Italian Area A-C

a selection from Viafarini Archive documenting the Italian artistic scene from the late eighties to the present: from Mario Airò to Maurizio Cattelan

By Viafarini

Archivio Viafarini (2013-01-01/2013-01-01) by ViafariniViafarini

Italian Area A-C

Italian Area showcases contemporary artists promoted by the most important Italian and foreign organizations, and also gives visibility to the younger generation of artists representing today’s Italian art scene. This selection comprises: A12, Adalberto Abbate, Rebecca Agnes, Alessandro Agudio, Mario Airò, Alek O., Allis/Filliol, Yuri Ancarani, Giorgio Andreotta Calò, Meris Angioletti, Nico Angiuli, Salvatore Arancio, Francesco Arena, Riccardo Arena, Stefano Arienti, Artway of Thinking, Emanuela Ascari, Micol Assaël, Davide Balliano, Marina Ballo Charmet, Rosa Barba, Massimo Bartolini, Riccardo Baruzzi, Marco Basta, Emanuele Becheri, Marco Belfiore, Sara Benaglia, Elisabetta Benassi, Riccardo Benassi, Riccardo Beretta, Giona Berbardi, Valerio Berruti, Simone Berti, Davide Bertocchi, Francesco Bertocco, Luca Bertolo, Bianco - Valente, Leonora Bisagno, Rossella Biscotti, Stefano Boccalini, Enrico Boccioletti, Dafne Boggeri, Lorenza Boisi, Monica Bonvicini, Lupo Borgonovo, Botto & Bruno, Thomas Braida, Sergio Breviario, Rossana Buremi, Luca Buvoli, Alessandra Caccia, Stefano Cagol, Pierluigi Calignano, Stefano Calligaro, Chiara Camoni, Pierpaolo Campanini, Gianni Caravaggio, Ludovica Carbotta, Maggie Cardelùs, Caretto Spagna, Maria Letizia Cariello, Francesco Carone, Valerio Carrubba, David Casini, Gea Casolaro, Matilde Cassani, Beatrice Catanzaro, Alice Cattaneo, Maurizio Cattelan. Each artist is represented by a work of his/her choice, directly linked to his/her website. www.italianarea.it

Untitled (Notes for a City of Short Future) (2013-01-01/2013-01-01) by A12 (Andrea Balestrero, Gianandrea Barreca, Antonella Bruzzese, Maddalena De Ferrari, Massimiliano Marchica, since 1993)Viafarini

A12

A12

www.gruppoa12.org

Self-Portrait (Garibaldi) (2011-01-01/2011-01-01) by Adalberto AbbateViafarini

Adalberto Abbate

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.

Places that no longer exist (2010-01-01/2010-01-01) by Rebecca AgnesViafarini

Rebecca Agnes

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.

Sleek Like a Slum (2012-01-01/2012-01-01) by Alessandro AgudioViafarini

Alessandro Agudio

Alessandro Agudio

www.alessandroagudio.com

That Afternoon here on Earth (1988-01-01/1988-01-01) by Mario AiròViafarini

Mario Airò

Mario Airò

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

Tetris (Cantù) (2014-01-01/2014-01-01) by Alek OViafarini

Alek O.

Alek O.

https://www.oalek.com/

Jir (2015-01-01/2015-01-01) by Alis/Filliol (Andrea Respino, Davide Gennarino, since 2007)Viafarini

Alis/Filliol

Alis/Filliol

http://www.alisfilliol.com/

The Chief (2010-01-01/2010-01-01) by Yuri AncaraniViafarini

Yuri Ancarani

Yuri Ancarani

www.yuriancarani.com

Untitled (the End of the World) (2017-01-01/2017-01-01) by Giorgio Andreotta CalòViafarini

Giorgio Andreotta Calò

Giorgio Andreotta Calò

giorgioandreottacalo.com

Chapitre XI – Les Sirènes. Partition (2017-01-01/2017-01-01) by Meris AngiolettiViafarini

Meris Angioletti

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.

Adieu - erasing the Alps (2014-01-01/2014-01-01) by Nico AngiuliViafarini

Nico Angiuli

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.

It Was Only a Matter of Time Before We Found the Pyramid and Forced It Open (2017-01-01/2017-01-01) by Salvatore ArancioViafarini

Salvatore Arancio

Salvatore Arancio

www.salvatorearancio.com

Passage (2017-01-01/2017-01-01) by Francesco ArenaViafarini

Francesco Arena

Francesco Arena

www.francescoarena.info

Poppies (2010-01-01/2010-01-01) by Stefano ArientiViafarini

Stefano Arienti

Stefano Arienti

www.studioguenzani.it/artist/stefano-arienti

Āshkhārhātzūytz - Visual Chrestomathy of the Mount Analogue Inland Peak Expedition (2017-01-01/2017-01-01) by Riccardo ArenaViafarini

Riccardo Arena

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.

