Italian Area M-P

Federico Maddalozzo

www.federicomaddalozzo.com

Sunday is a reflection on car tuning using wrapping film. I’m interested in the idea of how industrial objects change shape, for example after an accident, a car after a crash. The matte metallic colours easily emphasise the sculptural shape of a crashed fender.

Gianluca Malgeri

gianlucamalgeri.com

Mounts branches on the wall in such a way that they mimic the form of deer antlers in trophies decoration the halls of aristocratic hunting lodges. His primitive hunting and gathering confuses the disciplines of botany and zoology, horticulture propagation with the preservation of animal specimens. In the process, he poetically reconverts the symbols of gratuitous bloodsport into those of a naturalist’s careful foraging and attentiveness to cycles of nature. Malgeri installation also allegorises the mythological story, recounted in Ovidio’s Metamorphoses, of Apollo pursuit of Daphne, the nymph who, in order to elude the sun god’s ardent advances begged her father to turn her into a tree.

Marcello Maloberti

www.marcellomaloberti.com

A boy sitting on the ground is cutting images of sculptures out of a series of books about Egyptian, Sumerian, Assyrian, Aztec and Etruscan art. Later he abandons them on the floor already covered with scraps. Settled within the exhibition centre of the Quadriennale di Roma, this performance results in hundreds of images invading a transit space, where the incessant passage of visitors constantly modifies the position of the scraps, bringing to life a huge visual assemblage in continuous evolution, as if it was a contemporary archaeological site. The cropping gesture rebuilds a memory mixing and blending places, times and different cultures.

Domenico Antonio Mancini

https://www.liarumma.it/artisti/domenico-antonio-mancini

Domenico Mangano & Marieke van Rooy

www.manganovanrooy.com

With the film Homestead of Dilution, we have investigated the renowned Dennendal affair that took place at the psychiatric institution Willem Arntsz Hoeve in Den Dolder (the Netherlands) in the 1970s. Here, the psychologist Carel Muller and architect Frans van Klingeren promoted the radical emancipation of the patients and proposed to abandon conventional psychiatric methods, among medication and isolation regimes, and instead aimed to open the institution’s grounds to let patients intermingle and engage in activities with other inhabitants from outside societal realms. They named this principle ‘dilution’, the idea of adding ‘normality’ to ‘craziness’. However, Muller’s famous experiment was ended after four years in 1974. Homestead of Dilution focusses on the legacy of the Dennendal affair and links its history with the present day state of mental healthcare in the Netherlands. Currently undergoing a nationwide transformation, with the envisioned goal of closing all remote psychiatric institutions, the artists have detected local forms of spontaneous and temporal dilution within this moment of indecisiveness. In that, the film outlines the current state of the psychiatric institution in Den Dolder and combines this with a re-enactment of the ‘dilution concept’, involving participatory exchanges with the patients who are currently residing at the institution. These exchanges were inspired by a survey that was circulated in the 1970s at Nieuw Dennendal, engaging the patients and the staff in collectively thinking about the activities that could be developed on the terrain as to further stimulate the effect of dilution. The project was developed during an artist in residency at Het Vijfde Seizoen and supported by the Mondriaan Fund. It is the second part of a video trilogy about the heritage of the anti psychiatry movement in the Kingdom of the Netherlands.
http://dilutionincuracao.tumblr.com

Margherita Manzelli

https://www.castellodirivoli.org/artista/margherita-manzelli/

Beatrice Marchi

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

Diego Marcon

www.diegomarcon.net

Eva Marisaldi

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

Roberto Marossi

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

This photography belongs to a series documenting the preparation of artworks and exhibitions.

Nicola Martini

https://www.climagallery.com/artist/nicola-martini/

Andrea Mastrovito

www.andreamastrovito.com

Orestis Mavroudis

www.orestismavroudis.com

Most billboard posters are printed on a high quality, 120gsm blue backed billboard poster paper that is suitable for paste application. This heavier than standard weight offers greater tear resistance and easier handling and is blue backed for reduced show through of over pasted posters. During a cloudy winter day all the billboards in Milan were covered with the backside of the poster paper Blue Back. The blue color of this paper corresponds to the blue of the sunny sky and thus during this operation the sky was at the same time sunny and cloudy; in a city where the numerous billboards are able to create the perception of a second sky under the real one. http://www.orestismavroudis.com/sunny-and-cloudy

