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23/02/18

Il vetro si espande




La Fondazione Musei Civici di Venezia, nell’ottica di creare un supporto didascalico allo sviluppo dell’arte vetraria muranese, inaugura con il 2018 un nuovo capitolo all’interno del percorso permanente del Museo del Vetro di Murano, che si attuerà grazie alle donazioni di prestigiose opere contemporanee.
L’obiettivo è ricordare e ribadire al mondo che a Murano si produce il vetro artistico, che le antiche tecniche non sono dimenticate e che la creatività in questo ambito – come già avvenuto in varie occasioni nel passato - è capace di rinnovarsi continuamente.
Forte di una tradizione che ha sempre caratterizzato lo spirito fondante di questa realtà, come testimonia molto bene l’attenzione che ne ebbe l’Abate Vincenzo Zanetti, il museo dedicherà a partire dal 23 febbraio uno spazio solo per le nuove acquisizioni che saranno così esposte in modo permanente.
Lo spazio scelto per questa rassegna sarà la Sala Brandolini, che accoglierà questo nuovo nucleo dedicato al vetro moderno e contemporaneo, che di volta in volta verrà integrato da future donazioni. Non a caso la sala è intitolata a un’artista e mecenate del vetro come Marie Angliviel de la Beumelle Brandolini – parigina di origine ma veneziana d’adozione - che il museo ha deciso di ricordare in modo permanente per l’estrema sensibilità dimostrata verso l'arte del vetro, prodottasi in particolare nella creazione di bicchieri originali e divertenti – i ‘goti’ – caratterizzati da motivi e colori originali pur nella loro affascinante semplicità.
In questa prima esposizione saranno esposte una cinquantina di opere in vetro che annoverano, tra gli altri, artisti del calibro Pino Signoretto, Archimede Seguso, Napoleone Martinuzzi, Ermanno Nason, Tadao Ando, Cristiano Bianchin, Toots Zynsky, Markku Piri, Mauro Vianello, Antonio Seguso, Tobia Scarpa, Giorgio Vigna, Andrea Morucchio, realizzate per conto delle maggiori vetrerie dell’isola.

Artrooms Roma



Arriva dalla Gran Bretagna un'idea di fiera sull'arte contemporanea per la città di Roma, si tratta di Artrooms, una iniziativa che sta avendo un positivo riscontri di pubblico e di critica. 

Negli eleganti spazi del The Church Palace si svolgerà dal 2 al 4 Marzo 2018, con diverse sezioni.





Artrooms Roma, selezionati da tutto il mondo attori Artrooms Roma è lieta di annunciare i nomi degli artisti selezionati per il lancio Italiano della fiera.

Artrooms, la prima Fiera Internazionale di Arte Contemporanea di offrire Spazi espositivi gratuiti Agli Artisti indipendenti, inaugurerà in Italia dal 2 al 4 marzo 2018 all'hotel The Church Palace, a Roma, e si articolerà in tre sezioni: Room, Sculpture Park e Video Arte.

Scopo dell'evento italiano è esportare il concetto che Artrooms London ha reso popolare nelle ultimequattro edizioni, a partire dal 2015: Artrooms Roma custodite ad artisti provenienti da ogni parte del mondo di Esporre i Loro Lavori Nelle camere di Palazzo La Chiesa, trasformate per l'Occasione in atelier Dagli artisti Stessi.


Sezione camera:
(In giuria: Christian Fannenboech Campini, Massimo Giannoni, Fulvio Granocchia, Tiziana Kaseff Grilli, Gianluca Marziani, Antonio Valentino) Stanza, la sezione principale, ospiterà 50 artisti, scelti tra circa 500 candidati provenienti da tutto il mondo.

Tra questi, nove gli artisti italiani: Elisa Cantarelli con il progetto Dotting, Sabina D'Angelosante, i fotografiGianmaria De Luca, Paola Ruvioli e Paolo Repetto, Ernesto Galore (alias Emanuele Garletti), Marika Ricchi con il progetto Giù I piedi dal letto, Barbara Salvucci, e la multi premiata Antonella Scaglione.

Dall'Australia arrivano due artisti il ​​cui lavoro è fortemente legato alla letteratura: Robert Lee Davis, che passa attraverso i quadri Le città invisibili di Italo Calvino e le ceramiche fluttuanti di Kieran Ingram, ispirate dalla poesia Burnt Norton di TS Eliot. Dalla Nuova Zelanda, Fiona Hueston porta a Roma le sue installazioni di origami, mentre gli artisti pakistani Rizwan Ali e Tania Nasir, entrambi miniaturisti, Parteciperai con successo alla dinastia Mughal e con le tradizionali islamiche geometrie. Esporranno i loro lavori anche Chisato Yasui (Giappone), l'artista multimediale Natalia Ohar (Ucraina) e Tolga Bayraktar (Turchia).

Originaria del Senegal e residente in Italia, Awa Sar esporrà un'opera in seta selvaggia; Zuzana Lalikova (Slovacchia) presentera sogno di Penelope; mentre Emilia Maino, o LIA Colectivo, (Cile) proporrà un lavoro Tessile su paesaggi Geografici.