Co-creation Diagram (2017-01-01/2017-01-01) by Artway of thinking (Federica Thiene, Stefania Mantovani, since 1993)Viafarini

Artway of thinking

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.

Erosions to the north-west (2012-01-01/2012-01-01) by Emanuela AscariViafarini

Emanuela Ascari

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.

ILIOKATAKINIOMUMASTILOPSARODIMAKOPIOTITA (2014-01-01/2014-01-01) by Micol AssaëlViafarini

Micol Assaël

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.

Untitled (2016-01-01/2016-01-01) by Davide BallianoViafarini

Davide Balliano

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.

From the corner of the eye #17 (1993-01-01/1994-01-01) by Marina Ballo CharmetViafarini

Marina Ballo Charmet

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.

From Source to Poem to Rhythm to Reader (2016-01-01/2016-01-01) by Rosa BarbaViafarini

Rosa Barba

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.

Otra Fiesta (2013-01-01/2013-01-01) by Massimo BartoliniViafarini

Massimo Bartolini

Massimo Bartolini

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

Madonna (2017-01-01/2017-01-01) by Riccardo BaruzziViafarini

Riccardo Baruzzi

Riccardo Baruzzi

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

Atocha - Ravenala (L) / Atocha - Ravenala (Green) (2017-01-01/2017-01-01) by Marco BastaViafarini

Marco Basta

Marco Basta

www.marcobasta.org

Untitled (Shining) #10 (2007-01-01/2007-01-01) by Emanuele BecheriViafarini

Emanuele Becheri

Emanuele Becheri

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

STEREO #3 (2017-01-01/2017-01-01) by Marco BelfioreViafarini

Marco Belfiore

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.

The jelaousy of the form (2014-01-01/2014-01-01) by Sara BenagliaViafarini

Sara Benaglia

Sara Benaglia

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

The project was born from the study of “sad areas” in northern Italy, that were subjected to stress identity in transition from plow to industry. While the party of the Lega Lombarda used ancient symbols, like the Sun of the Alps, in order to demonstrate a Nordic and Celtic progeny of the people of Padania, the introducion of physical education in the nascent Kingdom of Italy was held by the Swiss gymnasiarch Rodolfo Obermann in 1848. The sculpture gym recalls the medieval term Bauhütte, the loggia of the masons, through the use of steel in rationalistic forms.

Sara Benaglia

www.italianarea.it/artista.php?artista=BESA

The project was born from the study of “sad areas” in northern Italy, that were subjected to stress identity in transition from plow to industry. While the party of the Lega Lombarda used ancient symbols, like the Sun of the Alps, in order to demonstrate a Nordic and Celtic progeny of the people of Padania, the introducion of physical education in the nascent Kingdom of Italy was held by the Swiss gymnasiarch Rodolfo Obermann in 1848. The sculpture gym recalls the medieval term Bauhütte, the loggia of the masons, through the use of steel in rationalistic forms.

Self-portrait at Work (2016-01-01/2016-01-01) by Elisabetta BenassiViafarini

Elisabetta Benassi

Elisabetta Benassi

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

Dialogues carried out in silence n°4 (2011-01-01/2011-01-01) by Riccardo BenassiViafarini

Riccardo Benassi

Riccardo Benassi

www.riccardobenassi.info

Screen (First Victims Playground) (2015-01-01/2017-01-01) by Riccardo BerettaViafarini

Riccardo Beretta

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.

The Whale (2011-01-01/2013-01-01) by Giona BernardiViafarini

Giona Bernardi

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.

In His Name (2011-01-01/2011-01-01) by Valerio BerrutiViafarini

Valerio Berruti

Valerio Berruti

www.valerioberruti.com

Untitled (Ingres) (2015-01-01/2015-01-01) by Simone BertiViafarini

Simone Berti

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

Self-portrait (Ram/Belier) (2014-01-01/2014-01-01) by Davide BertocchiViafarini

Davide Bertocchi

Davide Bertocchi

www.davidebertocchi.com

Affective sciences (2017-01-01/2017-01-01) by Francesco BertoccoViafarini

Francesco Bertocco

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.

Flag #11 (2014-01-01/2014-01-01) by Luca BertoloViafarini

Luca Bertolo

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.

You are here (2012-01-01/2014-01-01) by Bianco-Valente (Giovanna Bianco, Pino Valente, since 1994)Viafarini

Bianco - Valente

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.