Elena Mazzi

elenamazzi.com

Corinne Mazzoli

cargocollective.com/corinnemazzoli

We are in an alternative world where pole dance dancers are trained, like soldiers, to trigger sonic weapons commanded by a theremin. Orbita Zero analyzes the contemporary war strategies linked to invisibility and falsification of the imaginary, disguising itself in the guise of a sensual Pole Dancer, a soldier assigned to orders. His instrument, The Pole, is transformed into a Theremin, an electronic musical instrument originally for military use, which is played without the need for physical contact. The performer executes Pole Dance orders / figures as if he were to activate a weapon. A strident soundscape will result. In collaboration with engineer Raffaello Bisso. Scenography in collaboration with Collettivo Coyote. Performer Giulia Orlando. - https://vimeo.com/182620079

Maurizio Mercuri

www.mauriziomercuri.it

Cristiano Menchini

menchinicristiano.tumblr.com

Alessandra Messali

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

This project is the result of research undertaken during the Guwahati Research Program, Assam (IND) in 2013, 2015 and 2016. Emilio Salgari (Verona 1862 - Torino 1911) was a popular Italian writer who despite having written more than 200 adventure stories set in exotic locations, never set foot outside of Italy. He gaining inspiration through foreign literature, newspapers, travel magazines and encyclopedias. Between 1907-1911 Emilio Salgari published four books, Quest for a Throne (Alla conquista di un impero), Il Bramino dell’Assam (The False Brahman), La caduta di un impero (An Empire Crumbles) and La rivincita di Yanez (Yanez’ Revenge) set in Guwahati, at that time under British colonial rule. In Emilio Salgari and the Tiger Project Alessandra Messali studied the literature of Salgari analyzing the incongruity between text and context in collaboration with the journalist and historian Kumudeswar Hazarica, Guwahati University (History department, prof. Paromita Das), Cotton College (English department, prof. Santanu Phukan) and Handique Girls' College (English department, prof. Mitali Goswami and Tasrina Iqbal).
With students from Handique Girls’ College (English department) and with the technical support of Giuseppe Abate, we translated the results of the research into a theatre play that was held in the Assam State Museum’ public garden on 26th March 2016.

Sabrina Mezzaqui

sabrinamezzaqui.it

Marzia Migliora

www.marziamigliora.com

Jacopo Miliani

jacopomiliani.info

Concetta Modica

www.concettamodica.com

Luca Monterastelli

www.lucamonterastelli.com

Fiamma Montezemolo

www.fiammamontezemolo.com

Neon Afterwords is an immersive installation in which 7 sentences, written in fluorescent LED blue light tubes, float at different heights in the dark space of a room. The sentences are extracted from the Borges' short story 'The Anthropologist (1969). In an adjacent room, 3 books containing the mentioned story are exhibited with the key LED sentences erased with a blue tape. The story is therefore disseminate in different spaces.

Giovanni Morbin

https://www.superficietotale.it/

Eight hours with one hand inside a wall, eight hours conceived as measure, the time necessary to make the event less theatrical. The body suffers the stillness of the building and the building acquires a human appendix. After eight hours I withdraw my hand and go away.

Gianni Moretti

www.giannimoretti.com

The second room is an unstable structure, a skeleton of wooden sticks held together temporarily by plastic bands. The work is unable to stand alone, it needs a surface (wall) to lean on. Along its perimeter, a network of 980 bells forms an almost invisible grid. The wooden skeleton is crossed by an electric circuit activated by motion sensors: these put in motion four small vibrating motors that shake the entire work. In the absence of the stranger the structure keeps silent, but as soon as a body approaches it the mechanism senses its movement and activates the alarm, the 980 bells start to play with increasing intensity at risk of annoying the visitor and shatter the work's own balance. The space created by the work is a space of protection, any public place, any portion of the floor. The space that the second room delimits is my space of protection, my private place, the place of self-knowledge, made inaccessible and untouchable.

Maria Morganti

www.mariamorganti.it

A painting hanging on a wooden support that acts as a wall, a protection and a transport container. The whole is supported by a tripod on wheels. Since 2006 every day the same color that is spread on a canvas and in the diary is also layered over the infinite picture. Each previous color is deleted from the next layer. Color is a material with a certain consistency. Many micro layers of paint spread over a two-dimensional surface form a three-dimensional object. The painting has thickened and expanded over time. The weight of the matter at a certain point will no longer hold up and will come off the support?

Margherita Morgantin

www.margheritamorgantin.eu

Liliana Moro

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

The work starts from a precise cinematographic reference: 2001: A Space Odyssey, not translated in a sculptural image, but in a sound and luminous installation. The initial segment of the famous film by Stanley Kubrick, in which the monkeys discover the upright position - fundamental stage of the evolutionary process - and therefore the struggle for the affirmation, is reproposed in its only acoustic component within an inaccessible perimeter. A column of red light eascapes from this portion of forbidden space. The work was presented for the first time in 2004 on the occasion of Liliana Moro's solo show at the Ambrosetti Foundation in Palazzolo sull'Olio. The artist's interest in the sculptural power of sound is recorded throughout his entire production, since the beginning when he was a student at the Academy of Fine Arts in Brera in 1986 where she presented a series of black boxes with different sound recordings: an alarm clock that scans the time; the cacophonic and bundled noises of a supermarket; a conversation reduced to the soliloquy and the cracked sound of a building site.

