Italian Area G-L
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: Enza Galantini, Stefania Galegati Shines, Daniele Galliano, Anna Galtarossa, Andrea Galvani, Gabriele Garavaglia, Alberto Garutti, Martino Genchi, Riccardo Giacconi, Silvia Giambrone, Fausto Gilberti, Nicola Gobbetto, Goldschmied & Chiari,, Piero Golia, Andreas Golinski, Paolo Gonzato, Meri Gorni, Sabina Grasso, Francesca Grilli, Massimo Grimaldi, Grossi Maglioni, , Alice Guareschi, Giorgio Guidi, Petrit Halilaj, Helena Hladilová, Emre Hüner, Adelita Husni Bey, Silvia Idili, Daniele Innamorato, Invernomuto, Maria Iorio & Raphaël Cuomo, Isola & Norzi, Massimo Kaufmann, Giovanni Kronenberg, Filippo La Vaccara, Luisa Lambri, Renato Leotta, Lucia Leuci, Corrado Levi, Deborah Ligorio, Armin Linke, Claudia Losi. Each artist is represented by a work of his/her choice, directly linked to his/her website. www.italianarea.it
Untitled #08 (2011-01-01/2011-01-01) by Enza GalantiniViafarini
Hole in the water #1 (2017-01-01/2017-01-01) by Stefania Galegati ShinesViafarini
Anything (2017-01-01/2017-01-01) by Daniele GallianoViafarini
Kamchatka (2005-01-01/2005-01-01) by Anna GaltarossaViafarini
The End [Action #5] (2015-01-01/2015-01-01) by Andrea GalvaniViafarini
The End [Action #5] by Andrea Galvani documents a never-ending sunset, a segment of infinity. Filmed from a military aircraft flying at supersonic speeds opposite the Earth's rotation, the video suspends the descending Sun over an oceanic horizon. Time is frozen at the cusp of separation between day and night, forced perception of a ceaseless, distorted moment. Accelerated space produces violent vibrations, destabilizing the boundary of sea and sky. The video describes the tension of in-between states. Our experience of reality is disarticulated—we are at the precipice of the end. The End [Action #5] monumentalizes trace existence in constant flux. A metaphorical memorial of life, death, and the transcendent beyond, The End [Action #5] presents Being as a disequilibrium, a constellation of states in perpetual transformation.
W 3 L λ (2012-01-01/2012-01-01) by Gabriele GaravagliaViafarini
These pipes connect various places and spaces of the building together. This work is dedicated to those who will pass by and think about the voices and sounds of the city. (2012-01-01/2012-01-01) by Alberto GaruttiViafarini
My work for the project Porta Nuova Garibaldi takes shape in the parallel attempt to enter into a relationship with the architecture that welcomes it, on the other with the people who will enjoy that space: citizens, bystanders, casual or daily visitors. The project develops vertically, crossing the architecture for four levels, confronting the limits imposed by the needs of the client, the specific nature of the architecture and the functional obligations of the building. Twenty-three brass-chromed metal tubes extend through the empty cavity that allows the recirculation of the air from the parking floors to the upper ones, linking places and spaces of the architecture that are apparently distant and without a visual relationship. The system of elements in brass chromed metal, not only performs a technical, practical and decorative function - it is a large sculptural balustrade that separates visitors from the caveat - but builds within the architectural body a new map, a geography of sounds which unexpectedly places different points of architecture in relation to each other. It will be the words of the people and the noises of the city that give life to the work and make this, like a great musical instrument in the heart of architecture, able to make sense again a technical space of the building. Through each tube - the material was chosen with its acoustic characteristics in mind - it is possible, by resting the ear to coincide with its opening, to hear sounds, noises, words coming from another point of the building, without knowing which one is or where this is found. The work, like a venous system inside the structure, carries the sounds of the city and the words of the citizens. In this way the great emptiness that thus passes through the architecture will become a device of relationship and not of separation, a box of resonance and propagation. The project will generate a sort of positive gossip, an infinite word of mouth, a metaphor of the very form of the city and of the contemporary information system. On the pavement a short caption is engraved to allow citizens to better understand the meaning of the project. Here is the text: "These pipes connect various places and spaces of the building together. This work is dedicated to those who, passing by, will think of the voices and sounds of the city".