Tra gli artisti, Brian Huber (USA) attinge la propria ispirazione dai fiumi ghiacciati che vita vita in serie intrecciate, mentre il fotografo multi-premiato Derek Man, da Hong Kong, presenta The Orchard Project, dedicato personalmente alla Conservazione di frutteti comunitari. La koreana Sunwoo Kim, vincitrice del premio "Kidult Challenge" del Museo Nazionale di Arte Contemporanea e Moderna di Seoul, dedica le opere citare in giudizio una “Dodo” un animale Ormai estinto, originario delle isole Mauritius.

Dall'Europa: la multi premiata Mariya Alipieva e il mosaicista Ivan Djidjev (Bulgaria) con il suo studio dei Multipli; Leo Kantunaric Kadele (Croazia); Marek Slavik (Repubblica Ceca), già presente nel 2017 al Museo Crocetti di Roma, che ad Artrooms Roma presenterà Curved Reality, progetto su mondi paralleli in cui le emozioni e i Sentimenti diventano i Principi Principali dei dipinti; Cyre de Toggenburg (Francia), nella cui opera l'astratto è una porta per la spiritualità; Chloe Malard (Francia); il giovane scultore Herman Sobe, Tanja Burgelin Arslan, Wassily Kazimirski e Holger Theunert (Germania); Peter Belso (Ungheria), al confinare tra Arte e Design, Che presentera bici a casa; Cecilia Bullo (italo-irlandese), con un'installazione site-specific, comprendente scultura, il video e fotografia; Marianne Vanderbosch (Olanda); Daria Blazek (Polonia), per la fotografia digitale; Neide Carreira (Portogallo); lo scultore Miodrag Peric (Serbia), direttore e Fondatore di IN VIVO, Simposio Internazionale degli Scultori di Novi Sad, Serbia; Marina Gomez (Spagna).

Dal Regno Unito, arrivano Komal Madar; Susan Supercharged, già presente in collezioni importanti a Londra, Miami e New York; Kristina Chan, Che soltanto nel 2017 ha Vinto i Premi: Royal Society of Painter Antonio Dawson degli incisori, RSA Guthrie Award e Medal / Royal Scottish Academy, Edimburgo Incisori Award, The Elizabeth Greenshields Foundation Grant / La Fondazione Elizabeth Greenshields; Jemma Appleby, Sarah Emily Porter, Kevin Stamper, Merna Liddawi, Clara Mill, Abigail Yentis, Ortelius Drew, pseudonomo per Ilga Leimanis (Londra) e Doreen Wittenbols.


Sezione Sculpture Park:
(In giuria: Cristina Cellini Antonini e Pietro di Pierri) Grande Successo per gli italiani Nella sezione Sculpture Park, dove sei artisti su nove rappresenteranno l'Italia: Camilla Ancilotto, Paola Falconi, Valentina Lucarini Orejon, Laura Pellizzari, Andrea Polichetti e Federica Zianni. Tra gli stranieri: Martin Navratil (Slovacchia), Jacek Opala (Polonia) e Val Wecerka (Bulgaria).


Sezione Video Arte:
(In giuria: Cristina Cellini Antonini e Pietro di Pierri) Quindici gli artisti italiani e internazionali che parteciperanno alla sezione Video Arte della fiera: Karina Zen (Brasile); Yasen Vasilev (Bulgaria); Leyla Rodriguez e Annina Roescheisen (Germania); Michael Liani e Igal Stulbach (Israele); Uro Bannera; Silvia De Gennaro e Claudia Quintieri (Italia); Clara Aparicio Yoldi (Spagna); Ian Wolter; Browzan alias Christopher Brown e Mark Sedge (Regno Unito); Natalia Ohar (Ucraina); Ira Schneider (USA).


Artisti invitati dall'Organizzazione:
Ad Artrooms Roma sarà inoltre presentata Lei e Lui, di Patrizia Montedoro (Italia), con un progetto in Allenamento Collaborazione con Street. Tra Gli Artisti Ospiti, Mariangela Capossela, con la video-Installazione Il Velo della Sposa; Alice Padovani, con Solid; Mauro Pallotta (aka Maupal) con La Città dell'Anima; Leandro Lottici con la scultura Eco Ancestrale; e Paolo Franzoso, artista narratore del tempo presente.

Boris Zaborov a Firenze


Ritratto di Yakov Frenkel bambino, 2012, acrilico su tela, 61,5 x 51,5 cm



Il prossimo 3 Marzo prende avvio all'Accademia delle Arti del Disegno nella Sala delle esposizioni, in Via Ricasoli n.68 (angolo Piazza San Marco), a Firenze, una mostra su Boris Zaborov , artista russo di fama internazionale, figura singolare, sia per quanto riguarda la storia personale che per la formazione artistica, il cui lavoro di pittore s’intreccia con la grafica, la scultura, la scenografia, il teatro e il cinema.

Cavaliere dell’Ordine di “Arte e Letteratura” della Repubblica Francese e Accademico onorario dell’Accademia di Belle Arti a Mosca, nel 2008 Boris Zaborov ha donato il suo "Autoritratto" alle Gallerie degli Uffizi per la collezione degli Autoritratti.

