Italian Area A-C

A12

www.gruppoa12.org

Adalberto Abbate

www.adalbertoabbate.com

White beard, gray hair, red Lacoste t-shirt, haughty bearing, smiling. Alone. Lonly as Garibaldi, Giuseppe of his name, facing his destiny. Italian artisan of the Risorgimento, Giuseppe Garibaldi is a modern hero, an updated version of Ulysses, the extra republican commitment. This is how it obsesses the memory of generations of Italians who see in this man a heroic, paternal figure. The rest is incomprehensible or unspeakable, it depends. In southern Italy, including Sicily, the victory of the Hero of the Two Worlds leaves a bitter taste. Sicily, a crossroads of ancient civilizations, the birthplace of Archimedes, the birthplace of Nobel Prize winners Luigi Pirandello and Salvatore Quasimodo, condemned to the status of a forgotten province, a poor child, in favor of the North. Inconceivable. Through this SELFPORTRAIT the Palermo artist Adalberto Abbate deals with this antinomy. An unknown whose attributes irresistibly refer to the father of Italian Unity, like the traits that a child inherits from his father, an insidious and original way to tame the future in the light spectrum of the past. Once a hero, nowadays an anonymous figure. Just the symbols remain to reaffirm an (Italian) identity in crisis. Symbols. Like that scar on the face that does everything to expose, perhaps, the share of heroism in us, certainly the dark side behind every hero. The revealed absurdity. There is much to see and hear in this SELFPORTRAIT, the voices intertwine, echoes of all kinds are awakening the collective unconscious, stunned by a great promise. A resurgence of consciences transformed by necessity into something more acute, critical. The paradox brought to its peak, the Garibaldi who said "an honest thief is my ideal" can rejoice. Another context, another era.

Rebecca Agnes

www.rebeccaagnes.org

I used to live in Ticinese in Milan, a very peculiar district because of the things that were there, and what happened there. The ''Bar Verde'' (the green bar) where I used to have coffee and buy cigarettes everyday was at the same time the bar of the habitues who lived in the street and one of the Sunday afternoon meeting points for the dark scene, from the 90's untill when it shut down. The ''Ice Age'' music store under my apartment has been until it's closure in 2006 one of the reference points for alternative music. The cheapest and friendliest ''Ristorante Cinese'' (Chinese restaurant) in Corso di Porta Ticinese had a management change and became a Japanese restaurant in 2003. To add to these, there is the ''Rainbow Club'' (1993-2008) in via Besenzanica 3 and the ''Linus Club'' (1994-2000) behind via Larga.

Alessandro Agudio

www.alessandroagudio.com

Mario Airò

https://www.viafarini.org/page/5/artist-archive/

Alek O.

https://www.oalek.com/

Alis/Filliol

http://www.alisfilliol.com/

Yuri Ancarani

www.yuriancarani.com

Giorgio Andreotta Calò

giorgioandreottacalo.com

Meris Angioletti

http://ottozoo.com/artisti/meris-angioletti/

Les Sirènes is a audio and light variation inspired by the work Thema by composer Luciano Berio, reading for voice and magnetophone of the introduction of chapter XI of James Joyce's Ulysses.

Nico Angiuli

www.nicoangiuli.com

How is it possible to change the collective perception of the surroundings? The landscape is just a background on which to erect buildings, have fun, cultivate food or to find inspiration? Could it be also intended as a digested idea of itself, of a national identity? The Nature and the landscape can be used transformed without physical interventions, without touching its integrity? Nico Angiuli's Adieu uses a system named "recadrage du reel" used during the industrialization period in Switzerland to create the paradigm of the rural culture and re-used in the tourism field, in the politics, as well as for current propaganda against immigrants. Adieu replies to the same mechanism using a portion of reality to imagine a new one. Erasing the Alps becomes possible.

Salvatore Arancio

www.salvatorearancio.com

Francesco Arena

www.francescoarena.info

Stefano Arienti

www.studioguenzani.it/artist/stefano-arienti

Riccardo Arena

www.riccardoarena.org

The installation is inspired by The Mount Analogue, a symbolic novel of mountaineering geographic adventures by René Daumal, left unfinished due to the premature death of the author. Āshkhārhātzūytz imagines, through a visual compendium inspired by passages of Daumal’s novel and its missing part, the mystical topography of the summit of the Mount Analogue, which for the same analogical reason must necessarily be quarried. Introducing inside the external specular landscape, the climb is celebrated in the descent to the abyss where the upper skies are disbanded.

