Italian Area C-F
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: Umberto Cavenago, Alex Cecchetti, Loris Cecchini, Giulia Cenci, Alessandro Ceresoli, Manuele Cerutti, Maria Giovanna Cicciari, Emma Ciceri, Gianluca Codeghini, Marco Colombaioni, Daniela Comani, Michelangelo Consani, Andrea Contin, Leone Contini, Luigi Coppola, Danilo Correale, Teresa Cos, Matteo Cremonesi, Roberto Cuoghi, Curandi Katz, Alessandro Dal Pont, Giovanni De Francesco, Giovanni De Lazzari, Luca De Leva, Tomaso De Luca, Paola De Pietri, Gabriele De Santis, Gianluca and Massimiliano De Serio, Andrea De Stefani, Nicolò Degiorgis, Marta Dell'Angelo, Martina Della Valle, Paola Di Bello, Alessandro Di Giampietro, Stanislao Di Giugno, Loredana Di Lillo, Elisabetta Di Maggio, Rä Di Martino, Patrizio Di Massimo, Gabriele Di Matteo, Cian Donnelly, Dragoni Russo, Sara Enrico, Bruna Esposito, Salvatore Falci, Emilio Fantin, Cleo Fariselli, Barbara Fässler, Roberto Fassone, Lara Favaretto, Flavio Favelli, Ettore Favini, Alessandra Ferrini, Antonio Fiorentino, Michael Fliri, Graziano Folata, Francesco Fonassi, Formafantasma, Anna Franceschini, Eva Frapiccini, Linda Fregni Nagler, Giulio Frigo, Christian Frosi, Gaia Fugazza, Chiara Fumai. Each artist is represented by a work of his/her choice, directly linked to his/her website. www.italianarea.it
The steel alcove (2014-01-01/2014-01-01) by Umberto CavenagoViafarini
This installation has been inspired by "The steel alcove", a novel in which Filippo Tommaso Marinetti recounts his war experience as driver of Lancia-Ansaldo 1ZM armored car during the First World War. The work reinterprets in an anti-war key the innovative assault vehicle celebrated by Marinetti in the name of the Machine Myth, typical of futurism. Umberto Cavenago's steel alcove is a powerful vehicle in CorTen, stripped of any belligerent purpose and built with solid, geometrically clear volumes. Dissimulated in a wood that grows and thickens, it is destined to be more and more hidden and apparently impregnable: a perfect shelter to take refuge in silence. The characteristic of the CorTen is to protect itself from the aggression of atmospheric agents, through the superficial formation of a passivating patina, consisting of the oxides of its elements. Passivation protects against corrosion and changes color shades over time. It is a very different behavior in comparison to carbon steel which is vulnerable to the corrosive action that turns the metal itself into a porous and fragile surface. Carbon steel rust advances, damaging the underlying part up to its total consumption.
The Ineffable Gardener (2018-01-01/2018-01-01) by Loris CecchiniViafarini
New World (2014-01-01/2014-01-01) by Alex CecchettiViafarini
Nuovo Mondo is a performative seminar on poetry created and curated by Alex Cecchetti. A walk through the concentric circles that descends ascents through the building of the Palais de Tokyo in Paris. For 3 days Alex Cecchetti accompanies the public through these narrow passages where artists embody poems. With: Alex Cecchetti, Antoine Davenne, Clarisse Herrenschmidt, Francesco Pedraglio, Cécilia Bengolea, Heather Phillipson, Catitu Tayassu, Tim Etchells, Joris Lacoste et Laure Prouvost.
Offspring 2017 - DEEP STATE (2017-01-01/2017-01-01) by Giulia CenciViafarini
Giulia Cenci's sculptures are based on a process of decomposition and reconstruction carried out step by step, layer by layer; the objects are reorganized and re-aggregated into a final assembly that recalls the abstraction of natural landscapes. At the same time, however, the sculptures maintain the imprint of human production and mechanical tools used by the artist, such as fragments of cars and other forms of synthetic and industrial debris, combined with cement, silicon, glue, resin. Even if they appear frozen in time and space, the sculptures are found in a continuous process of development, oscillating between their 'final' form and their sculptural process, between stasis and growth.
