Italian Area P-S

Cristiana Palandri

www.cristianapalandri.com

Daniele Pario Perra

www.lowcostdesign.org

The Low Cost Design Archive is the result of a sociological, urban and ethnographic research led between Northern Europe and the Mediterranean Sea area, That let the author document more than seven thousand examples of spontaneous creativity. Low Cost Design is based on a principle supported by the greatest protagonists of design: the best project is not necessarily the one that starts from the patent office or in architectural studies or inside the computer of a big company, but rather what arise from the simplicity of everyday life. Low Cost Design is a visual dictionary, halfway between "poetic ability" and "technological capacity". These genuine ideas, invented by unknown authors, are classified according to different research plans (five different levels of design for the objects, six categories for the actions) and offer a starting point for reflection on the practice of recovery and re-use, but above all they make up a really interesting map from a sociological, urbanistic and ethnographic point of view. A selection of images is collected in an editorial project that makes us participate in a transversal, non-disciplinary, eclectic and heretical view of our daily life. All the images have been selected from the Low-cost Design archive by Daniele Pario Perra and were created by the artist.

Seb Patane

www.sebpatane.com

Maria Pecchioli

www.mariapecchioli.com

What is the threshold between being alive and not, between a matter body or vibrational body. Which kind of ritual we can adopt to celebrate the end of life and through which kind of sharing? The series Nativity Scene is the outcome of a major grief that struck the artistic community I work with for years. I celebrated the abandonment thanks to the reenactment of the classical and Renaissance representations, fitting in the classic icons through a queer attitude. The Nativity Scene retrace the steps of a life embodying by a collective body, from birth to treason, investigating the threshold between absence and presence.

Francesco Pedraglio

www.acertainrealism.com

Pennacchio Argentato

www.pennacchioargentato.com

Perino & Vele

www.perinoevele.com

Chiara Pergola

pergolachiara.com

Diego Perrone

www.massimodecarlo.it/artists/view/95

Alessandro Pessoli

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

This painting has as its origin a photo taken in my garden, it is my self-portrait, I am sitting on a platform with a fake beard built on a dry tree. I have often used my garden as a theater, a source of images, a space that I consider a part of my study. Making sets and using them as subjects to paint is an ancient practice used by artists, not far from the table with Morandi's bottles. I think painting as a flow of imagination and meaning, this painting is about my new physical and mental landscape in Los Angeles. There are parts of the painting made by printing the details directly on the oil color, the color palette is not far from the Disney cartoon, my figure is the border where my European culture mixes with the American one.

Diego Petroso

www.diegopetroso.com

Alessandro Piangiamore

www.alessandropiangiamore.com

Ikebana series is based on a procedure linked to the experience of the daily life: flowers found by the artist in the waste of the markets or along its daily walks, are collected and then impressed in slabs made of concrete building materials. The hardness of the material and its structure is opposed to the lightness of the flowers, which refer to a traditional idea of beauty and fragility.

Gabriele Picco

www.gabrielepicco.com

Marta Pierobon  

www.martapierobon.it

Cesare Pietroiusti

www.pensierinonfunzionali.net

A performance by Paul Griffiths and Cesare Pietroiusti, with the partecipation of Marco Arosio. A public auction is held. Participants make offers in amounts of money corresponding to the sum of two bank-notes in Euro. The minimum amount is therefore 10 Euros (the sum of the value of two 5 Euro bills) and the maximum is 1.000 Euros (the sum of two 500 Euro bills). The successful bidder with the highest offer gives the two bank-notes to the artists who eat them publicly and promise that, once evacuated, they will be returned to the bidder.