Cristina Acidini, Presidente dell’Accademia delle Arti del Disegno, soffermandosi sulla “potenza inventiva e stilistica” che l’artista esprime in pittura, scultura e bassorilievo, creando “distanze e separazioni inattese entro lo spazio del quadro”, sottolinea che “quando la scultura impone la sua fisicità pesante, allora Zaborov sembra voler tentare la fuga per le vie del tempo, risalendo all’indietro il suo corso impetuoso e inesorabile, per trovare la fonte del nostro essere nel presente e del nostro predisporci al futuro”. Nelle sue opere “il passato remoto e il futuro anteriore si saldano, con una continuità che attira l’osservatore in un tempo sospeso, consumato nell’attimo in cui se ne percepisce il trascorrere”.

 
L’artista evoca volti, persone, animali e oggetti attraverso il filtro della nostalgia, tanto cheGiovanna Giusti, curatrice della mostra, spiega come “del dialogo con l’anima sua e con quella dei suoi ‘eroi’, che affiorano nei ritratti, Boris Zaborov ne dà conto non solo nei dipinti ma anche negli scritti cui affida note di vita - ora struggenti ‘messe a fuoco’, ora quasi fantasticherie - intime e sincere sempre. Quegli ‘eroi’ sono diafane presenze su cui Zaborov s’interroga e lo interrogano; sono all’origine vecchie foto di studio, frutto di una passione collezionistica, che Zaborov avverte come sue ‘complici’, perché la melanconia e la tristezza - proprie anche al sentire dell’artista - e l’anonimato dei soggetti sono eletti a motivo conduttore della pittura.  
 
Attori di circo, 2018, matita su carta preparata, 45 x 55 cm

Le elaborate opere di Zaborov sembrano affiorare da un passato carico di memorie e di affetti profondi, foto familiari, icone ieratiche di antenati possibili: attraverso l’uso dell’acrilico, del pastello, della matita, dell’incisione o della fusione, Zaborov esprime pienamente la sua natura meditativa e malinconica.
I ritratti, individuali e di gruppo, sono carichi di una sospensione esistenziale, come collocati in spazi atemporali, maturano nella percezione dell’artista che compie la sua ricerca andando per mercati di vecchie cose, assaporando e annusando l’odore del tempo, di ciò che è stato e che, attraverso l’arte, si rigenera. Abile nella tecnica dell’incisione, agisce sulla lastra facendola corrodere con l’uso degli acidi, usa il disegno a matita sulla tela utilizzando solo pochi elementi. Per quanto riguarda i bronzi, essi assumono per lo più la forma di libro nel quale sono incastonati degli elementi, anch’essi della “memoria”, libri caratterizzati da una patina accurata, “libri-oggetto”, reperti archeologici, libri di preghiere o antichi album rilegati in pelle che custodiscono i ricordi di famiglia più preziosi.
 
 
Libro con una penna, 2002, 21 x 16,5 x 9 cm, proprietà dell’artista

Boris Zaborov ha espresso il desiderio di conoscere gli studenti dell’Accademia di Belle Artidi Firenze, l’incontro avverrà il 5 marzo 2018 alle ore 17.00, nella sede della mostra.
 
All’inaugurazione interverranno Cristina Acidini, Presidente dell’Accademia delle Arti del DisegnoDomenico Viggiano, Direttore della Sala Mostre, Andrea Granchi, Presidente della Classe di Pittura dell’Accademia delle Arti del Disegno, Giovanna Giusti, curatrice della mostra.
Sarà presente l’artista Boris Zaborov.
A corredo della mostra è stato realizzato un catalogo con i testi di Cristina Acidini, Giovanna Giusti, Andrea Granchi e Boris Zaborov, pubblicato da Polistampa.
 
   
INAUGURAZIONE MOSTRA
Sabato 3 marzo 2018, ore 17.00
Accademia delle Arti del Disegno
Sala delle Esposizioni
Via Ricasoli, n. 68 (angolo Piazza San Marco), Firenze
 
ORARI MOSTRA
La mostra sarà visitabile dal 3 al 30 marzo 2018 con i seguenti orari: 
Da martedì a sabato: ore 10.00-13.00 /17.00-19.00
Domenica: ore 10.00-13.00
Lunedì chiuso.
Ingresso libero.


L’opera, dal titolo “L’artista e la sua modella” (1998), già esposta agli Uffizi nel 2005 in occasione dell’esposizione “Moi! Autoritratti del XX secolo” e poi collocata nel Corridoio Vasariano fino al 2016, sarà esposta alla Galleria d’arte moderna (GAM) di Palazzo Pitti in coincidenza con la mostra all’Accademia delle Arti del Disegno.

Artista russo di fama internazionale, Boris Zaborov è certamente una figura singolare, sia per quanto riguarda la sua storia personale che per la formazione artistica, il cui lavoro di pittore s’intreccia con la grafica, la scultura, la scenografia, il teatro e il cinema. Cavaliere dell’Ordine di “Arte e Letteratura” della Repubblica Francese e Accademico onorario dell’Accademia di Belle Arti a Mosca, per la mostra all’Accademia delle Arti del DisegnoBoris Zaborov ha selezionato alcune opere con cui dichiara ancora una volta il suo legame d’affetto per Firenze e l’ammirazione per l’arte della nostra città, riconducibile agli anni della sua formazione accademica.