Back to the Future (2010-01-01/2011-01-01) by Alessandro CeresoliViafarini
Loss of the center (2014-01-01/2015-01-01) by Manuele CeruttiViafarini
Hyperion (2014-01-01/2014-01-01) by Maria Giovanna CicciariViafarini
Maria Giovanna Cicciari
Maria Giovanna Cicciari
"Hyperion" is an experimental film inspired by the novel of the same name by Friedrich Hölderlin. Iperione's travels become a journey through images that tell us about ancient Greece and more recent times. The words of the poet, enclosed in the novel and in the letters, in an inseparable cross between art and life, tell the path of creation of Greece of Hyperion, a landscape invented yet alive, the chosen place of redemption and love.
Mother of Monuments (2013-01-01/2013-01-01) by Emma CiceriViafarini
At the source of noise #4 (1994-01-01/1994-01-01) by Gianluca CodeghiniViafarini
The Game of the Goose (2009-01-01/2009-01-01) by Marco ColombaioniViafarini
On the occasion of the exhibition Open Museum Open City (MAXXI, Autumn 2014), MACRO and MAXXI jointly selected Cherimus to develop their work in a Roman institution. The work displayed by Cherimus at MACRO is the evolution of the performance Il Gioco dell’Oca di Marco Colombaioni, first presented at MAXXI and inspired by the work Il Gioco dell’Oca originally created by artist Marco Colombaioni (1983, Milano – 2011, Ravenna) in Valledoria (Sardinia) in 2009. This was a large outdoor painting in which spectators could enter in order to take part in the game. Cherimus has given the work a performative dimension, opening its doors to a fantastic world inhabited by animals, which have been realized in collaboration with local institutions, such as tailor’s workshops, art schools and SPRAR centres – Sistema di protezione per richiedenti asilo e rifugiati (System for the protection of refuges and asylum-seekers). The idea was to use the game as a forum for debates and as a tool for enhancing social cohesiveness. During its residency at MACRO, Cherimus has invited many artists to collaborate to the project, among which Simone Berti (who has realized some surreal videos in which animals come to life to conquer the city) and Carlo Spiga (who has collected and re-elaborated the recordings made during the workshops with sounds coming from African and South-American countries). The other artists involved in the project were: Alessandra Casadei, Leonardo Chiappini, Derek Maria Francesco Di Fabio, Cleo Fariselli, Edna Gee, Isa Griese, Valeria Frisolone, Michele Gabriele, Alice Mandelli, Marco Pezzotta, Matteo Rubbi, Emiliana Sabiu. The performance Gioco dell’Oca di Marco Colombaioni was commissioned by MAXXI – Museo Nazionale delle Arti del XXI secolo in collaboration with MACRO – Museo d’Arte Contemporanea Roma, as part of the programme “Artisti in residenza”.
#56 from "A Happy Marriage" series (2003-01-01/2003-01-01) by Daniela ComaniViafarini
The Revolution of a leaf of grass (2016-01-01/2016-01-01) by Michelangelo ConsaniViafarini
Freezer (1999-01-01/1999-01-01) by Andrea ContinViafarini
"Can a white, big, cold freezer decide to rebel against its simple nature of freezer for frozen foods and change, thanks to the artist's work, into something else? Yes, since Andrea Contin has turned it into a chilling prison for a speaking body. A mutation has happened and something is still struggling between darkness and light: a voice can be heard, a man breath and asks to go out, the freezer is no longer a refrigerator because it imprisons inside a body, a man, an image buried in his cavity ... A struggle has begun, a struggle without bloodshed, a rather "funny" struggle between the warm body of the artist and the cold body of the freezer. A fight of panting breaths and streched muscles (...) ".