Alex Pinna

www.alexpinna.org

Giulia Piscitelli

galleriafonti.it/giulia-piscitelli

Paolo Piscitelli

www.paolopiscitelli.net

Paola Pivi

www.paolapivi.com

Luca Pozzi

www.lucapozzi.com

Inspired by the microscopic dimensions being investigated by CMS (compact muon solenoid) of the Large Hadron Collider at CERN in Geneva, the Detectors series it’s composed by dodecagonal anodized aluminium surfaces with aluminium modules curved by hands and ping-pong balls in magnetic suspension, in order to create a floating tridimensional pattern. Background image credit: CERN (LHC, Atlas Detector) and Michael Hoch (CMS Experiment)

Luigi Presicce  

luigipresicce.tumblr.com

Daniele Puppi

www.danielepuppi.com

Alessandro Quaranta

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

Luisa Rabbia

www.luisarabbia.com

Love is part of the trilogy Love-Birth-Death, realized by Luisa Rabbia from 2016 to 2017. "Love (2016) is a canvas that for its full diagonal (a size thus bigger than its width) is occupied by two hyperhuman bodies so interlaced that if an attempt were made to unite in a diagram their sticking out points these would form the equivalent of a sephirotic tree. Love imagines (puts into image) the initial/initiating couple, a copula of earth and sky; the woman is made of earth, vegetation, humus, roots, the man is an ethereal body, made of star dust. The primal couple not yet emerged from Chaos, of indistinct anatomies, suspended in a space and a time not yet divided into opposing modalities, and crossed like lightning or a tree trunk by the axis of the world. […] In Rabbia’s painting, the original couple is imaged in a state antecedent to any division of being into the duality created by the advent of time. […] These are bodies of plasmatic consistency, anthropomorphic nebulae in the process of becoming fully human, ethereal bodies close to accessing the astral body, or vice versa. The Bible would not have a name for them, for they imply a pre-Adamic stage and yet have been inscribed for centuries, for millennia even, in history, which is the history of painting. The fishbone/spine of dark energy that diagonally crosses the joint bodies, the picture’s axis both physical and metaphysical, […] converges analogically here with the mystical/mysterical energy that kundalini generates in bodies intertwined in tantric ecstasy: it becomes the tree of inner life. The liquid sky or the celestial water in which the hierogamy of Love takes place, from which the lovers emerge, is the hieroglyph of a mythical, resistant pictorial space, a space that suspends painting between a barely begun past and a future already finished." - Excerpt from Blue.The Resistance of Painting by Mario Diacono, published in the book Love on the occasion of the eponymous Luisa Rabbia’s solo-exhibition at the Collezione Maramotti, Reggio Emilia.

Luca Resta

www.lucaresta.com

Moira Ricci

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

Moira Ricci sneaks into the photographs of the past on the tracks of her mother, whose birth and death dates give the title to the series and indicate the time period covered by the images. The artist, in fact, digitally re-elaborates old photographs of her mother, next to which her inserts himself and turns her gaze, while remaining an external character, a sort of omnipresent phantom that is held at the edge of the image and events. The comparison with the photographs of the past does not respond to the need for a retrospective look: Moira Ricci looks for reality in an attempt to go beyond the space-time dimension, virtually meeting her mother in different moments of her life and before her sudden disappearance . Through the digital manipulation of the image, Moira Ricci suppresses the temporal distance and, through the photos of "family chronicle", turns back to the mother's past and at the same time to her present and her roots. Moira Ricci chooses those intimate and familiar photographs as subject of her work, instants that are fixed in the memory of each of us. As social psychologist Harald Welzer pointed out in his book Theorie der Erinnerung, it sometimes happens that these photographs replace, in our memory, the memory of situations actually experienced. Other photographs, taken in our absence, are nevertheless present and anchored in our memory, as if we had witnessed the facts they describe firsthand.

Jacopo Rinaldi

https://cargocollective.com/jacoporinaldi

Intervallo is a moving piece on a railcar crossing Salento from Lecce to Gagliano del Capo, southern Italy. The installation consists in the substitution of a train window shades with printed curtains reproducing still shots from a 1935 newsreel. The sequence is a one-second footage divided into the number of the train windows. The original footage is a tracking shot which was caught through the windows of a newly produced Littorina railcar during the fascist regime. Since then “littorina” became an Italian commonly used term indicating railway cars. The train station's first floor of Gagliano Leuca hosts the original red curtains taken from the train. In collaboration with Archivio Storico Istituto Luce and Ferrovie del Sud Est