Linger (2017-01-01/2017-01-01) by Martino GenchiViafarini
The Variational Status (2016-01-01/2016-01-01) by Riccardo GiacconiViafarini
The project investigates the relationship between some narrative forms (puppetry, storytellers, flying sheets, pamphlets) and a series of pre-political acts of revolt between Italy and South America. Beginning with the interest of Riccardo Giacconi for tradition as an "act of transmission", The Variational Status evokes a narrative constellation between animation, suggestion, revolt and orality. The show develops around the expiritado, a Colombian puppet character, presumably inspired by the murder of a policeman during a village party. The expiritado mask is studied in relation to the episode of the soldier Augusto Masetti, who in 1911 shot his captain in Bologna in an act of insubordination against the Italian colonial war in Libya. In both cases, the characters are united by the total amnesia of their gesture of revolt, performed in a state of trance or somnambulism. If in the case of Masetti this circumstance transformed it into a symbol for the worldwide anarchist movement that mobilized in its defense, in the case of the expiritado it becomes a comic trait of the marionette. Conceived as the deconstruction of a puppet show, the installation The Variational Status consists of an automatic marionette (built in dialogue with the historic Carlo Colla & Figli Company), from a backdrop in the form of a tent that works as a storyboard, and from a series of posters of the Espiritado show, "El Diablo en el pozo" printed with a 19th century movable type printing machine in Cali, Colombia. Working on archival documents, oral testimonies and theatrical scripts, Riccardo Giacconi intertwines the real and fictitious events of the two characters to question themselves on a document status that is not based on stable and certified supports, but that can exist purely in the form of variation . The Variational Status is co-commissioned by ar / ge kunst (Bolzano), Centrale Fies (Dro, Trento) and FRAC Champagne-Ardenne (Reims), and is produced in collaboration with the sculptor Franco Citterio and the Carlo Colla & Figli Marionettistica Company (Milan), Carteles La Linterna Edigraphos (Cali), Herlyng Ferla, Carolina Valencia, Paola Villani.
Untitled with thorns (2017-01-01/2017-01-01) by Silvia GiambroneViafarini
Born again (2004-01-01/2004-01-01) by Fausto GilbertiViafarini
Museum Albertinum (2016-01-01/2016-01-01) by Nicola GobbettoViafarini
Where Shall We Go Dancing Tonight? (2015-01-01/2015-01-01) by Goldschmied & Chiari (Sara Goldschmied e Eleonora Chiari, since 2001)Viafarini
Untitled (Bus) (2008-01-01/2008-01-01) by Piero GoliaViafarini
Hochpacker (2008-01-01/2008-01-01) by Andreas GolinskiViafarini
The ordinary singularity which declines any identity and any condition of belonging to an urging issue of everyday survival is hostile as much to an individuality longing to preserve its cultural roots, as to a flexible collectivity where one can go in and out to his own discretion.
Andreas Golinski’s new exhibition project stems from this relational and social model. The alienation deriving from the industrial mechanism - today like yesterday - provides the artist the metaphor to emphasize a compulsive model for cohabitation. Golinski spent a period of time in Essen together with a couple of workers forced to share a perceptive and cultural leveling, having the opportunity to unravel the dynamics of the production mechanism. In his installation the artist translated it into an articulate itinerary of claustrophobic and labyrinthic corridors - made up of piled up pallets - that bring back to the spectator a sensorial experience of constant and progressive alienation. What happened to man, to his specific characteristics and his most intimate nature, within this mechanism? An issue - certainly not new but nevertheless topical - which is recurrent on various levels of social reality. Starting from abusive workers, put into precarious conditions of sustainability - as we konw from the most recent news - to clandestine merchants, surely not free; to those who became mob without will, or individual without specific characteristics.