Nel 2008 Boris Zaborov ha donato il suo "Autoritratto" alle Gallerie degli Uffizi per la collezione degli Autoritratti. L’opera, dal titolo “L’artista e la sua modella” (1998), già esposta agli Uffizi nel 2005 in occasione dell’esposizione “Moi! Autoritratti del XX secolo” e poi collocata nel Corridoio Vasariano fino al 2016, sarà esposta alla Galleria d’arte moderna(GAM) di Palazzo Pitti in coincidenza con la mostra all’Accademia delle Arti del Disegno.
 
Boris Zaborov è nato a Minsk (Russia) il 16 ottobre 1935, si è formato all’Accademia delle Belle Arti di Leningrado, dove è stato studente dal 1955 al 1957 e, dal 1957 al 1961, alSurikov Art Institut di Mosca; dotato di una personalità versatile e un talento precoce, ha respirato arte nella quotidianità della vita familiare, con gli odori degli oli e delle tele di lino cui il padre lo avvicinava.

Nonostante il successo come illustratore e scenografo, riconducibile soprattutto all’inizio della sua attività in Russia, nel 1981, seppur con dolore, Zaborov decide di trasferirsi a Parigi, seguendo la profonda aspirazione di tracciare un percorso autonomo e di fare arte in modo diverso.

Protagoniste dell’esposizione all’Accademia delle Arti del Disegno sono 44 opere tra dipinti, disegni e incisioni, oltre a 6 sculture in bronzo. Nelle sue opere pittoriche le immagini ritratte sembrano provenire da lontano (Il cane, 2012; Coppia con il bambino, 1996; Ritratto di Yakov Frenkel bambino, 2012), come fossero fissate in una memoria arcaica, legata ai viaggi e, forse, anche alla scelta dell’artista di allontanarsi dal paese d’origine.




HG Art Basel Film




Con 59 film e opere video Art Basel Hong Kong festeggia la sua quinta edizione. Curato dall'artista multimediale e produttore cinematografico Li Zhenhua che proporrà anche un Videotage, organizzazione no-profit di Hong Kong. 



Film: Art Basel announces details of its 2018 Film program in Hong Kong Celebrating its fifth edition in Hong Kong, Art Basel will present an ambitious program of 59 film and video works. Multi-media artist and film producer Li Zhenhua, who has been curating the sector since its  inception, has brought together a premier selection of film and video works inspired by the current sociopolitical climate, presented by galleries participating in the fair. As part of the Film program, Art Basel is also collaborating with Videotage, a non-profit organization from Hong Kong specializing in video and new media, to present video works by Nam June Paik as well as by artists from Hong Kong and Mainland China influenced by Paik's work. Art Basel, whose Lead Partner is UBS, takes place at the Hong Kong Convention and Exhibition Centre (HKCEC) from Thursday, March 29 to Saturday, March 31, 2018.

Alongside a selection of short films, this year's sector includes seven special screenings, completing a program of 59 works by 67 artists, represented by 38 galleries. ‘Days Gone By – Yu Hong’ (2009) by Wang Xiaoshuai (b. 1966) will open the special screenings program on Wednesday, March 28, depicting the life and work of Yu Hong, a female contemporary Chinese artist. The film not only portrays the life of an individual artist, but also encapsulates the rise of the Chinese art scene during a drastically changing era. 

Fusing traditional woodcut techniques with a 3D visual experience, ‘Time Spy’ (2016) by Sun Xun (b. 1980) will be screened on Thursday, March 29. On Friday, March 30, ‘Deep Gold’ (2013-14) by Julian Rosefeldt (b. 1965) and ‘Mrs. Fang’ (2017) by Wang Bing (b. 1967) will be screened. Awarded the Golden Leopard at the Locarno Film Festival in 2017, ‘Mrs. Fang’ is a documentary that depicts the last stages of a farm worker's life who has been suffering from Alzheimer's for several years. Additionally, Art Basel is collaborating with Videotage on a special program highlighting the Hong Kong-based not-for-profit's ongoing endeavors and contributions to new-media art from Asia. ‘The Future Is in the Past’ revisits the video art collections initiated by Videotage and the Nam June Paik Art Center in two parts. ‘Imagined Future’ will showcase works by Nam June Paik (b. 1932 – d. 2006) alongside early Hong Kong video works inspired by Paik. The screening will be followed by ‘Imaginaries Beyond the Past’, presenting a new generation of young Mainland Chinese and Hong Kong artists working with video and the moving image. All seven special screenings will be presented at Theatre 2 at the HKCEC.

Exploring seven diverse themes, the short film program will be screened at the Hong Kong Arts Centre Cinema from Wednesday, March 28 to Saturday, March 31. Wednesday to Friday's short film program will rerun at the HKCEC at 6:30pm on the respective day. Highlights include: ‘The War That Never Was’, a selection of short films by Edgardo Aragón (b. 1985), Bae Yoon Hwan (b. 1983), Chien-Chi Chang (b. 1961), and Sutthirat Supaparinya (b. 1973); ‘Looking For Mushrooms’, presenting Bruce Conner's (b. 1933 – d. 2008) 1967 classic by the same name as well as work by Chen Xi (b. 1985), Fang Lu (b. 1981), Omer Fast (b. 1972), Lei Lei (b. 1985), Thomas Sauvin (b. 1983), and Philipp Timischl (b. 1989); ‘A Sense of Warmth’ incorporating 10 films  exploring social  relationships by Nevin Aladağ (b. 1972), Sven Johne (b. 1976), Laure Prouvost (b. 1978) and  Charwei Tsai (b. 1980) among others; and ‘How Happy a Thing Can Be’, featuring video works that investigate how physical objects and situations can determine an emotion and instill beliefs. Taking its title from Cécile B. Evans' (b. 1983) video work, the screening also includes works by Anna Maria Maiolino (b. 1942) and Yuan Keru (b. 1990) among others.