Davide Rivalta

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

Mario Rizzi

www.rizziart.com

The film “Murat ve Ismail” is focused on a single family-run shoemaker’s shop in the Istanbul's neighborhood of Beyoğlu and depicts two lives, the father (Ismail) and his son (Murat), caught up in the economic transformations ripping through Istanbul. As the nature of the relationship between them gradually emerges, we are introduced to other characters that visit the shop and try in different ways to take advantage of their difficult economic situation. «The film needs to be seen as a narrative from beginning to end. It has some of the appearances of a recording of reality, but its drama and emotional perception are almost too intimate to be true, pushing us to question where the border between fact and fiction is drawn.» Charles Esche. First exhibition: Istanbul Biennial. Turkey, 2005 (curated by Charles Esche & Vasif Kortun)

Pietro Roccasalva

https://www.massimodecarlo.com/artist/142/roc-pietro-roccasalva

Alessandro Roma

https://www.alessandroromartist.com/

Andrea Romano

https://gaudeldestampa.fr/artists/andrea-romano2989-2/1789-2/

Stefano Romano

www.stefanoromano.net

Study for a Monument is born from a series of questions: How has the idea of ​ monument changed today? Is it still possible to conceive of the monument in terms of a ​​base and a figure above it that communicates something important to the rest of the people? It seems to me that today the idea of ​​the monument is closer to an empty pedestal, first of all because of the difficulty of identifying a figure capable of supporting the weight of being a monument, and secondly because the values ​​to be transmitted to the people change at the same velocity with which our society absorbs the present. This means, in my view, that the monument should represent values with the same speed, and then let the pedestal empty again, waiting to host a new person who wishes to transmit their values ​​to the world for a few moments. The photographs of the performances each represent a precise idea, and then as a whole they represent a kind of study of the concept of the monument: of the form, the colors, and all the aesthetic values ​​that are part of the monument. The base that I have chosen is a common object, a stepladder, to allow people to get up just enough to be visible to everyone, and then to focus, to transmit their thoughts to the world, and finally to get down again and be among the people continuing on with their lives. The stepladder is an object easily transportable from one place to another, and potentially anyone with a message to share with others can stand upon it to become a monument. The monument is a temporal and social object.This photo performer and title: Marius & Ayla - Winners

Alice Ronchi

www.aliceronchi.com

Sara Rossi

www.sararossi.net

Antonio Rovaldi

www.antoniorovaldi.com

I spent more than two months alone on a bicycle, travelling along the perimeter of the Italian peninsula, and then two weeks cycling around Sardinia. I put together hundreds of images of horizons which, day after day, came to form a chromatic stave of seas and skies. Finally, from the confines of my studio, image after image, I pieced back together a fair part of the Italian skyline.

Matteo Rubbi

matteorubbi.com

Anila Rubiku

www.anilarubiku.com

Andrea Sala

www.andreasala.com

Maia Sambonet

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

PLI a project by òbelo ÷ Claude Marzotto and Maia Sambonet, curated by Ermanno Cristini. PLI, the fold, is the horizon line that crosses the page to generate a space for thought and movement. Just like in The large glass, or in Renaissance perspective drawings, the fold doubles the image across a hinge connecting two levels of representation. The corners of the room and the objects become rotation axes inviting the viewer to direct his/her sight time after time to catch the inner mouvement of a pair: horizontal/vertical (The cartographer's bench), page/space (A space anthology), mould/imprint (Frangible surfaces).

Nicola Samorì

www.nicolasamori.com

Laura Santamaria

https://www.laurasantamaria.it/

Hypnero (Erotic Dream), is a variation on a series of large-scale installations that Laura Santamaria has completed in different sites across Europe. Instead of using ink, graphite, charcoal, or oilstick for her drawings, the artists employs a source of open fire as her drawing tool. A candle or a torch get fastened to a long handle, allowing the artist to reach the ceiling, edges and corners of her ‘canvases’ – large scale walls in architectural environments such as churches or spaces of pubic and civic use. The flame touches the surface, following the movement of the artist. It doesn’t burn the wall, but as the movement and proximity to the surface affects the efficacy of the combustion, the torch begins to stain the wall: blacksmoke – soot – starts to de- posit on the surface. Depending on the distance to the wall and the availability of oxygen, the deposit appears as faint or dark, as dusty or oily; it seems to be powered or tarred. While the process can be guided by the artist, much of the final outcome is left to the fortuity of the flame. The drawings become indexical marks: signs of a past process that is out of the hands of its maker. Such index- icality and its emphasis on making the past visible is one of the main aspects of Santamaria’s drawing. It presents marks and stains of the past, the remnants of events that are often hard to control and even harder to erase.” Daniel F. Herrmann Eisler Curator & Head of Curatorial Studies. Catalog published on the occasion of the exhibition: London Open 2015
 Published by Whitechapel Ed. London (UK).