The Canned Meal (2015-01-01/2016-01-01) by Leone ContiniViafarini
A war dump is being excavated and the remains of a little crowd of images awakes from the rusty surface of the cans - just few tins out of the hundred of millions of the canned rations that where served during 4 years of WW1, to feed the multitude of the troupes, the human machinery of the first industrial war. The graphic motifs that once decorated the shining surface of the canned rations are now back on the stage: the banquet of the Materialschlacht (battle of material) is re-enacted, after hundred years. But these characters are now - in my drawings - finally playing out of the rules, subverting the military hierarchy and desecrating the war rhetoric.
On social metamorphosis (2012-01-01/2012-01-01) by Luigi CoppolaViafarini
On Social Metamorphosis amplifies and feeds the echoes of current changes in society. Based on the principle that social claims must invent their own language in order to be heard, Luigi Coppola works with performers to produce a choral manifesto: artists, singers and comedians lend their voices and gestures to this utopian endeavor.
Luigi Coppola creates resonances between the ancestral Greek choir and what he calls the “virtual choir”. Paul Jorion, a financial chronicler, was chosen as a representative model of citizens’ implication in politics; his blog is the starting point for the text of this performance. This blog is one of the most influential and popular platforms for discussions and proposals on the theme of the present economic, political and social crisis in Europe. Paul Jorion and his team call for ideas from which to formulate the founding principles of a new society, breaking with today’s which is in indefinite crisis. Paul Jorion invites past and present intellects to his think-tank. The performance mingles quotations from the French revolutionary Louis Antoine de St Just, the British economist John Maynard Keynes and the American statesman Franklin Roosevelt. These are chanted by the choir in between Paul Jorion’s recent declarations and quotes from committed bloggers. “Revolt struggles to find its voice” notices Luigi Coppola who suggests the mask as a symbol of union and protest. Conceived by the artist using pages from financial newspapers, the masks encourage the people to speak out. In On Social Metamorphosis, faces are not hidden, so they recognize each other; the mask procures them the power of the multitude.
Reverie, on the Liberation from Work (2017-01-01/2017-01-01) by Danilo CorrealeViafarini
"At Work's End" is a project that incorporates installation elements, audio, video animation, and paintings that consider what another model for a technologically and economically developed society could look like. The artist draws equally from the legacy of 1960s and 70s articulations of the refusal of work, as well as the self-help, motivational records and guided meditation techniques of the era, which became increasingly popular as new forms of production and consumerist ideologies took hold in American society.
At Work’s End challenges us to be slow, undistracted, and unproductive exhibition-goers. We step into a gentle purple light that bathes the space. A hypnotic and durational sound piece at the core of the installation, “Reverie, on the Liberation from Work,” invites us to close our eyes and listen in a reclined position. Created by the artist in collaboration with a hypnotherapist, it addresses everything from the removal of our work-related anxieties to meditations on universal basic income.
UU (2017-01-01/2017-01-01) by Teresa CosViafarini
UU is a two-channel film and sound installation produced at the WIELS Contemporary Art Centre in Brussels. The work is a montage of videos and fragments of improvised music and found audio, building a parallel between the mutable flows of human desire and the given historical time in which a lifetime unfolds. Combining filmed and archival footage, the videos are merged into sequences in which encounters with political institutions, dancing crowds, internal monologues and memento mori stretch and contract the perception of proximity and distance across different scales. Participating in the same generative system are the fragments of music which belong to the artist's growing archive of improvised compositions of looped vocals, percussion and guitar, a regular practice in which she plays with the idea of challenging mechanical repetition by producing and disrupting repetition itself.
Sculpture \ Printer Office (2016-01-01/2017-01-01) by Matteo CremonesiViafarini
The work explores the formal and intrinsic potentialities of an object belonging to our daily contemporary habitat. The subject of the last series is analyzed in a cycle of forty-three strokes focused on the repetition of close-ups and formal profiles. Following a rhythmic and compositional sequence, the images are the result of a long-term interaction with the element, whose surface is the place where the gaze opens to contemplation.
