoid, 2014, UV curable ink on concrete, 48x36 inches

1972 also saw perhaps the greatest tragedy in sports history at the Olympic games held in Munich, where eleven Israeli athletes were taken hostage and murdered by Palestinian terrorists. Commuting All Death Sentences to Life in Prison, features a genuine 1972 Munich Olympic torch and an original issue of the first Ghost Rider comic book. The games, themselves a consummate forum for athletic achievement and masculine worth, occurred the same year in which the California Supreme Court declared the death penalty cruel, and constitutionally unjustifiable. In its new context, the torch becomes a poignant emblem for man's triumphs, his desire for a standard ideal, but also for his immeasurable failure and the rebirth of a new vision of perfection that, as Darmstaedter suggests, each man must determine for himself.

Nick Darmstaedter, Commuting All Death Sentences to Life in Prison, 2014, 1972 Olympic torch, Ghost Rider comic book, dimensions variable



segunda-feira, 12 de janeiro de 2015

Codalunga, o hard core de Nico Vascellari até o dia 17 de janeiro em #Roma | #Take1


Na iminência de uma nova mudança, a necessidade de dar fim à papelada acumulada reaparece. Para não perder as referências marcantes, publico aqui o release da exposição de Nico Vascellari que visitei mês passado na Galeria Monitor, em Roma. A exposição vai até o dia 17 de janeiro, portanto quem estiver pela área, ainda dá tempo de ir lá conferir.

Nico Vascellari, Codalunga, 2014, installation view at Monitor, Rome

Nico Vascellari
Codalunga

Opening October 30th 2014 | 7-9 PM

The first collaboration between Nico Vascellari and MONITOR took place in 2005, with a performance aboard a coach carrying some fifty people that included curators, collectors and journalists from Rome's art scene at the time. The onboard screens of the vehicle showed one of the artist's best-known videos, the powerfully visionary A Great Circle. Dressed as in the video, Vascellari sang the soundtrack whilst striding over the startled passengers, as the coach sped from the Galleria Nazionale d'Arte Moderna to Porta Pinciana and down Via Veneto, pulling up once more at the steps of the Galleria Nazionale at precisely the moment in which the video ended.



Nico Vascellari, Autoritratto HCVV, 2014, neon, varnish, 120 x 160 cm, installation view at Monitor, Rome

That same year Vascellari decided to open part of his studio in Vittorio Veneto to the public, drawing up a programme of experimental visual and sound events. The space was named Codalunga, like this show of Vascellari's work.
Over the decade that was elapsed since its founding, CODALUNGA has become an international reference point, an experimental platform that has hosted , among others, artists such as Diego Perrone, Roberto Cuoghi, Bjorn Copeland, Ari Marcopulos, Dominique Fernow, Arto Lindsay, John Duncan, Charlemagne Palestine, Mat Brinckman and Phil Niblock.
Vascellari himself refers to Codalunga as "a constantly evolving sculpture", and in this sense the place is a 'fast lane' towards entering and understanding the complex stratifications that make up this artist's research. The works on display will in fact revolve around those cardinal concepts that encapsulate Codalunga, Monitor's specular exhibition space providing an equally shared stage, with on the one hand works whose genesis is closely tied up with the space he created in northern Italy and, on the other, pieces from his latest production that are of a more private and personal nature.
Vascellari's solo show is the pondered, mediated result of a decade of development brought about by constant and tenacious work on behalf of this artist, to whom Monitor is pleased to pay a throughly deserved tribute.

Nico Vascellari, Into the Infinity of Thoughts, 2014, two wooden elements, framed, 122 x 182 cm each,
installation view at Monitor, Rome
Nico Vascellari, Untitled, 2014, acrylic and pen on paper, 72 x 47 cm framed

Simultaneously with the exhibition by the artist at MONITOR, Codalunga will move to the Ex Aula Bunker presenting a series of events with the participation of, among the other, Marina Abramovic, Arto Lindsay, William Basinski, Andrea Lissoni, Prurient, Luca Lo Pinto, Vatican shadow, Ron Morelli, Fabio Quaranta, Antonio Grulli. Throughout the month Nico Vascellari will be followed by cameras of Sky Arts, that will dedicate a documentary to Nico Vascellari and Codalunga.

