Italian Area S-Z

Iacopo Seri

www.iacoposeri.com

A guided tour in a pitch-dark basement. An original used caption of Bruce Nauman's piece The True Artist Helps the World by Revealing Mystic Truths (Window or Wall Sign) is installed at the bottom of the space.

Elisa Sighicelli

www.elisasighicelli.com

Giovanna Silva

www.giovannasilva.com

Roberta Silva

www.robertasilva.com

In the Roman space of Sergio Casoli the artist presented a floor partially covered by mercury. In order to realize the work she dug deep and then filled the void with the liquid metal. The idea is that of a mirror that reflects the room, solid in appearance, but in reality liquid and unexpectedly deep.

Francesco Simeti

www.francescosimeti.com

Sissi

www.sissisissi.com

The performance consisted of intrepreting the Roman ruins through a skeleton inside them. The arena becomes the head, the columns the ribs and the severed pillars become the arms that run along the sides. With the flour I have drawn the brain that slides towards the intestine and with a megaphone I told the public of the Palatine the story of this lost identity.

Mirko Smerdel

www.privatemythologies.com

On Wednesday the 4th of May 2011 on the walkside of via Schievano in Milan, near “Schievano-Bilbao” bus stop n°47, a 35 mm film was found, unrolled and abandoned, as if somebody had thrown it out from a car. The film has been recovered and restored, then scanned. Inside the film are contained six commercials of different products: Lega del filo d’oro, Lipton Tea Time, Diffusionetessile, Foxy Mega, Tantum Angelini, Groupama.
Notes on a lost film: If we look at these photograms separated from the flow of the narrative, the perception of these commercials radically changes. Despite the usual status of advertising, in these images disturbing and almost grotesque new features seem to appear. The reason of this feeling is given by a new distance between the images and the observer, between space and time, but probably this feeling is also embedded in the images themselves, in the compulsory desire of consumption these images would like to provoke. In this context these images become part of a self-referential process: –> capitalism –> advertising industry –> production of desire (consensus) –> consumption –> refusal –> reality (urban space) –> capitalism –> … All the aspects of this circular process are embedded in these photograms. At the same time, through post-production, these images rebuild a new storyboard, a new interpretation of the capitalist society himself. That’s why I decided to compare these photograms with George A.Romero movie “Diary of the Dead”, that explicitly reflects about the role of the media in society through horror clichés, then selecting some peculiar quotes from the movie representing a symbolic value, also related to the narrative.

Annalisa Sonzogni

www.annalisasonzogni.com

The site-specific installation presents a cycle of eleven photographs, each 200 cm x 160 cm, displayed inside the space of the main atrium, fixed on mobile structures that, through mirrors and blind panels enter into a spatial dialogue with the clean lines of the architecture of Terragni’s building.

Giandomenico Sozzi

www.fpac.it/site/sozzi

Alessandra Spranzi

http://p420.it/it/artisti/spranzi-alessandra

In these images from furniture magazines of the Sixties or Seventies, I cut objects or parts of the image and overlap them. The image below emerges, fragments arranged in a single unlikely, uneven, metaphysical image. The typographic screen keeps us within the reality of the image. The cuts that open in the images are in other corners, through other doors, against other walls, towards other tables. Temporary settings that are in a new house, which embraces, together with amazement, a small vertigo, the experience of a fall. A fragment of an image becomes a starting point for another.

Giulio Squillacciotti

www.giuliosq.com

A woman wanders around the 19th floor of a building, from an anonymous industrialized city. She has been told, through a series of cryptic indications, how to paint an imaginary landscape where to meet with the author of those letters. The geographical and physical distance with the person who is writing to her, can be reduced only through a methodic work of imagination and detach from what is surrounding her. The chance of traveling from a room, by seeing with eyes closed, to a place that exists only in both their minds. The difficult task is here expressed by the contradictory indications he gives her, as an explicit giving of what is a long distance communication with its time lapses. The strength to disclose the hitch can only be found in the accurate recollection of memories she has of their real encounters, once happened, far in time, but far, from where they both came.