Artway of thinking

www.artway.info

The co-creation diagram is the representation of the methodology that artway of thinking applies in its actions. A systemic vision of acting together with 130 tools developed to navigate the complexity. For us it is a reference map in the collective creative process, a compass, a check list, an evaluation system; so as to keep the process open, both an incubator of personal and collective growth, and a generator of sustainable innovation integrated with the environment (individual-society-ecosystem); so that its result is a seed for the future. Be a conscious, responsible and therefore free act.

Emanuela Ascari

www.emanuelaascari.it

During a trip along the Via Emilia, from Bologna, the city where I lived, to Monza, the place of the exhibition, I collected pieces of abandoned buildings which were in a state of decay, parts of walls, floors, windows and other construction materials, to put them on the floor of the exhibition space forming a line that crosses the space as the north-west trajectory of the journey. A landscape of collapses compressed between the walls of the exhibition space.

Micol Assaël

https://www.viafarini.org/page/5/artist-archive/

The exhibition created for the premises in HangarBicocca consists of four major works from Micol Assael’s career from 2003 to 2009 but never previously exhibited together, as well as a new work. Designed to transform the exhibition space into a sort of “pulsating engine room of a ship”, the exhibition is a kind of ideal artist’s studio, with a number of cramped, timeless environments.
The title, ILIOKATAKINIOMUMASTILOPSARODIMAKOPIOTITA, is a combination of various Greek words which Micol Assael joins together in an intentionally meaningless manner. This “musical tongue twister” prevents any pre-established interpretation, allowing visitors’ experiences to determine the way they perceive the works.
The works on show, which consist of closed, apparently impenetrable environments like rooms, cells or containers, take the viewers on an exploration of their own perceptions, subjecting them to extraordinary, seemingly threatening situations.

Davide Balliano

www.davideballiano.com

From the corner of the eye is a project on the edge of the city - I photographed the scraps, especially the edges, the neglected areas, sometimes right in the center of the city. The periphery observed by the height of the child's eye. It is a work on perception: the inattentive, unintentional, non-directional, non-rational perception. They are forgotten images, discarded by the mind, glimpsed out of the corner of the eye. But at the same time they represent the edge of the city: it is the city seen from the ground. I am interested in what is on the margins of perception, on the periphery of consciousness in a rational discourse. The fluctuating attention allows to intercept the inflections, the pauses that, beyond their apparent banality, organize the meaning. The photographs are taken from below, from a crouched position: there is always an out of focus area. The margin of the city is placed at the center and monumentalized. I enlarge the photo in 1: 1 scale to transform and give importance to what is removed or excluded from the field of vision.

Marina Ballo Charmet

www.marinaballocharmet.com

A project that brings together fourteen works made from 2009 until 2016, including 35mm and 16mm films, kinetic sculptures, and site-specific interventions. Barba’s exhibition “From Source to Poem to Rhythm to Reader,” hosted in the Shed space of Pirelli HangarBicocca, weaves an intense dialogue between the works on view and the industrial setting that houses them. The five films in the show, seen here for the first time in Italy, include The Empirical Effect (2009), a film set around Vesuvius—for Rosa Barba a metaphor for the complex relationships between society and politics in Italy—, and the artist’s two most recent works: Enigmatic Whisper (2017), shot in the studio of artist Alexander Calder, and From Source to Poem (2016), a densely layered audio-visual narration, increasingly overlapping and condensing, analogous to white noise, filmed in the Audio-Visual Conservation Center of the Library of Congress in Culpeper, Virginia, the world’s largest multimedia archive – a film specifically co-produced for the exhibition.