Pazuzu (2008-01-01/2008-01-01) by Roberto CuoghiViafarini
The Pacifist Library Action #1 Street performance (2012-01-01/2012-01-01) by Curandi Katz (Valentina Curandi, Nathaniel Katz, since 2008)Viafarini
The Pacifist Library is an ongoing project acting as framework for a series of diverse interventions. Action #1 Street performance: A nomadic library made from recycled and donated materials traveled around public locations as the artists were traveling with it. In the streets of Queens, the metropolitan area of New York, the library of pacifist texts searched for occasions of exchange of ideas with people of very diverse boroughs. Flux Factory, NY; Center for Book Arts, NY; Sarajevo International Festival; ARTSTAYS, Slo. Project supported by Movin’up GAI, Canada Council for the Arts, nctm per l’arte, Step BEYOND European Mobility program. Production residencies at Flux Factory, NY and Center for Book Arts, NY.
You are here (Sass Muss) (2011-01-01/2011-01-01) by Alessandro Dal PontViafarini
Alessandro Dal Pont
Alessandro Dal Pont
“You are here” is a “travelling/site-specific” installation project that I have started in Berlin since 2009. A large plotter print on paper of the Earth’s city lights image by NASA is partially lifted up from the ground by a white helium-filled balloon, fastened to the printed image through a string exactly in the point corresponding to the exhibition place on the map. The print and balloon retrieve a natural volume and temporality to the flat image while constituting a silent and poetic sculptural image of mountain landscapes with the moon. The balloon also reminds of the placeholders of Google Earth maps and keeps their function; and it, simultaneously, highlights complex and interdependent relations between an artwork and the place where it is exhibited.
Untitled from "Licaoni" series (2015-01-01/2015-01-01) by Giovanni De FrancescoViafarini
Memorandum (2002-01-01/2002-01-01) by Giovanni De LazzariViafarini
Chroncles from another eye, sight exchange (2017-01-01/2017-01-01) by Luca De LevaViafarini
Cokehead (2017-01-01/2017-01-01) by Tomaso De LucaViafarini
Diptychs (series) (1997-01-01/1999-01-01) by Paola De PietriViafarini
Paola De Pietri
Paola De Pietri
This series was done while thinking and observing the paths of individuals through space. Encounters,routes, directions, fragments of time are caught during the passage of people from one space to another. This produces a profound silence and a strong sense of stillness, in spite of the sequence. If we look carefully, moreover, we get the vague impression of being close to a maze. As in the case of Italo Calvino’s Invisibile Cities, these paired images create a faceted structure, in which the close succession of one frame to another implies neither consequentiality nor hierarchy, but rather a web of paths and routes. Excerpt from the text of Roberta Valtorta, Stories of Figures published in Dittici Art& Udine 1998.
Manzoni, Merz, Burri (2015-01-01/2015-01-01) by Gabriele De SantisViafarini
Rooms (2010-01-01/2010-01-01) by Gianluca and Massimiliano De Serio (since 1999)Viafarini
Hole (2012-01-01/2012-01-01) by Andrea De StefaniViafarini
Andrea De Stefani
Andrea De Stefani
Each ecosystem known to man is disseminated by a consistent series of signs that suggest complex underlying relations, capable of explaining, through nature, different forms of human organization. My attention is turned on elements that determine an anthropological dimension in diverse landscapes. This primarily research-based activity is focused on crossing places and meeting physical realities expressing the dynamism of cultures with great succinctness. Exploring the places I find myself in, looking round with the aim of learning to interpret and manipulate these signs, is my method of investigating the flux of cultural transformation, to imagine its possible courses, to build and share an esthetic universe, a constellation of images taken from the road and remixed. Hole: I filled a cavity of a road surface with asphalt, then i flipped the resulting mass on a supportive structure.
Hidden Islam, Islamic Makeshift Places of Worship in North-East Italy (2014-01-01/2014-01-01) by Nicolò DegiorgisViafarini
From the introduction by Martin Parr: Consider these facts. In Italy the right to worship, without discrimination, is enshrined within the constitution. There are 1.35 million Muslims in Italy and yet, officially, only eight mosques in the whole country. One consequence is that the Muslim population have accumulated a huge number of makeshift and temporary places of worship. These are housed in a variety of buildings including lock ups, garages, shops, warehouses and old factories. This shortage of places to worship is particularly acute in north east Italy – where the photographer Nicolò Degiorgis lives – home to many anti-Islamic campaigns headed by the right wing party Lega Nord. The dull images of the many and diverse buildings that house the makeshift mosques are printed on folded pages. You open up the gatefold to reveal the scenes inside the mosques, shot in full colour. The size of the gatherings varies, from large crowds who sometimes pray outside to a small room full to bursting, or to intimate groups of two or three Muslims. Degiorgis provides a fascinating glimpse of hidden world and leaves the conclusions about this project entirely in our own hands.