Giuseppe Stampone

giuseppestampone.com

Since the catastrophic earthquake occurred in Abruzzo (Italy) on April 6th 2009, the historical centre of L’Aquila has been declared off limits (the so-called “red area”), and has been controlled 24 hours a day by the army. The artist succeeded in illegally entering the “red area” in order to take a full photographic documentation of the ruined city and of the buildings “frozen” by the supporting cages and structures in steel and iron, and to give evidence to the immobility of the political power and to the silence or the falsehood of the information given by mass media. 100.000 postcards has been produced from the photographs. Many of them have been sent to the persons in charge of national and international political institutions; in particular to those who attended the famous G8 held in L’Aquila in 2009. The public can take the postcards with the “greetings from L’Aquila”, fill them with new addresses, and send by putting them into the white “mail box”. All the new addresses are registered in a database and shown on a website through a special software. The website shows all the delivery addresses on a map of the world and allows further interaction. In three big display cases are the pages of a famous manual on architecture in Abruzzo, on which the artist intervened, emphasizing the linear geometries created by the new supporting cages, and insinuating a further level of analysis of the buildings.

Marco Strappato

https://www.thegalleryapart.it/artists/strappato-marco/

Elisa Strinna

www.elisastrinna.com

Davide Stucchi

www.davidestucchi.com

Alberto Tadiello

www.albertotadiello.com

Can a sound undermine? To hurt? Kill? Is there a sound that can ward off, reject, bump? Which vibrations and which sonic pressures are bearable by the human body? Have you ever seen an acoustic cannon? It is said to have been used against pirates. And there is talk of murderous murders and shouts capable of pushing away. Perhaps the next great war will be fought just like that. HL (2009), 25 L (2010) and LK100A (2010) are three works that differ in part due to their assumed form and used materials, but all three start from a common base: that of study and research concerning acoustic weapons. These are works that are filled with air, loading it in the compressor basins like in a big belly. They hold their breath to the limit of the possible and then release it violently, strongly. The vocal cords of the horns, solicited, vibrate. The tubes then release that forced breath, lead it and amplify it, adding strident and rustling. The final funnels, like very elegant mouths, allow the breathing with grace and decision. The download. The outburst. Until the end. Until silence. When they are silent, they can be confused with attractive shrubs. From cylindrical stems and large trumpet flowers. Resistant to frost. Prosthesis, to hit. Toxic.

Alessandra Tesi

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

Justin Randolph Thompson

www.justinrandolphthompson.com

The Antenna of the Race is a media-based installation that centers on three conceptual foundations: engaging Marshall McCluhan’s theory on historic labor division as a primer for thriving in an ‘acoustic environment’, local Pennsylvanian history in the patenting of a device capable of the diffusion of public television and a critical deconstruction of authenticity and cultural appropriation. McCluhan’s examination of the simultaneity of the media assault sets the service culture as one of playing roles in contrast to specialization and literacy of a ruling class as pursuing goals, ultimately determining that the role players are more capable of thriving in a hyper saturated acoustic world given their forced adaptability. Drawing upon the utilitarian German architecture of early Kutztown and the class-envy represented by local Victorian architecture, a room within a room is created that simultaneously enhances the intimacy of the environment while fully immersing the viewer in an audio-visual experience that both mesmerizes and immobilizes. This community-oriented proposal engages the student body and local community in the creation of an archive that litters a range of television sets and speakers inset into the walls of the installation. The architecture of sound is elaborated through the creation of walls based on the forms of early speaker technology and the acoustic modulation of space.

Bert Theis

isolartcenter.org

"The basic elements with which Bert Theis intervenes in agglomerations p public and in social contexts they are drawn from traditional buildings of the parks, such as platforms and pavilions. But what characterizes these structures is the fact that they delimit a field that, in fact, is left empty: they introduce the indefinite, the uncertain and the provisional in the heart of the completely disciplined distribution of the contemporary city. They open a space that is subtracted from control, an area not qualified in advance, but each time to be redefined through collective initiatives. Each platform is a enigma that door the spectator / user a free interpretation of the function and the meaning. Theis works are offered as relational devices, capable of creating temporary communities, turning it into theaters of meetings and situations." Marco Scotini

Grazia Toderi

www.graziatoderi.com

Grazia Toderi chose to project video because her material is light that travels and that appears when it encounters a surface, and also because it can be transmitted simultaneously throughout the world. Light also makes our existence possible, arriving from the stars, a mysterious energy with which we play and live. And it is while looking at the light that draws luminous geometries in the sky, the constellations, that man has built cities, seeking a continuous relationship between sky and earth. “Orbite Rosse” (Red Orbits, 2009) is a double video projection created for the Venice Biennale. The projected light brings out a stratification of transparences and lights, of cities that are superimposed and continuously transform, and two broad ovals, celestial or terrestrial maps, colored planispheres or cosmograms, upon which luminous tracings dance, trajectories, “invisible cities,” imagined thinking of Italo Calvino and the large lithograph “Venetie MD” (Venice 1500) by Jacopo de’ Barbari, now in the Palazzo Ducale in Venice. “Projections” of light that penetrate our consciousness through the two mysterious “red orbits” of our eyes, which direct the images of our head-world.