Margherita Moscardini

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

The project collects short videos of monoliths taken along the Atlantic Wall (1940-1944), a line of about 15,000 fortifications built across the European Atlantic coast for the purposes of defending Fortress Europe. "1XUnknown was born when I started looking for habitable sculptures, of permanent pavilions that, although belonging to the landscape, manifested as separate volumes, clear as a judgment and distinguished as a political entity. I looked for volumes that occupied the space with the same force and substance as the masses of demonstrators occupy our monuments: organization and dispersion. When I intercept part of the French segment of the Atlantic Wall defensive line (1940-1944) I do not find the remains, the ruins, nor historical evidence, but figures." Margherita Moscardini

Sabrina Muzi

www.sabrinamuzi.it

Wandering Baishizhou is a project realized during a period of residence in Shenzen within an urban village destined by the Chinese government to be demolished within a few years. Urban villages are densely populated agglomerations generally located within modern Asian metropolises. Baishizhou is one of the more than one hundred villages in Shenzhen area, which represents one of the great machines of the growing development of the megalopolis thanks to good rents and immigrants, workers and young creatives. Dilapidated, dirty, overcrowded, colorful, deeply human, Baishizhou generates a strong short circuit with the opulent westernized wealth of the rest of the metropolis by posing strong questions to the city's identity and therefore destined to disappear at the will of centralized power that tends to make more shined the image of Shenzhen, a symbolic city and a project studied at the table of Chinese economic progress. Invited by Handshake 302, artistic and collective creative residency of artists, architects and anthropologists, Italian artist Sabrina Muzi project involved the local community in relational and performative actions. The artist created clothes made with old clothes and small objects donated by the inhabitants, then worn by some residents who roamed the streets, rooftops and narrow alleys of the village.
The artist has created ghost figures, protectors of the village, which as magical wu (ancient Chinese shamans) integrate into the urban 'fabric', referring to the ancient beliefs of popular religion that moves from shamanism and Taoist tradition as well as to the cult of the ancestors and spirits that with their effigies attend every door of Chinese housing, becoming the spirit of the place. The project, developed in different phases, has given life, as well as performance, to a video and a photographic project of which the presented image is part.

Bruno Muzzolini

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

Andrea Nacciarriti

www.andreanacciarriti.net

Matteo Nasini

www.matteonasini.com

Sparkling Matter is an investigation through stages of consciousness, sound and matter, focused on the exploration of sleep and dreams in ephemeral and material forms. Is the result of Nasini’s research in between sound, technologies and neuroscience to scan and transform into sound and substance the brain weaves radiated while dreaming.

Eléna Nemkova

elenanemkova.com

Christian Niccoli

www.christianniccoli.eu

Shot in Iceland. Realized with the support of: Autonome Provinz Südtirol (IT), Premio Terna per l`Arte Contemporanea (IT) Rotor Film Babelsberg, Potsdam (DE). Concept and director: Christian Niccoli. Photography: Andreas Steffan. Audio: Roman Strack. Executive producer: Arne Duppler. Postproduction: Rudolf Germann. Stuntman: Haraldur Einarsson. Stunt coordinators: Vilhjálmur Thór Gunnarsson, Ágúst Ingi Kjartansson. Pilot: Reynir Freyr Pétursson. https://vimeo.com/74220663

Giancarlo Norese

noresize.wordpress.com

Exhibited at "Dialogos Part Three", Olomouc, Czech Republic, 2017. A year before the opening, a group of artists starts to publish texts and images on a shared online document. Following this dialogue, the show displays interweaving contributions by the same artists. In this case, the work by Giancarlo Norese is made by ripping off a photo by Vladimír Havlík.

Giovanni Oberti

www.giovannioberti.com

Valerio Rocco Orlando

www.valerioroccoorlando.com

Ornaghi & Prestinari

www.ornaghi-prestinari.com

Filemone e Bauci is a cast aluminium sculpture of two humanized columns standing arm in arm while beholding the new soaring towers before them. The architecture of the past observes that of the present. Baucis and Philemon are two ancient Greek mythological figures who grew old together enduring the hardships of life thanks to the strength of their union and were the only ones to welcome Zeus and Hermes when they showed up at their door in need of shelter.

Giovanni Ozzola

www.giovanniozzola.com

Adrian Paci

https://kaufmannrepetto.com/artist/adrian-paci/