Rose Island (2012-01-01/2012-01-01) by Paolo GonzatoViafarini
The figures of the novel (2012-01-01/2012-01-01) by Meri GorniViafarini
Empty and Shadow (2013-01-01/2013-01-01) by Sabina GrassoViafarini
Fe2O3, IRON OXIDE (2013-01-01/2013-01-01) by Francesca GrilliViafarini
Emergency’s Maternity Centre In Anabah, Photos Shown on Two Apple Imac Quad (2015-01-01/2015-01-01) by Massimo GrimaldiViafarini
Relational gestures, Friendship (2016-01-01/2016-01-01) by Grossi Maglioni (Francesca Grossi, Vera Maglioni, since 2006)Viafarini
As still as the sea could be (2015-01-01/2015-01-01) by Alice GuareschiViafarini
Is it just a matter of opinion? (2011-01-01/2011-01-01) by Giorgio GuidiViafarini
Space Shuttle in the Garden (2015-01-01/2015-01-01) by Petrit HalilajViafarini
Setting out from the life and history of the artist and from the changes that have occurred in his native country, the exhibition explores universal themes such as memory, the search for identity, and the concept of home as both a shared and private space, arriving at reflections on community and on the creation and preservation of a common cultural heritage. The exhibition is above all a journey into the artist’s universe and mythology. Moving between imagination and reality, Halilaj’s works describe a world which is both familiar and surreal: sculptures, drawings, performances, videos and installations explore the tides of history and the evolution of the world around us, blending together yesterday and today, the real and utopian, relative and absolute. Each piece, while drawing on events, objects and stories equally from the past and present, looks to the future, always harboring the artist’s hopes and desires, hinting at romantic, humorous and also often peculiar visions and dreams that have yet to come true.
Já tam nejdu (2017-01-01/2017-01-01) by Helena HladilováViafarini
Neochronophobiq (2015-01-01/2015-01-01) by Emre HünerViafarini
Neochronophobiq is centered around various sculptural elements in different spaces including natural and man-made interiors, reminiscent of isolation chamber experiments, landscapes of Anatolian Neolithic ruins, ritual sites such as Göbeklitepe, volcanic land formations and stone quarries. These objects are moved by a human figure, who simultaneously collects and observes them, played by actor Tómas Lemarquis. The main characters of Neochronophobiq—which are of unknown functions, at once archeological, organic, and futuristic are the forms on the middle screen, linking the exteriors and interiors. The sculptures have undecipherable meanings and embody contradictions between scientific and magical interpretations. They perpetually spin like asteroids in space to be observed from all angles in all possible dimensions. The sites in this work shift possible relationships to geographic/geological time with traces of architecture and unidentifiable topographies and materialities. These places bring the viewer along the way to a non-time and to the idea of a world outside of the mind, language, beyond what may be graspable.
The Reading (2017-01-01/2017-01-01) by Adelita Husni BeyViafarini
Visionary 45 (2017-01-01/2017-01-01) by Silvia IdiliViafarini
38, Plastic Dance Riot (Stupid Artists Combine Things) (2014-01-01/2014-01-01) by Daniele InnamoratoViafarini
Negus (set photo) (2011-01-01/2016-01-01) by Invernomuto (Simone Bertuzzi, Simone Trabucchi, since 2003)Viafarini
Negus is a conceptual feature length documentary directed by the Italian art duo Invernomuto staring Lee “Scratch” Perry . The film explores the convergence of history, myth and magic through the complex and competing legacies of Ethiopia’s last emperor Haile Selasie I. In Italy during the fascist rule of Mussolini, Selassie was portrayed as a black devil, justifying Italy’s invasion of Ethiopia. During the same period the religion of Rastafarianism was emerging in Jamaica and claiming Selassie as their living God and the black Christ resurrected. Negus is powered from the void between these two irreconcilable realities. Film trailer: https://vimeo.com/160104421- book: "Negus", ed. Humboldt Books, 2014
Notes of the Passage (2014-01-01/2016-01-01) by Maria Iorio & Raphaël Cuomo (since 2006)Viafarini
Maria Iorio & Raphaël Cuomo
Maria Iorio & Raphaël Cuomo
Appunti del passaggio introduces a minor perspective into the ways in which the historical phenomenon of migration from southern to northern Europe is represented today, testing the validity of History and exposing it to the first-hand accounts of those who actually made the passage. The film reconstructs forgotten episodes related to migration from Italy to Switzerland in the 1960s, which was characterized by immigrant workers being restricted to the sphere of production, by discrimination and rising xenophobia, and by the use of "health risks" as a strategy to control immigration and the legality of border crossings. Following the narration of a young woman, which gradually gives way to a polyphonic narrative, Appunti del passaggio gives precedence to the accounts of the people who lived out the historical event in question from a subordinate position – accounts that were recorded and later used as transcripts for the making of the film. It also recirculates and remediates archival images, taking them out of their institutional framework so that the people who were once in the place of those depicted in the pictures can comment on these images.