Santo Tolone

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

Diego Tonus

www.diegotonus.com

"Fragments of a Conversation with a Counterfeiter" contributes to a discussion about transformation and transportation of value, both related to questioning the valorisation of time and space in time of crisis. The project implies a series of new works derived from the conversation with an actual forger (anonymous for practical reasons) Diego Tonus has encountered and that shared a series of controversial thoughts related to contemporary systems of the definition of values he has experienced within his activity. Each work is a manifestation of this discussion through the act of presenting objects, actions and words experienced by the forger within his practice of reproduction of value and ways of transporting it, hacking system of controls and dealing with the definition of individuality. Each artwork is presented in co-authorship with the forger (both in titles and concepts) and aims at working with the intellectual property of the counterfeiter trying to question the ‘counter’ of counterfeiting. The interventions are materialized respectively in different media, according to the nature of the discussion. "A Moment of Darkness" 
An aluminum cement sculpture, life-cast (1:1) of the actual forger posing without revealing his identity. The sculpture is an anonymous portrait of the forger but also the container for the private keys (a code hidden inside the sculpture) to have access to a Bitcoin created together with the counterfeiter. The artistic value of the sculpture and the hidden parallel value of the Bitcoin will be two coexisting values related to this work. The only way of having access to the Bitcoin value in the future will be by breaking or stealing the sculpture.

Gian Maria Tosatti

www.tosatti.org

Sette Stagioni dello Spirito (Seven Seasons of the Spirit) is a big work in seven chapters made in Naples between 2013 and 2016 like a large symphony for citizens and town. The task of the project was to make a trip in the human soul between the extreme limits of good and evil. It have been an investigation on the entire spectrum of the spirit, made in the body of what is the human city par excellence. The seven works have been made in seven big historical and monumental buildings of Naples that were in state of abandon and decay. So the project activated a great urban operation that allowed the artist to give back to the instiutions of the town those building in safe conditions to be open and used again. The project have been organized and promoted by Fondazione Mora, with the support of Lia Rumma Gallery and the Madre museum, in collaborations with all the institutions of the territory.

Simone Tosca

simonetosca.com

Federico Tosi

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

Carloalberto Treccani

www.carloalbertotreccani.com

Natália Trejbalová

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

Luca Trevisani

www.lucatrevisani.eu

Patrick Tuttofuoco

www.studioguenzani.it/artist/patrick-tuttofuoco

Ian Tweedy

www.monitoronline.org/ian-tweedy

T-yong Chung

t-yongchung.com

T-yong Chung’s is a Korean artist who has decided to live in Italy. His perception and personal experience of Italy is that of a cultural, iconographic and humanistic atlas from which he draws inebriated inspirations and thoughts. He wanders freely, and he is curious, attentive and attracted by some fundamentals which one can easily discover in his artworks: Classical Art, Arte Povera, Minimalism. Undoubtedly, his works transcend a continuous dialogue between past and present. His works portray the tension between the fullness of western culture and the essentiality of oriental culture. This creates a formal balance which is difficult to add to or take away from. His sculptures are defined although they seem unfinished and his mark is delicate yet vigorous. Often incorporating leftover materials, antique chairs, rusty tools, sheet metals, he dismantles, reassembles, smooths, polishes the remnant until it takes on a new identity , but still strongly linked to its dignified past. His most recent works start with plaster reproductions of classical busts and concrete models of everyday objects. He has recently started to approach the portrait subject, focusing his research more on a real person than on a symbol. Here the classical approach is always present, but a sort of contemporary humanism seems to prevail.

Enzo Umbaca

www.enzoumbaca.eu

The folded sheet is the summary of a series of works on soccer, specifically on one of the two halves of the field on which I have often focused my attention. Halfway across a piece of A4 paper I instinctively drew half the size of a football field. Then by folding the sheet on itself I imprinted the other half of the field, thus completing the geometric symmetry. Doubling is a soccer technical term. In this case, with my exercise, not only doubling, but multiplying, since it is multiple drawings, creating a similar multiplicity. As in the Rorschach tables, the progressive specular design engages my mind and perhaps also that of those who watch it, stimulating the mind to give shaper to a personal concept of the image.