#Mao (2016-01-01/2016-01-01) by Leonora Bisagno, Bruno BaltzerViafarini

Leonora Bisagno

Leonora Bisagno

www.leonorabisagno.com

The Trial (2010-01-01/2011-01-01) by Rossella BiscottiViafarini

Rossella Biscotti

Rossella Biscotti

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

PubblicaPrivata (2015-01-01/2015-01-01) by Stefano BoccaliniViafarini

Stefano Boccalini

Stefano Boccalini

www.stefanoboccalini.com

Bipolar (2013-01-01/2013-01-01) by Enrico BocciolettiViafarini

Enrico Boccioletti

Enrico Boccioletti

www.spcnvdr.org

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

Hijack Ritual (2017-01-01/2017-01-01) by Dafne BoggeriViafarini

Dafne Boggeri

Dafne Boggeri

www.lianelineaalien.xyz

The House with a Clock in its Walls (2016-01-01/2016-01-01) by Lorenza BoisiViafarini

Lorenza Boisi

Lorenza Boisi

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

Chainleather Swing (2009-01-01/2009-01-01) by Monica BonviciniViafarini

Monica Bonvicini

Monica Bonvicini

monicabonvicini.net

S (2015-01-01/2015-01-01) by Lupo BorgonovoViafarini

Lupo Borgonovo

Lupo Borgonovo

www.lupoborgonovo.com

Society, you're a crazy breed (2016-01-01/2016-01-01) by Botto e Bruno (Gianfranco Botto, Roberta Bruno, since 1992)Viafarini

Botto e Bruno

Botto e Bruno

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

Tizio, the awkward, annoying giant (2017-01-01/2017-01-01) by Thomas BraidaViafarini

Thomas Braida

Thomas Braida

www.thomasbraida.com

The bride has her head in the clouds (2016-01-01/2016-01-01) by Sergio BreviarioViafarini

Sergio Breviario

Sergio Breviario

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

Plutonium Love (2010-01-01/2010-01-01) by Rossana BuremiViafarini

Rossana Buremi

Rossana Buremi

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

A Very Beautiful Day After Tomorrow (2007-01-01/2007-01-01) by Luca BuvoliViafarini

Luca Buvoli

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.

Again and again (2017-01-01/2017-01-01) by Alessandra CacciaViafarini

Alessandra Caccia

Alessandra Caccia

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

The Ice Monolith (2013-01-01/2013-01-01) by Stefano CagolViafarini

Stefano Cagol

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.

L-Ray (2007-01-01/2007-01-01) by Pierluigi CalignanoViafarini

Pierluigi Calignano

Pierluigi Calignano

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

How to piss in public (2017-01-01/2017-01-01) by Stefano CalligaroViafarini

Stefano Calligaro

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

Barricade (2016-01-01/2016-01-01) by Chiara CamoniViafarini

Chiara Camoni

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).

Untitled (2016-01-01/2016-01-01) by Pierpaolo CampaniniViafarini

Pierpaolo Campanini

Pierpaolo Campanini

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

Moon Phases that divert Space (2016-01-01/2016-01-01) by Gianni CaravaggioViafarini

Gianni Caravaggio

Gianni Caravaggio

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

Monowe (the city museum) (2016-01-01/2016-01-01) by Ludovica CarbottaViafarini

Ludovica Carbotta

Ludovica Carbotta

www.ludovicacarbotta.com

Laura, almost 12 (2011-01-01/2011-01-01) by Maggie CadelùsViafarini

Maggie Cardelùs

Maggie Cardelùs

maggiecardelus.com

Being pebble (2011-01-01/2011-01-01) by Caretto e Spagna (Andrea Caretto, Raffaella Spagna, since 2002)Viafarini

Caretto Spagna

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.

Flower Calendar (2017-01-01/2017-01-01) by Letizia CarielloViafarini

Letizia Cariello

Letizia Cariello

www.letiziacariello.com

Erma Ermafrodita, Idolo (2016-01-01/2016-01-01) by Francesco CaroneViafarini

Francesco Carone

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

Kc is sick (2011-01-01/2011-01-01) by Valerio CarrubaViafarini

Valerio Carruba

Valerio Carruba

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

pagg. 133, 139 (2018-01-01/2018-01-01) by David CasiniViafarini

David Casini

David Casini

www.davidcasini.com

Still here_Paris je t'aime-Rue du Javelot (2009-01-01/2013-01-01) by Gea CasolaroViafarini

Gea Casolaro

Gea Casolaro

www.thegalleryapart.it/artists/casolaro-gea

Countryside worship/A celebration Day (2014-01-01/2014-01-01) by Matilde CassaniViafarini

Matilde Cassani

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.

Bait al Karama (House of Dignity) (2010-01-01/2010-01-01) by Beatrice CatanzaroViafarini

Beatrice Catanzaro

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.

Untitled (2017-01-01/2017-01-01) by Alice CattaneoViafarini

Alice Cattaneo

Alice Cattaneo

www.alicecattaneo.it

L.O.V.E. (2010-01-01/2010-01-01) by Maurizio CattelanViafarini

Maurizio Cattelan

Maurizio Cattelan

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

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