In 2014 Hidden Islam was awarded the Gold Award - Deutscher Fotobuchpreis, First Book Award - Paris Photo/Aperture Foundation and Author Book Award - Les Rencontres des Arles.
Collage Vivant (2017-01-01/2017-01-01) by Marta Dell'AngeloViafarini
In the last few years I have made a series of small collages reusing some subjects coming from the Anthology of the positions (203 meters performable book). Most of these small-sized collages use parts or portions of body images that fit together and intertwine with each other, creating three-dimensional vacuum spaces. These voids was a starting point in order to experiment with a large collage using the volume as a practical and participated place. The Cosmos Space evokes the interior of the volume of a Greek tympanum, collecting the behind the scenes of a hypothetical staging, a container of disused bodies, stored, deposited between order and disorder, will and chance. The shapes remain suspended in space, in continuous movement.
Wabi-Sabi (2015-01-01/2015-01-01) by Martina Della ValleViafarini
Martina Della Valle
Martina Della Valle
Everything revolves around the encounter and luck, which give life to a process of metamorphosis that starts from the naked objet trouvé until it reaches the complexity of the composition. The very act of selecting / presenting / arranging alters the original value of the object and translates it into a different context. Each element retains its patina and shows its scars. Wabi-Sabi is a founding concept of Japanese aesthetics; "It is the beauty of imperfect, ephemeral and incomplete things. It is the beauty in what is humble and simple. The beauty of unusual things. Wabi-Sabi could also be defined as the Zen of Things. "(Leonard Koren)
Wabi-Sabi deals with these themes, inspired by the discovery of some undated negatives, some of them showing compositions of Ikebana. They probably belonged to an artist or a photographic studio. The found material - shots of various sizes, glass sheets and hand-written parchment paper containers - are printed in contact on a 1: 1 scale without avoiding their dust and scratches. Some of them are enlarged in order to represent their original sculptural presence, to compose an archive of study objects. This observation gives rise to a reflection on the possibilities of human intervention on nature and to bend its natural forms, from complex to schematic, trying to regulate the unpredictable.
Concrete island (1996-01-01/2001-01-01) by Paola Di BelloViafarini
Paola Di Bello
Paola Di Bello
What happens to objects that are no longer useful? We might respond that usually they are thrown in the wastebin, but that would be insufficient, because the question is a metaphysical one. Bergson posed the same question and responded metaphysically: when something is no longer useful it begins, simply, to be. The movement-image Concrete Island is a series of photographs of objects thrown into a dump or simply left at some street corner in the suburbs. The pictures are shot from the objects' “point of view”. The idea was to take the pictures from the object's side, from the side of the things' world. It is not the objects who have lost their function and identity, it is rather their owners and the world who have lost the capability to see the things' function and identity.
Voids wounds scars - Arimortis Portrait (2012-01-01/2013-01-01) by Alessandro Di GiampietroViafarini
Alessandro Di Giampietro
Alessandro Di Giampietro
"Chewed" portraits of the artists included in Arimortis group show, curated by Roberto Cuoghi and Milovan Farronato at Museo del Novecento, Milan in 2013
I just can't stop searching for myself #3 (2016-01-01/2016-01-01) by Stanislao Di GiugnoViafarini
Black and White Italian Flag (2010-01-01/2010-01-01) by Loredana Di LilloViafarini
Loredana Di Lillo
Loredana Di Lillo
Black & White Italian Flag, the title of the work, represents an Italian flag with altered measures and colors compared to the tones codified by the official laws. The reference colors that refer to the Pantone scale: the green 18-5642TC (bright green grass), the white 11-4201TC (milk white) and the red 18-1660TC (tomato red) were tacked, to turn the vision of the tricolor into a black and white flag, assuming three different shades of gray. The flag is thus transformed into an image, as if it were a photocopy while remaining a sculpture. Stitched by hand as a sheet, the work tries to bring us back to a rural Italy, that of the post-war period. An attempt to criticize and reflect on the present inevitably leads us to relate and preserve our past.