Nicola Uzunovski

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

My Sunshine is a utopian project, suspended between art and science, visionary ideas and social issues, poetry and hyper - technology. Its aim is to produce a flying object that reflects sunlight to a specific area of Earth and appear as the Sun itself. A broader version of My Sunshine contemplates the production of several copies of the aerostat, which shall create the effect of multiple suns in the sky. The project concentrates on areas around the Arctic Circle where, due to the rotation of the Earth’s axis, during the winter the Sun stays below the horizon, its rays unable to illuminate the ground. This phenomenon has a massive influence on the emotional state and relational dynamics of the local population. The project itself consists of a open process that evolves through a extensive participation of the public, moving from the scientific community, astrophysicists, engineers, architects, to embrace whoever wishes to join in the realization of a dream called My Sunshine. My Sunshine was initiated in Trieste, Italy, where it received the European Emerging Artist Award, where a research in collaboration with the International Center for Theoretical Physics was made on the feasibility of the project. Later in the residency Pollinaria in Abruzzi, Italy, My Sunshine developed in a further phase, where the first prototype model was realized. In the winter 2008-2009 a test session was realized in Rovaniemi in collaboration with the University of Lapland. In the summer of 2009 It was presented as a National Pavilion of the Republic of Macedonia at the Venice Biennale, where a 4 meter diameter prototype was realized for the event. Until now there were produced various prototypes, but they were controlled manually, like a kite, which showed the desired effect for short time periods. The next stage is to develop a robotic system which can stabilize the mirror to maintain a position, and a propulsion system which can guide the aerostat trough the sky.

Marcella Vanzo

www.marcellavanzo.com

In a cross between cinema and MTV, glimpses of ships, sun, sea accompany images of the protagonists of these parallel movements: colourful, bikini-clad masses in search of an exclusive holiday in the Mediterranean, and dark, composed, silent groups crossing the Mediterranean in order to survive. The videoinstallation opens and closes with shots of wrecked boats: elevated to the status of monuments in the most beautiful bay on Zákynthos, confiscated and heaped up on top of each other in a hidden corner of Lampedusa.

Nico Vascellari

www.nicovascellari.com

Clothes, amplification, frame, wool, light, platoon, origin, ritual, scripta, icon, percussions, rhythmics, temple, earth, uniform, sacrality, burnished branches are the components which characterise Cuckoo, an Alpine procession that could also be a South African esoteric ritual; or a carnival parade, or maybe even a sabbat in which black figures, rhythmically co-opted, point huge tree-trunks by hitting them with axes and prepare a sacrifice altar on which Nico Vascellari, together with Stephen O’Malley and John Wiese (members respectively of Sunn O))) and Bastard Noise), perform. The performance event represents a climax, which informs the environment in order to return it into a catatonic state of quiescence. On a forge erected on burnished trunk trees, among roughed out stands and hanging beams of wood and metal, Vascellari and the two musicians play and sing along with the rhythmic scanned by the carpenters who in another seat (in the gallery’s courtyard) keeps on pointing tree-trunks. The performance guides the spectator to distinguish and alternatively fuse the elements that make up this titillating absence and demure search for a shape within a unitary environment, consisting of the crossing of wooden sculptures and layers of melted plastic with the impressions of the performers; animated by the mobile light glares and by cadenced and obsessive rhythms; enriched by elements taken from our folklore and from an animistic religious feeling. All rigorously orchestrated and organised by the artist, who designed the logos and the clothes, defines the actions and sounds and finally realises the sculptures that determine the whole environment.

Vedovamazzei

www.vedovamazzei.com

Alberto Venturini

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

Serena Vestrucci

serenavestrucci.com

The work takes shape from the attempt to transform one thing into another through a minimum passage, a minimal operation. In this case, the simple and basic gesture of cutting a flag, breaking it down, can create a heavenly vault. A potentially infinite operation, a design that moves by movement.

Valentina Vetturi

www.valentinavetturi.com

September, 3, 2016, 4.30 PM – Sunset
With: Kanako Abe, Irene Gómez-Calado, Cristina Corrieri, Christophe Eliot, Nicolas Krauze, Armando Merino, Thomas Posth. Seven professional orchestra conductors have been invited to perform the same score, Introduction et Allegro by Maurice Ravel. They perform rapid, precise gestures normally intended as cues for an orchestra, except each conductor stands facing their music and each other, interpreting the music for their own invisible ensemble.