Rosa Barba

www.rosabarba.com

A project that brings together fourteen works made from 2009 until 2016, including 35mm and 16mm films, kinetic sculptures, and site-specific interventions. Barba’s exhibition “From Source to Poem to Rhythm to Reader,” hosted in the Shed space of Pirelli HangarBicocca, weaves an intense dialogue between the works on view and the industrial setting that houses them. The five films in the show, seen here for the first time in Italy, include The Empirical Effect (2009), a film set around Vesuvius—for Rosa Barba a metaphor for the complex relationships between society and politics in Italy—, and the artist’s two most recent works: Enigmatic Whisper (2017), shot in the studio of artist Alexander Calder, and From Source to Poem (2016), a densely layered audio-visual narration, increasingly overlapping and condensing, analogous to white noise, filmed in the Audio-Visual Conservation Center of the Library of Congress in Culpeper, Virginia, the world’s largest multimedia archive – a film specifically co-produced for the exhibition.

Massimo Bartolini

https://www.massimodecarlo.com/artist/2/bam-massimo-bartolini

Riccardo Baruzzi

http://www.p420.it/it/artisti/baruzzi-riccardo

Marco Basta

www.marcobasta.org

Emanuele Becheri

https://www.viafarini.org/page/5/artist-archive/

Marco Belfiore

https://www.monicadecardenas.com/marco-belfiore/

Drawing are often the starting point of my works, therefore is the technique that allows me to express myself with simplicity. Sometimes I create animations using my drawings, or I can compose electronic music inspired by them: a drawing can be a crossroads of languages, where hidden meanings assume unpredictable forms to be decoded in other works.

Elisabetta Benassi

https://www.viafarini.org/page/5/artist-archive/

Riccardo Benassi

www.riccardobenassi.info

Riccardo Beretta

www.riccardoberetta.com

The work was designed and built over a period of about two years. During this time infinite interconnected themes have been touched, for example: art and psychology; architecture and memory; shape and color. The work is the evolution of the exhibition Terrasanta Relief, where the panels engraved by the format of gates, doors and rosettes, are hung on the walls with the attempt to widen the boundaries of the exhibition and mental space of the spectator. The physical crossing of the support, the incision, wants to be the metaphor of an awareness of what is hidden in the unconscious. In Paravento (F.V.P.), inlay and engraving coexist on the front and back of the work. It is not conceived as a wall but rather as a filter, a fluid boundary, a threshold. The fifteen panels suggest this interaction of body and mind. The work becomes a playground, a device for playing free associations.

Giona Bernardi

www.gionanellabalena.ch

The whale is a work to which Giona Bernardi has worked for a long time, exhibited at "Arimortis" exhibition curated by Roberto Cuoghi and Milovan Farronato, at Museo del Novecento in Milan in 2013. It is a large painting (five meters of width) in which Giona has set, through a dense plot of pieces, images of his life, visions of reality and of the world. The Whale took two years to be carried out, a tortuous and somehow problematic path. The images and texts that embody the big cetacean are chosen and constructed according to a personal and not casual logic. The work was supervised by Roberto Cuoghi and documented by the photographer Stefania Beretta. Subsequently, Giona kicked off the so-called Sea Trilogy, designing two other large drawings, depicting the giant squid and the sperm whale.

Valerio Berruti

www.valerioberruti.com

Simone Berti

www.simoneberti.info

"For "I'll Be There Forever", Simone Berti observes the history of art to create paintings inspired by the Flemish Renaissance painting ladies, in which the white headphones that frame the faces of the female figures are transformed into imaginary architectures, which shifts from the two-dimensionality of the painting to the three-dimensionality of sculpture. Berti's paintings are set in structures that create a total environment, multiplied and reflected by the mirrors. Thus, we find ourselves within an alienating and challenging context in which art, architecture and the environment take different, ambigue connotations. It is the aesthetics of Simone Berti, in which things, understood in the complexity that Michel Foucault attributes to them in "Words and Things" (1966), begin to live their own life; there are not even words to define them; an invention that can not be traced back to a codified language. The works of Berti are inventions: suspended gardens in springtime; men installed on pedestals and placed at the sides of an entrance like a classic herme; projects for dwellings within trees reminding of Il barone rampante novel (1957) by Italo Calvino; lounges raised to the height of centenary plants, placed in a wood in the sunlight." Cloe Piccoli

Davide Bertocchi

www.davidebertocchi.com

Francesco Bertocco

www.francescobertocco.com

The National Center of Competence in Research Affective Sciences - Emotions in Individual Behavior and Social Processes (NCCR - Affective Sciences) is the most important organisation that conducts large-scale studies about human emotion. Emotions, as we know them, are what mostly represent human beings. They are our history and uniqueness. Also, they represent ourselves both consciously and unconsciously. They are present in the way how we perceive objects that surround us and through our senses. All this makes our experience something living and real. This film is an ode to complexity of what lies behind our most significative experiences. AFFECTIVE SCIENCES is an investigation of this scientific structure, an attempt to deconstruct its complexity, through the observation of the places and voices that contribute to its identity.