Large Glass (2010-01-01/2010-01-01) by Isola & Norzi (Hilario Isola, Matteo Norzi, since 2003)Viafarini
Isola & Norzi
Isola & Norzi
View and detail of the ‘abstract’ painting installation caused from the natural settling of algae on the glass of the Glover’s Reef exhibit at the New York Aquarium at Coney Island. Photographic diptych: 30 x 20 cm and 120 x 81 cm
Cell #7 (1999-01-01/1999-01-01) by Massimo KaufmannViafarini
Cella # 7 is part of a series of sculptures, made of different materials (steel, copper, aluminum...) that reproduce the essential lines of a prison environment, whose measurements (2 x 3 m) correspond to the real dimensions of the detention cells of the death row of the infamous Huntsvillle prison, Texas. In this virtual representation of the cell the architectural lines are continuous and almost without interruption. This work shows the image of the set of the most essential objects of use which guarantee the minimum of survival in conditions of isolation. Nothing can therefore be moved or modified, nothing can suggests a possibility of choice for the individual who is inside it. The work represents a "masterpiece" of modernist functionalism, where there is an exact corrispondence between the environment that has been conceived and arranged, and the style, its philosophy. The paradox consists in the complicity that is established between the aesthetic mask of a judicial system, as an extreme form and language, excessive of any political power, and the history of taste and its conventions, including architectural one, which is perhaps, among all forms of art, that which flows into the real world with more persuasive possibilities; precisely as a language of power. In the particular case of this example # 7, the fifteen endecasyllables of the Infinite by Giacomo Leopardi cross the lines of the architectural structure, with the purpose of recalling the individual's spatio-temporal condition.
Empirical conversion of a silence into an alphabet (2017-01-01/2017-01-01) by Giovanni KronenbergViafarini
Portrait (2017-01-01/2017-01-01) by Filippo La VaccaraViafarini
Untitled (Sun Tunnels, #02) (2014-01-01/2014-01-01) by Luisa LambriViafarini
Endless Night (2015-01-01/2015-01-01) by Renato LeottaViafarini
Rose’s Portrait (2015-01-01/2015-01-01) by Lucia LeuciViafarini
Clothes of those who arrived (2016-01-01/2016-01-01) by Corrado LeviViafarini
"It was endless anguish when I saw the clothes of migrants abandoned on the rocks. I put them on one another" Corrado Levi
Wired Under Water (1999-01-01/1999-01-01) by Deborah LigorioViafarini
Francesco Toreno, Deborah Ligorio, Sarah Ciracì, Giuseppe Gabellone, Marco Boggio Sella, Diego Perrone, Simone Berti and Gian Maria Mercaccini in via Fiuggi 12/7 (1995-01-01/1995-01-01) by Armin LinkeViafarini
"I think photography is beign able to freeze time for a moment, something that is in some way impossible in the flow of our life, because life itself is founded on the matter of cact that time must not stop, because when it stops, life is over, but through photography we gain this moment in which we manage to stop time and through this, perhaps, trigger a moment in which we become aware of life itself" Armin Linke
Les Funérailles de la Baleine (2010-01-01/2010-01-01) by Claudia LosiViafarini