Francesco Vezzoli

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

Dubravka Vidović

albertopeola.com/it/artists/dubravka-vidovic

Mauro Vignando

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

La Chineserie is the reproduction - based on observation - of a ceiling decoration in a pizzeria. The joints employees were only Chinese, and I've long held the conviction that it was a Chinese pizzeria. The aesthetic reading of this ceiling was initially related to what could have been an attempt at imitating Occidental coffered ceilings; what I was doing would then be reproducing an object which acted as a bridge between Italian and Chinese culture. Its precise, yet low-cost aesthetics was a cliché we tend to associate with Chinese production. In the projects final phase, while taking pictures of the original, I learned that the pizzeria is owned by Italians, as was predictable, but this sort of displaced my castle. A false interpretation, a false redoubling which reveals itself to be false. A thought elaboration originating from superficial grounds that fueled an idea for the subjects analysis, which now seems to be even more pertinent.

Cesare Viel

www.cesareviel.net

Luca Vitone

www.lucavitone.eu

Eppur si muove (Albeit it does move) synthesizes the iconography of the anarchist flag as well as the one that officially represents the Roma and Sinti people: a red wheel on a black background, expression of an idea of libertarian nomadism that affirms the desire to move freely among the places of our life.

Špela Volčič

www.spelavolcic.net

The pictures of the project Et Fiat Lux feature simulacra, perfect imitations of real flowers. The copies are made of plastic, nylon and polyester, and are commonly used for scientific purposes, or sold as articles for commercial or residential decoration – consumer products. The industries that realize them are specialized in different production processes and are located in the Guangdong area (China), where this business started as early as 1980. Since then, every year thousands of flowers are exported to a great number of countries in the world. The project Et Fiat Lux involved the folding of over two hundred flowers into ikebans, according to the traditional Japanese art of flowers cut. The meticulous compositions also echo the aesthetics of Dutch Baroque still life paintings (nature morte), producing an initially familiar image for the viewer, that actually stems from a carefully built trans-historical and trans-cultural configuration. The subject and the result of the work rely on its ambiguity: the bouquets look composed of real fresh flowers from afar, and only by getting closer it is possible to notice that they are fake. Their liveness is constantly evoked by the light, and by the sculptural precision of the bouquets itself. The light becomes the source of action, the principle of the movement able to transform the plastic materials into an archetypical example of beauty. The photographic series After Et Fiat Lux are taken with the old tungsten film and the same ikebana are composted just with the vegetal bushes (without flowers), while the presence of flowers is rather evoked by the light. The light irradiation occurs in the darkroom, after the film exposure, and it is controlled by the shielding, to allow a selective passage of the light. The resulting image is animated by the red glows that create the illusion of a flower. In this series, the flowers are not present, but the light suggests the forms and shapes of them.

Silvio Wolf

silviowolf.com

Red Screen is part of a series of photographic and video works made inside the Teatro alla Scala in Milan. The theater is considered as a research territory, a place of experimentation and an object of representation, halfway between simulation and staging. In particular, this work represents a fragment of apparently infinite space: the audience of the theater without a public becomes the metaphor of the unity of visible and invisible.

Wurmkos

wurmkos.blogspot.it

Sislej Xhafa

https://www.galleriacontinua.com/artists/sislej-xhafa-79

Driant Zeneli

driantzeneli.com

Unlikely Collision (2014) is a project that starts from a 1959 publication of the NASA where a cross-section of an applied space station, a prototype that could host a 50 members' crew, has been conceived as a laboratory for studying the effects on astronauts of the long space travel. In relation to the Theory of collision by Trautz and Lewis, Driant Zeneli set drones and professional traceurs to move into the exhibition space, walking it and cross it by jumping from the windows from outside to inside. Here, the theory of collision seems to find a possible imagined analogy in collisions between bodies or in their failed impact generating new possible reactions. A double channel projection documents the perfomances.

Zimmerfrei

www.zimmerfrei.co.it

Family Affair is an anthropological exploration, a living archive that portrays in an original way the "state of the art" of the contemporary family. The research of ZimmerFrei began in 2015 and went through different and distant cities like Lausanne, Forlì, Budapest, Milan, Warsaw, Cagliari and Torres Novas in Portugal, where the group has realized a series of documentary theater performances with a total of 45 local families (more than 100 people). Each family is a particular universe and each of its members can be said to be the best expert of their family experience. Each person portrayed tells an episode or an aspect of their family: extended families, informal families, families of choice, families recomposed, families in transit, temporary families and intermittent families that increasingly characterize our contemporaneity. The video installation for two screens presented for the first time in Forlì is an invitation to listen to a myriad of voices, an endless series of micro-stories that feed the great narration of Europe as imagined continent, where the similarities and assonances they are always greater than the differences.

Alessandro Zuek Simonetti

www.alessandrosimonetti.com

Italo Zuffi

www.italozuffi.com