Luca Bertolo

www.spazioa.it/index.php/luca-bertolo

"Luca Bertolo paints paintings. Pictures of every kind, evidence of a wide, varied and often contradictory range of styles, interests and approaches: from a divisionist figuration to a kind of urban realism to a geometric or informal abstraction. If there is a coherent thing in Bertolo style, it is the inexhaustible attitude of experimentation that moves it. Bertolo is a restless painter. A painter who seeks and finds. Then keep looking. Not being satisfied with stopping for a certain reason, genre, style or theme, Bertolo seems determined to defend the right to always be different from himself, not necessarily interested in ready-made abstraction." Chris Sharp. The Flags are produced with the collage technique. On the painted canvas some scraps of fabric used by the artist for cleaning the brushes were glued.

Bianco - Valente

www.bianco-valente.com

The geographical maps depict the succession of places on earth or islands in the seas, but they do not allow us to define the network of relationships and exchanges involving the represented places. This is the reason for our interventions on geographical maps and nautical maps (sometimes imaginary maps, designed by us), aimed at adding new emotional and relational meanings that overlap with the common representation of reality.

Leonora Bisagno

www.leonorabisagno.com

Rossella Biscotti

https://www.mor-charpentier.com/artist/rossella-biscotti/

Stefano Boccalini

www.stefanoboccalini.com

Enrico Boccioletti

www.spcnvdr.org

The fancy face of nihilism. Showed both as sculpture and as image.

Dafne Boggeri

www.lianelineaalien.xyz

Lorenza Boisi

https://www.viafarini.org/page/5/artist-archive/

Monica Bonvicini

monicabonvicini.net

Lupo Borgonovo

www.lupoborgonovo.com

Botto e Bruno

https://www.viafarini.org/page/5/artist-archive/

Thomas Braida

www.thomasbraida.com

Sergio Breviario

https://www.viafarini.org/page/5/artist-archive/

Rossana Buremi

https://www.viafarini.org/page/5/artist-archive/

Luca Buvoli

www.lucabuvoli.com

This project for the 2007 Venice Biennale elaborates on and questions the prediction, “There will be a very beautiful day after tomorrow.” F. T. Marinetti tried to reassure his daughter with these hopeful words near the end of his life. The project’s initial phase, Anachroheroism, explores aesthetic and well as political aspects of aeronautics. Dynamic vector lines and an idealized, mechanized flying human shape surround the viewer upon entering the Arsenale. Hand-made “Propaganda Posters” and words rendered in mosaic and resin rise along the walls. The style of these works not only refer to myths of velocity, virility and violence, but also deflate them with entangled rhythms, collapsing letters, and non-heroic content. The video, shown inside the circular room, begins as Vittoria Marinetti recounts her father’s prophecy. As Vittoria fades out, the video lyrically transitions between animated segments and archival footage of political rallies and air shows.

Alessandra Caccia

https://www.viafarini.org/page/5/artist-archive/

Stefano Cagol

www.stefanocagol.com

A monolith of ice of the Alps appeared in Venice along the shore in Riva Cà di Dio during the Venice Biennale opening week and disappeared in a 72 hours melting process, documented by a 72 hours video shooting. A 3 days public action, a kubrickian metaphor questioning about the serious fate that is affecting the planet. Stefano Cagol himself, based in a village in the Alps and just back from projects in the Arctic region, is witnessing the on- going vanishing of the so called “eternal ice.” Ice melts to water. The water of the monolith dissolving to the lagoon joins then billions and billions of gallons of water that in the next decades risk to overwhelm the most sensitive areas of the globe. The Maldives is one of the first, but also Venice. Alps and Maldives, ice and sun, so far but so close, connected by the same fate.