Art Basel's Film program is free and open to the public. Due to limited capacity, seats are available on a first-come-first-served basis. At 4pm on Saturday, March 30, Film curator Li Zhenhua will be in conversation with Isaac Leung, Chairman, Videotage; Jan Cho, Managing Director, TBWA\ Hong Kong; and Sang Ae Park, Archivist, Nam June Paik Art Centre to discuss 'Social Content in the Age of Digital Distribution'. The talk is free to the public and will take place in the Art Basel Auditorium at the HKCEC. 

21 Galleries present young artists at ART COLOGNE 2018


La più antica fiera d'arte del mondo, quella di Colonia, presenta le giovani proposte selezionate per l'iniziativa  "New Positions" che dal 1980 ospitano queste interessanti realtà in spazi adiacenti alle gallerie espositive. 


CS

Since 1980 the sponsorship programme "New Positions" provides galleries with the possibility to present a solo presentation of a young artist in a 25 square metre area adjacent to their main stands. Financial support is provided by the Federal Government Commissioner for Culture and the Media, the federal state of North Rhine-Westphalia, the Bundesverband Deutscher Galerien und Kunsthändler (German association of galleries and art dealers) and Koelnmesse. Every year a new Jury of experts in the visual arts is assembled to make the selection. This year‘s Jury of experts consist of Dr. Renate Goldmann, Director of the Leopold-Hoesch-Museum in Düren and of the Papiermuseum Düren, Nikolai Forstbauer, author and journalist, Stuttgarter Nachrichten, Martin Liebscher, Artist and Professor at the University of Art and Design in Offenbach, Thomas Rehbein, owner Galerie Thomas Rehbein, Cologne, and Klaus Webelholz, Director Galerie Bärbel Grässlin, Frankfurt. They have selected 21 young artistic positions. The Deutsche Telekom will also confer the ART COLOGNE Award for New Positions. The award also includes a solo exhibition in the Cologne Artothek.
Impression of Art Cologne 2017, south entrance © Koelnmesse
Many of the young artists selected this year move between genre boundaries, lending the classic media of Painting and Drawing new and innovative impulses, through unconventional techniques, new materials or process oriented pictorial inventions.

Mathieu Bonardet (Galerie Jean Brolly, Paris) creates a delicate play of lines with the finest shading using graphite on paper, which are sometimes mounted on wood. The gentle colour progressions, even of small formats, radiate well beyond the edge of the image field and appear to merge with the surrounding wall elements. The movements of the body are inscribed into the drawings, which Mathieu Bonardet also presents as diptychs. When viewing them, the energy at play during the creation of the work cam be sensed.

Wood, metal, hardboard, fabrics and carpets serve the painter Lutz Braun (Galerie Nagel/Draxler, Cologne) as painting surfaces, on which he creates apocalyptic scenarios full of allegorical references, in which colour serves as an important mediator of mood. A narrative, theatrical impression is typical of Braun's paintings, in which motifs of the present, the past and the future interlock.

Sebastian Dannenberg (Galerie Anke Schmidt, Cologne) interacts with the special characteristics and features of the respective (public or semi-public) space with painterly gestures. His works reveal their special impact and make new experiences of space accessible to visitors in an interplay of painterly and decorative elements. 

Dannenberg often works directly on the exhibition space wall, using commercially available paint, which he then applies as areas or stripes in the process. His location-oriented works are temporarily limited markings, with which he produces references between the place, the viewer and the artistic positing.

The current pictorial cosmos of the painter Andrej Dubravsky (Dittrich & Schlechtriem, Berlin) is informed by the fowl he keeps at his Slovakian farm. Hens and cocks, which he paints washed-out colours and presents in aggressive postures, serving as a symbol for repressed basic instincts. The series links up with the sexually charged portraits of nude young men in swampy landscapes, the titles of which are derived from porn portals.

A serial work method is typical of Theresa Eipeldauer (Galerie Krobath, Vienna), who plays out a motif, a pattern or a hatching in various techniques and on a variety of pictorial media, including foil, paper, cardboard. The basic element is the line, which is constantly multiplied and forms clear architectural-geometric forms. The silkscreen prints, predominantly in pastel-like colours, mounted on brackets and frames, are as much objects in the space as printed sheets of paper rolled up, which are positioned vertically or horizontally.

Ayan Farah (Kadel Willborn, Düsseldorf) unites aspects of Western abstract art and Land Art with techniques of African arts and crafts. The foundation of her pictorial works is provided by historical textiles, which she treats in an alchemistic process with minerals and types of earth collected in her travels. The fabrics are then cut and composed anew into strict geometric patterns and linear compositions. Farah conceives of her work as the poetic equation of a complex sociopolitical reality full of varying world views.