Until January 17th 2015

Nico Vascellari, Codalunga, 2014, installation view at Monitor, Rome
Nico Vascellari, 07-09.11.14 Invernomuto (con Marsèllerie)+Nico Vascellari+Von Archives,
collage on glass, wooden framed
Nico Vascellari, 10.5.14 Le Luci della Centrale Elettrica, collage on glass, wooden framed, 37 x 28 cm

Nico Vascellari
(Vittorio Veneto, 1976, lives and works between Vittorio Veneto and Madrid).
Solo shows (selected): Whitworth Art Gallery, Manchester (upcoming 2015); GNAM, Roma (upcoming 2015); Codalunga, Monitor Rome; Officina, Bruxelles (2014); Bugada & Cargnel, Parigi (2012); Monitor, Roma (2011); MAN, Nuoro (2007); Arratia Beer, Berlin (2007); Skuc, Lubljana (2006); Viafarini, Milano (2006); Spazio Lima, Milano (2005).
Group shows (selected): Beyeler Foundation, Basel (2014); Riga Art Space, Riga (2014); ZKM, Karlsruhe (2014); SongEun Artspace, Seul, Korea (2014); La Casa Encendida, Madrid (2013); Galeria Raquel Arnaud, São Paulo (2012); VW, Berlin (2011); Confort Moderne, Poitiers (2011); MAK, Vienna (2011); Hangar Bicocca, Milano (2011); Pinchuk Art Centre, Kiev (2010); Magasin, Grenoble (2010); EACC, Castellò (2010); 12a Biennale di Architettura, Venice (2010); Wysing Art Centre, Cambridgeshire (2010); Mart, Rovereto (2010); Gamec, Bergamo (2010); Fondazione Pomodoro, Milan (2010); Julia Stoschek Foundation, Dusseldorf (2009); Whitworth Art Gallery, Manchester (2009); Kunsthaus, Graz (2009); Manifesta7, Rovereto (2008); Mambo, Bologna (2008); 15ª Quadriennale di Roma, Rome (2008); Maxxi, Rome (2007); 52ª Biennale di Venezia, Venezia (2007); Galleria Civica di Trento, Trento (2005).

Monitor
Via Sforza Cesarini 43a-44 I - Rome Ph 0039.06.39378027

sábado, 10 de janeiro de 2015

Último dia para conferir a exposição Pure Love, de Gabriele Porta, na Galeria Federica Schiavo, em Roma


Dando prosseguimento ao compartilhamento da viagem à Roma, segue o material relativo à exposição "Pure Love", de Gabriele Porta, que acontece até hoje na Galeria Federica Schiavo, em Roma.

A exposição reúne oito trabalhos do artista italiano em torno dos temas amor, sexo e morte. Particularmente inquietante é o video Untitled (My Wedding Will Be A Funeral), de 2014, realizado a partir de um filme amador queniano, encontrado pelo artista nos arquivos da BBC, em Londres. O filme apresenta cruamente um ritual violento que o título do trabalho vincula ao tradicional regime matrimonial de conjugalidade.

Gabriele Porta. Untitled (My Wedding Will Be A Funeral), 2014
video low fi, loop, no sound, 5 min 55 sec
Gabriele Porta. Untitled (My Wedding Will Be A Funeral), 2014
video low fi, loop, no sound, 5 min 55 sec
A tensão erótica entre a projeção e os demais trabalhos, indicada no press release abaixo, é extremamente bem construída pela montagem dos trabalhos nas três salas de exposição, no escritório e no corredor da galeria. A chegada à sala dois (a última que visitei), onde o vídeo citado está instalado, nos força a ressignificar tudo o que vimos nas demais salas (sobretudo a série de trabalhos sobre papel da sala 3, que leva o mesmo título do vídeo). No caminho de volta até a saída da galeria vemos os trabalhos diferentemente, o que parece indicar a potência plástica e significativa da produção deste jovem artista.

Gabriele Porta. The Long Impurification Has Begun, 2014
enamel on mdf board, walnut wood, 142,5 x 189 x 4 cm (142,5 x 92 x 4 cm each)


PURE LOVE
GABRIELE PORTA

21 November 2014 - 10 January 2015
Opening Reception, Friday 21 November, H 6:00-9:00 PM
Federica Schiavo Gallery, Piazza di Montevecchio 16, Rome

Federica Schiavo Gallery is delighted to present Pure Love, Gabriele Porta's first solo show in Rome. The exhibition is built around three main themes: love, sex and death, within the artist develops a wide range of shades such as tenderness, pornography, the cult of death.

In Porta's work these issues present the eternal dualism between opposites that however do not entail a real contrast but a mutual completion and it leads to a new territory where the visitor will experience a continuous oscillation between pleasure and disgust.

The exhibition includes a video on a monitor, a video projection, a new series of paintings on board, prints and drawings on sandpaper.

The cornerstone of the exhibition - even though decentralized in the gallery's space - is the connection of the video projection My Wedding Will Be A Funeral, a cruel amateur film shot in Kenya, to a series of works on paper whose lightness creates a powerful and disturbing contrast with the content of the video.