Lidia Sanvito

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

Dragana Sapanjoš

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

Sinking teen is a live sound installation. Thirteen members of the local teenage choir are placed in circle at the center of the exhibition space. Singing a cappella Wrong by Depeche mode. The lyrics of the song are a list of errors, from the wrong chemical composition to the wrong choice and the wrong replies. Each singer sings the song the exact number of times, as there age is. Completely dressed in black, with a balaclavas on their heads, they are almost completely unable to see. The conductor is in the center, surrounded and in a way captured by the choir members. Even he is dressed in black, but with a glass wearable sculpture of teeth on his face. As a rugby player, by directing the choir, he is trying to show them his own beauty. Representing the error himself, which doesn't selects its own players, but it just keeps happening to anyone who has the possibility to choose. The first one to leave the exhibition space is a boy. He is fifteen. One by one, by reaching the age, they start leaving the space till the oldest one; a girl of twenty-three. After her release, nothing except the conductor remains in the exhibition space. He directs Wrong one more time while waiting for his new star. After that, even he leaves the space without leaving in it any visible trace of passage.

Angelo Sarleti

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

Mariateresa Sartori

www.mariateresasartori.it

53 seconds of images taken by Heimat by Edgar Reitz alternately accompanied by a piece of music in G major and a piece of music in G minor. The images do not change, only the music changes. It is a work on the pervasive power of music, on how much this influences not only our feelings but also our visual perception: we need to deform the image in order to adapt it to the rhythm and the progress of what we are listening to. On a conscious level, the sensation that the image captures all our attention and all our senses prevails, in reality, and in spite of ourselves, music prevails and dictates tyrannically the sensations, feelings, perceptions, shaping and diverting our thoughts. It is an exemplary work that quotes great examples: from the music Vivaldi and Mozart, for the images Heimat by Edgar Reitz.

Anna Scalfi Eghenter

www.scalfiandeghenter.com

On the slabs of pink stone that since 1867 cover up the ancient irrigation ditch that crosses through the public square. In the spots of the square where the water once surfaced and the women went to wash their laundry by hand, stand 22 fully functional washing machines, taken from private homes, to be used freely for 12 days.

Manuel Scano Larrazabal

manuelscano.tumblr.com

Francesco Joao Scavarda

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

Olga Schigal

www.olgaschigal.com

Alberto Scodro

www.albertoscodro.com

Lorenzo Scotto di Luzio

https://vistamare.com/artisti-lorenzo-scotto-di-luzio/

Lorenzo Scotto di Luzio critical reading of contemporary society, with its violence and drama, as well as the art world, ruled by mechanisms that end up by stifling the artist’s creativity, appears to unfold lightly, but ultimately reveals a melancholy note which runs through all the artist’s work. “His multifaceted activities expresses this sense of impending crisis: a subtle blend of poetry and the pain of living, hope and disappointment, beauty and decay, all handled with irreverent, often merciless, irony” Andrea Bellini

Marinella Senatore

www.marinella-senatore.com

Marinella Senatore is trained in music, fine arts and film, her practice is characterized by public participation, initiating a dialogue between history, culture and social structures. Rethinking the role of the artist as author and the public as recipient, Senatore’s work merges forms of protest, learning theatre, oral histories, vernacular forms, protest dance and music, public ceremonies, civil rituals and mass events, rethinking the political nature of collective formations and their impact on the social history of places and communities while reflecting on the political dimension of collective formations and how they generate a potential for social change. In 2013 she found The School of Narrative Dance, a nomadic, free of charge school based on horizontal system of education and emancipation. Next to her performative practice she explores urban issues and social topics such as emancipation and equality through painting, collages, installations, video, photography and sound.