Tim Freiwald (Walter Storms Galerie, Munich) saws or cuts the image surface, dissolves it or treats it with fire, and then stabilizes it again by various means. Images are generated in a sequence of action and reaction, with the signs of their origin quite legible. By breaking open the canvas and bringing together various materials, Freiwald's works assume the character of objects.

Martin Groß (Galerie Eigen + Art, Berlin/Leipzig) includes impressions from urban space in his sometimes wall-filling pencil drawings and prints. The diffuse images, which are as reminiscent of postindustrial landscapes as they are of visionary planned cities, change back and forth between abstraction and representation. Speed and visual overstimulation are also perceptible in the condensed representation.

Julius Hofmann (Galerie Kleindienst, Leipzig) establishes a dialogue between painting and animation films in his oeuvre. He imports painterly structures and surfaces into the films, which lends the medium a surprising liveliness. The familiar perfection of the films is undermined by Hofmann, in that he allows for errors that the computer program would normally correct. This process results in an individual visual signature. Hofmann's paintings appear in turn like compressed films, in which cryptic stories are told that take place in eery locations.

Igor Jesus (Galeria Filomena Soares, Lisbon) works with strategies for the reappropriation of (found) objects and their transfer into a new artistic context in his multi-faceted works. In the process he utilises his objects, films and installations to address cultural and societal differences.

The Cypriot Lito Kattou (Eleni Koroneou Gallery, Athens) circles around questions of time and space in narrative sculptures, installations and performances with the most varied materials, such as aluminium, steel, textiles and plastic. In the process, the artist, who for the most part works in series, frequently positions relics, often making a combative impression, flat on the ground or on the wall.

Set pieces from traditional painting genres, such as still life and landscape painting provide Pierre Knop(Setareh Gallery, Düssseldorf) with the framework for bizarre, ironic scenes, which are preferably staged in exotic venues. Through the use of a variety of materials, such as oil paints, oil chalk and pencil crayons, and with a striking, initially naive seeming painting method, Knop creates a sense of insiodyncratic visual immediacy. Only upon closer observation is the interest of the artist in social structures, hierarchies and role models revealed.

Ruth May (Galerie Barbara Gross, Munich) examines the theme of materiality in drawings, collages, textile images and objects. She is especially interested in the representation of clothing. Robes and armour and their spatial staging in the two-dimensional image. She acquires her motif models from a variety of contexts, times and cultures. The visual citations, which originate from the paintings of the Old Masters, as well as from the comic and tattoo scenes, are processed and recombined many times until people, animals, devices, masks and ornaments join to form highly colourful and dynamic communal embodiments.

Renaud Regnery (Klemm's, Berlin) develops architectural settings for his pictorial works coordinated with the respective spatial environment. His work method moves between closed image cycles and quasi serially developed groups of works that are realised either in a purely painterly fashion or using a variety of printing techniques and painting materials.

The images of Sophie Reinhold (Galerie Rüdiger Schöttle, Munich), which deal with the relationship of pictorial space and colour, pictorial object and space, develop in a long process. She preferably uses marble powder, as well as stone and metal powders as primers. While working, the surface is polished repeatedly, resulting in smooth surfaces, beneath which the motifs shimmer through mysteriously. Paint streaks overlay beam structures and other shapes, which ascend weightlessly from the ground.

With sculpture, video, photography, sound and light, as well as music and dance productions, Alona Rodeh (Galerie Christine König, Vienna) has a broad spectrum of artistic forms of expression at her disposal, which occasionally flow into multimedia installations. These develop increasingly into theatrical events through the enhanced use of light and sound. Objects, situations and spaces are placed in a sophisticated relationship with one another in the context of an examination of societal phenomena.

Berit Schneidereit (Cosar HMT, Düsseldorf) links photographic techniques like the photogram and analogue and digital image generation in black and white and in colour at eye level with one another in her oeuvre. Her images suggest a movement through photographic spaces. Especially her large format photograms allow the viewer apparent access into the image and inclusion in the image narrative. Fences, nets and mesh structures lie like membranes on top of the image space. Her works evoke a spatial experience that stimulates reflection on reality and its reordering.

Martin Spengler (Galerie Thomas Modern, Munich) creates large-format, highly complex image reliefs of corrugated cardboard blocks that often project far into the space, the motifs for which he finds on the street, in the Internet and in newspapers. Spengler carves his architectures, urban landscapes and crowds of people into the material in a time-consuming process and with a precise technique, thereby combining painting and sculptural ideas.  

Rebecca Ann Tess (Philipp von Rosen Galerie, Cologne) dedicates herself in video and photography works to architectures she sees as symbols for prosperity, power and influence. With modern high-rises in metropolises like New York, Dubai, Hong Kong, Shanghai and Seoul, as with the medieval San Gimignano, she emphasises the relationship between social position and the spatial height of representative structures on the basis of unusual camera angles. In the "Template Selection" photo series, which shows detailed images of structures in major international cities, she reduces the modern urban architecture to abstract interactions of form, colour and light.

In the complex, intensely colourful mixed techniques of Kristian Touborg (Galerie Mikael Andersen, Copenhagen), citations from art history mix with his own pictorial inventions to form puzzling, predominantly figurative paintings that take their special charm from the haptic of the canvases. These are sewn together from individual elements originating from the most varied contexts. Digital image generation and classic painting, abstract and representational elements merge to form an individual pictorial language with a high degree of recognition value.