Gabriele Porta.  Untitled (My Funeral Will Be A Wedding), 2014
spray paint on arches paper, glitter,  51 x 35,5 cm (framed: 60 x 44,5 x 4 cm each)
Gabriele Porta.  Untitled (My Funeral Will Be A Wedding), 2014
spray paint on arches paper, glitter,  51 x 35,5 cm (framed: 60 x 44,5 x 4 cm each) 

The show Pure Love is prohibited to minors under the age of 18.

Gabriele Porta. Untitled (The Last Thought In Kids Lives Is Love), 2014
print on aluminum pet, spray paint, 62 x 42 cm each (framed: 72,5 x 52,7 x 4 cm each)

Gabriele Porta. Untitled (The Amazing Love In Someone Who Does Not Believe In The Possibility Of Genocide), 2014
print on sandpaper, fluo enamel, 28 x 21cm each (framed: 35,5 x 28,5 x 3 cm each)
Gabriele Porta was born in Monza in 1981. He lives and works in Arcore, Italy. After his studies at the Brera Fine Arts Academy in Milan, 2004, he won a scholarship at the Slade School of Fine Art - UCL of London where he had his MA Master Degree in Fine Arts Media in 2007. The artist has participated in many group exhibitions in Italy including The Milky Way, Galleria Lia Rumma, Naple 2014 (promoted by Pianoterra Onlus); La fioritura del bambù, Viafarini DOCVA, Milan 2009; The Inner Emotion of Being Alive, Federica Schiavo Gallery, Rome 2009. His work was exhibited in many european cities: London, UK; Paris, France; Locarno, Switzerland; Reyjavik, Iceland.


quinta-feira, 8 de janeiro de 2015

SMALL Rome, curada por Adam Carr, na Galeria Frutta (Roma)


Nas minhas andanças por Roma no mês passado, auxiliado pelo Artguide, visitei pela primeira vez a galeria Frutta, onde é possível, até o dia 24 de janeiro, ver a bela exposição Small Rome, curada pelo inglês Adam Carr.

SMALL Rome, 2014, Installation View, Frutta

A exposição, na contramão da monumental cidade de Roma e do imperativo espetacular que insiste em se instalar no mercado da arte contemporânea, é um elogio do pequeno, do menor. Lupas são disponibilizadas logo na entrada da galeria e são a metáfora perfeita do tipo de atenção que a exposição demandará do público (além de serem realmente úteis para a leitura dos créditos das obras, em tipologia minúscula). 

SMALL Rome, 2014, Installation View, Frutta

Nada de maravilhamento com o monumental, nada que componha um bom selfie. É preciso chegar perto, abaixar-se, ter cuidado para não pisar nas obras que, por vezes, são quase invisíveis, como é o caso do trabalho de Amanda Ross-Ho, que consiste em quarenta taças de vinho de 1,6 cm cada espalhadas em pequenos conjuntos por toda a galeria.

Amanda Ross-Ho, Untitled Opening (NOIR AND BLANC), 2014,
Forty 1:12 Scale Glass Wine Glasses, Pigmented Resin, 1,6 cm
Mas Small Rome oferece mais do que a virtuose técnica da produção do minúsculo (uma nanoarte?). A exposição apresenta uma economia material e gestual que não corresponde a uma pobreza argumentativa e/ou plástica. Temos a oportunidade de experimentar uma reversão do consumo ligeiro da arte, na medida em que os trabalhos expostos nos demandam um tipo de atenção e cuidado que nos instala em uma temporalidade cada vez mais difícil de ser encontrada nos cenários urbanos contemporâneos.

A poucos minutos do Coliseum, pode-se experimentar essa outra Roma, menor sem dúvida, mas onde os paus de selfie dão lugar às lupas, e onde o reconhecimento da paisagem exaurida pelo turismo dá lugar às descobertas do investigador atento.

---

SMALL Rome
curated by Adam Carr
17 December 2014 - 24 January 2015

Artistas: Jacqueline Bebb, Nina Beier, Adam Broomberg and Oliver Chanarin, Sol Calero, James Clarkson, Susan Collis, Gabriele De Santis, Jason Dodge, Sean Edwards, Tim Foxon, Ryan Gander, Ditte Gantriis, Mario Garcia Torres, Gareth Griffith, Brian Hubble, Dean Hughes, David Keating, Chosil Kil, Jonathan Monk, John Henry Newton, Alek O., Joe Orr, Wilfredo Prieto, Laura Reeves, Amanda Ross-Ho, Andreas Slominski, Mateo Tannatt, Mungo Thomson, Oliver Tirre, Santo Tolone, Brent Wadden, Bedwyr Williams, Jesse Wine

Frutta
Via Giovanni Pascoli, 21
00184 Roma
Italy

+39 06 68210988


Postagens populares