Pierluigi Calignano

https://www.viafarini.org/page/5/artist-archive/

Stefano Calligaro

stefanocalligaro.tumblr.com

"How can one, as an artist, resist while continuing to produce work? How can one work within an art world that they despise, but in which they nonetheless function? Central to Stefano Calligaro’s practice, from the start of an idea or gesture to its physical outcome, are the questions of WHY and WHAT one produces as an artist. According to Calligaro, the difficulty of art lies not in its complexity, but in its irrelevance. The fundamental attitude of his work is the act of questioning itself: questioning art’s appearance, its morality, its aesthetics, its functionality, its usefulness. Another ‘response’ is given in his rejection of a certain virtuosity - be it within a medium like painting, writing, or even Photoshop – so as to not fall in love with one’s own artistic mastery or craftsmanship. Calligaro’s exhibitions ar something other than a simple sum of objects that together form a coherent whole. It is consciously incoherent, emanating out from the artist’s daily life. “I'd like this show to, yes, ‘show’ something, but I want it to be me and my incongruent interests and processes all together instead of a clear display of general subjects interesting to others. I like to think of art as something close to what we are and not to what we want to represent.” Noor Mertens

Chiara Camoni

www.chiaracamoni.net

"Sometimes when I start a new cycle of works I do not know exactly where I'm going, I start doing things, but I cannot understand the reasons, these come later, I follow a flow of free associations, combinations, intuitions. From such a tangle, whose sense is yet to be undestood, a shape, an order, a position are accurately deployed, and therefore a line, a circle, a triangle, a ball, a flower, a chessboard, a sequence, the fingers of a hand, a face, a constellation, a time."
Chiara Camoni
Barricata is composed of terracotta vases aligned at eye level. It is a work that speaks of fragility (vases), of life (flowers), of care (fresh flowers replaced as they fade).

Pierpaolo Campanini

https://www.viafarini.org/page/5/artist-archive/

Gianni Caravaggio

www.kaufmannrepetto.com/artist/gianni-caravaggio/

Ludovica Carbotta

www.ludovicacarbotta.com

Maggie Cardelùs

maggiecardelus.com

Caretto Spagna

www.esculenta.org

Assemblage of different materials collected by the artists along the Rhone riverside (France). The pieces were eroded by the river in the same way as the natural pebbles.

Letizia Cariello

www.letiziacariello.com

Francesco Carone

http://www.spazioa.it/francesco-carone/

Erma ermafrodita: head with three noses; Idolo: polyhedron carved from Corinthian capital (mid-15th century). Inseparable pieces

Valerio Carruba

https://www.monicadecardenas.com/valerio-carrubba/

David Casini

www.davidcasini.com

Gea Casolaro

www.thegalleryapart.it/artists/casolaro-gea

Matilde Cassani

www.matildecassani.com

Every year the numerous Sikh temples built across the Italian agricultural farmlands of the Pianura Padana host a huge harvest festival, the Vaisakhi, bringing together thousands of Sikhs. During this time, the religious diversity of the rural Italian population becomes evident; in just 20 years, the country has developed from a clear Catholic majority to a complex and unique pattern of religious communities. The Vaisakhi questions how urban reality and the use of urban spaces change much more quickly than do urban planning policies, tools or regulations.

Beatrice Catanzaro

https://www.viafarini.org/page/5/artist-archive/

Bait al Karama (House of Dignity), I co-initiated in 2010 in the Old City of Nablus, in the Palestinian Occupied Territories. Bait al Karama sprout from the encounter with local activists and developed through a long period of dialogue and negotiations around the need to establish a community space for women in the Old City of Nablus, as well as my personal interest to challenge the possibility of a concrete and lasting outcome though a participatory art process. The Centre today is home to the foremost school of Palestinian cuisine run entirely by women and managed accordingly to a social enterprise business model. The project is ongoing and still evolving to meet the needs of the local community as well as to find its sustainability in such fragile socio-economical environment.

Alice Cattaneo

www.alicecattaneo.it

Maurizio Cattelan

https://www.viafarini.org/page/5/artist-archive/