Noa Yekutieli (Knust & Kunz, Munich) is a master in the rare art of the papercut, which is used in large and medium-sized formats, as well as for extensive installations, and occasionally in connection with collage and photography. The deconstruction and reconstruction of pictorial ideas thereby play just as important a role as nature, architecture and personal memories.

Gilberto Zorio



Nella stagione invernale il Castello di Rivoli ha proposto un antro energetico all’ultimo piano dell’antico palazzo.

Una fucina di potenziali risorse che miscela materiali antichi e interazioni contemporanee.

Forme libere, indipendenti ma relazionali, che accolgono l’altro trasformandosi.

Una eccitante officina labirintica che accoglie complessi manufatti, pietre, acqua, mutamenti, suoni, luci, che si alterano randomaticamente nel tempo e nel percorso alchemico .

Tutti questi processi attivano su di noi percezioni di instabilità che trovano in alcuni attimi potenti sostegni, tracce mimetiche.

I sensi vengono messi in dinamismo, gli organi respirano, percepiscono, stanno in ascolto.


La mostra su Gilberto Zorio (Andorno Micca, 1944), curata da Marcella Beccaria, si concluderà il prossimo 6 Marzo.























22/02/18

Frieze arriva a Los Angeles




Se ne parlava da alcune settimana ma ora è tutto ufficiale Frieze si sposterà anche su Los Angeles, una delle aree economiche che in questi anni di new tecnologie è cresciuta in maniera esponenziale, per cui anche il mercato dell'arte sempre più si sposta su questa costa degli Stati Uniti d'America. 


CS
Frieze Announces New Contemporary Fair in Los Angeles to Launch in February 2019  


Bettina Korek Appointed Executive Director of Frieze LA;  Ali Subotnick Appointed Curator

Frieze today announces the launch of a new annual contemporary art fair in Los Angeles, presented at Paramount Pictures Studios. Premiering February 14 –17, 2019, Frieze LA will join Frieze New York, Frieze London and Frieze Masters on the international art-world calendar, reflecting Los Angeles’ position as a global arts capital. Frieze has appointed Bettina Korek as the fair’s Executive Director, working with Victoria Siddall, Director of Frieze Fairs to launch the inaugural edition of Frieze LA. In addition, curator Ali Subotnick will oversee a site-specific program of artist projects and film at the fair. Frieze New York and Frieze LA will together present a unified voice for Frieze in the Americas.
“So many great artists and writers have lived and worked in Los Angeles, a city with an incredibly rich landscape of museums, galleries and art schools which play a pivotal role in the international art world. Frieze LA will add an exciting new dimension to this thriving cultural scene,” stated Victoria Siddall. “Frieze is in a unique position to create a successful fair in LA because of our experience in London and New York and our partnership with Endeavor, who have deep roots in LA and will work with us to bring a fantastic audience to the fair. As with all our fairs, Frieze LA will be at the heart of a dynamic week during which international collectors, curators and artists will come together to engage with and appreciate the city and everything that makes it great.”
Frieze LA will bring together around 60 of the most significant and forward-thinking galleries from across the city and around the world at Paramount Pictures Studios, a historic studio lot located in Hollywood. Presented in a bespoke structure designed by Kulapat Yantrasast of wHY, the program will celebrate the exceptionally dynamic and diverse culture of Los Angeles and its global contributions to the visual arts.
Frieze has appointed Bettina Korek as Executive Director for Frieze LA. Korek brings more than 15 years of art world experience as an arts advocate, writer, and founder of ForYourArt. A native of Los Angeles, she has organized the Participating Gallery program for the Getty’s Pacific Standard Time initiatives and is a member of the Los Angeles County Arts Commission.
In addition, Los Angeles-based curator Ali Subotnick will oversee a site-specific program of artist projects and film at the fair. Formerly Curator at the Hammer Museum (Los Angeles), where she is currently Adjunct Curator, Subotnick also co-curated the inaugural edition of the Hammer’s biennial exhibition Made in LA (2012).
Participating galleries, programs and further curators will be announced later this year.
 

Further Information
Frieze LA will take place February 14-17, 2019. The next Frieze fair will be Frieze New York, taking place May 4–6 2018, with Preview Days on May 2 and May 3.
To keep up-to-date on all the latest news from Frieze, sign up to our newsletter at frieze.com, and follow @FriezeArtFair on Instagram, Twitter and Facebook. #FriezeArtFair #FriezeWeek
— End.
 

Editors Notes
Bettina Korek is founder of ForYourArt, a Los Angeles-based organization that produces projects with artists, promotes information about exhibitions and events, and works with diverse stakeholders—from artists and institutions to civic entities and brands—to encourage new forms of patronage, engagement and collaboration. ForYourArt’s role as liaison connecting different corners of the art world inspired artist John Baldessari to describe the organization as “special and unique because it is a neutral space.” Each week, ForYourArt publishes a trusted free art guide to Los Angeles. This fall ForYourArt will release a report on the state of arts patronage. Over the last decade, Korek has provided consulting services on public art initiatives, programming and cultural tourism. Korek has organized the Participating Gallery program for the Getty’s Pacific Standard Time initiative. Korek is currently the Immediate Past President of the Los Angeles County Arts Commission and served on the Board of Governors of the Natural History Museum from 2005-2009. She is also the special projects editor at Surface magazine. She has a BA in Art and Archaeology from Princeton University.
Ali Subotnick is an independent curator. She was Curator at the Hammer Museum in Los Angeles for over ten years, where she organized the exhibitions “UH-OH: Frances Stark 1991 – 2015”, “The Afghan Carpet Project” (both 2015), “Mark Leckey: On Pleasure Bent” , “LLYN FOULKES” (both 2013), and “Nine Lives: Visionary Artists from L.A.” (2009), among others. For one weekend in July 2012, she organized the first and only Venice Beach Biennial, a weekend exhibition/event on the Venice Beach Boardwalk, which was a collateral event to “Made in L.A. 2012” (which she co-curated). She also organized over 20 Hammer Projects solo exhibitions, many debut American institutional exhibitions for the artist. In 2006, along with her frequent collaborators, artist Maurizio Cattelan and curator Massimiliano Gioni (together they created the alternative, small-scale, non- profit space, The Wrong Gallery and Charley magazine), she co-curated “Of Mice and Men”, the fourth Berlin Biennial for contemporary art. She is currently working on independent projects and serves as Adjunct Curator at the Hammer Museum.
Victoria Siddall oversees all Frieze Fairs. She has worked for Frieze since 2004 and launched Frieze Masters in 2012. In November 2014 Siddall was appointed Director of Frieze London (from 2015) and Director of Frieze New York (from 2016), in addition to her existing position as Director of Frieze Masters. Siddall is also Chair of Studio Voltaire’s board of trustees.
Kulapat Yantrasast is Founding Partner and Creative Director of wHY, an interdisciplinary design practice dedicated to serving the arts, communities, culture and the environment. Born in Bangkok, Thailand, where he graduated with honors from Chulalongkorn University (1990), Kulapat received both his M.Arch. and Ph.D. degrees in Architecture from the University of Tokyo (1993/1996), under a Japanese Government scholarship. Upon graduating, Kulapat worked as Tadao Ando’s close associate for eight years in Japan. In 2012, he was named one of the art world’s 100 Most Powerful People; in 2009, Kulapat was the first architect to receive the Silpathorn Award for Design from Thailand’s Ministry of Culture. He is a frequent public speaker at leading institutions and has served on the Artists’ Committee of the Americans for the Arts (the United States’ oldest organization for support of the arts in the society) since 2005; he is an active member of the Design Council for Collective Design. In 2015, he was appointed a board member of the Pulitzer Arts Foundation.
Frieze is the leading platform for modern and contemporary art for scholars, connoisseurs, collectors and the general public alike. Frieze comprises three magazines—frieze magazine, Frieze Masters Magazineand Frieze Week—and four international art fairs—Frieze London, Frieze Masters, Frieze New York and Frieze LA. Additionally, Frieze organizes a program of special courses and lectures in London and abroad through Frieze Academy.
Frieze was founded in 1991 by Matthew Slotover and Amanda Sharp, with the launch of frieze magazine, the leading international magazine of contemporary art and culture. In 2003, Sharp and Slotover launched Frieze London art fair, which takes place each October in The Regent’s Park, London. In 2012, they launched Frieze New York, which occurs each May in Randall’s Island Park, and Frieze Masters, which coincides with Frieze London in October and is dedicated to art from ancient to modern. 
Endeavor, formerly WME | IMG, is a global leader in sports, entertainment and fashion operating in more than 30 countries. Named one of Fortune’s 25 Most Important Private Companies, Endeavor is the parent of a number of subsidiaries with leadership positions in their respective industries, including WME, IMG and UFC. Collectively, Endeavor specializes in talent representation and management; brand strategy, activation and licensing; media sales and distribution; and event management.

Guest : Eliseo Mattiacci


In occasione del finissage della mostra Eliseo Mattiacci. Misurazioni, ospitata alla Galleria Poggiali, il Museo Novecento dedica all’artista marchigiano un incontro con Pier Giovanni Castagnoli e Bruno Corà
L’appuntamento fa parte del nuovo ciclo di conferenze Guest dedicato ai protagonisti della cultura contemporanea per approfondire le maggiori tematiche dell’arte. 
Durante l’incontro - anticipato da una visita alla mostra presso la Galleria Poggiali dalle ore 16.30 alle 17.30 - Pier Giovanni Castagnoli e Bruno Corà ripercorranno più di cinquant’anni di lavoro di Eliseo Mattiacci, dalle prime opere legate all’ambiente dell’Arte Povera alle mostre nelle gallerie La Tartaruga e L’Attico di Roma, dalle esperienze internazionali fino ai lavori più recenti. Interverrà il direttore artistico del Museo, Sergio Risaliti e concluderà l’incontro Lorenzo Bruni, curatore della mostra, presentando la pubblicazione nata con l’esposizione.
 Durante la conferenza, l’attività dell’artista dagli anni ‘60 ad oggi sarà documentata con immagini e video.
 In collaborazione con Galleria Poggiali, Firenze.
Ingresso libero fino a esaurimento posti. L’ingresso non prevede l’accesso al percorso museale.