Almost transparent Nature - Archive (2017-01-01/2017-01-01) by Elisabetta Di MaggioViafarini
Elisabetta Di Maggio
Elisabetta Di Maggio
"My work, the result of a time consuming process of realization, can take a moment to be destroied and thus becomes a metaphor for a way of being in existence". Elisabetta Di Maggio
"In 'Nature, almost transparent' the idea of precariousness, still investigated through the use of fragile materials, is linked to the concept of movement and transformation: it is the idea of put at the center of the investigation and making visible the flow of time. The work of Di Maggio focuses on the experience of change and on its own staging: it is the change that paradoxically establishes the permanence of things, guaranteeing its survival". Chiara Bertola
Poor, Poor Jerry (2017-01-01/2017-01-01) by Rä Di MartinoViafarini
Rä Di Martino
Rä Di Martino
Poor, Poor Jerry uses animation language and develops through a display scheme organized between video and audio installation. Over time, music, cinema and television built a sharable and common imaginary, intertwining on many levels, and forming a free sentimental encyclopedia not based on an alphabetic or gender order. A set of signs apt to determine ages, places and experiences, both on a collective and personal level. Even if for many this experience becomes an instrument to better arrange emotions and build personal maps with which to move inside reality through the association of memories, for someone else it represents a burden from which it’s impossible to get free, a dead weight hindering new thoughts and original visions. Poor Poor Jerry investigates our collective awareness, overlapping the deeds of an icon of American animated series and desert landscapes of Lanzarote with pop cinema soundtracks and dialogues.
The Pink Candle (2017-01-01/2017-01-01) by Patrizio Di MassimoViafarini
China, Made in Italy (2009-01-01/2009-01-01) by Gabriele Di MatteoViafarini
Gabriele Di Matteo
Gabriele Di Matteo
Gabriele Di Matteo has been engaged for several years in a critical reflection on the state of work and the notion of author and originality. For appropriation and reproducibility he puts the image in front of his mise en abîme. With his recent series China, Made in Italy, Di Matteo is the pirate of the new contemporary Chinese wave. He has a pastiche in black and white paintings now icons of most of the Chinese artists in vogue. More than a parody of the spiraling speculative art market, China, Made in Italy suggests the many meanings explored by the artist. State of the author, fetishism of goods, cloning, the reverse of history (Made in China turns into China, Made in Italy). In line with a Duchamp, Gabriele Di Matteo sows problems and poses a critical challenge to reality. It affects to shake the order and authority of the image.
Bath Clown (2013-01-01/2013-01-01) by Cian DonnellyViafarini
One step forward, two on the side, half-turn, towards (2012-01-01/2012-01-01) by Dragoni Russo (Doriana Russo, Gianluigi Dragoni, since 1995)Viafarini
In the heart of Ravenna, a pre-existing bench is moved and placed in front of the one immediately next to it. Between the two a carpet made entirely of grass. A piece of park brought inside the square.
The Jumpsuit Theme (2017-01-01/2017-01-01) by Sara EnricoViafarini
The Italian word "tuta", which in English knows several translations, brings to itself multiple senses: 'Everyone wear tuta' proclaimed Thayhat in 1920, launching the paper pattern of a garment made in one piece, fast and cheap. The suit reminds to sphere of playtime, free time and relaxation experienced both in domestic spaces and outdoors. At the same time, in its specific manifestation of work overalls, it is one of the symbols of the Fordist production. For Sara Enrico, this ambiguity, or semantic opening, is the starting point of metaphorical reflection, which implies a dress that implies a posture of the body, between the public and the private, between the individual and the community, between the interior and the exterior. The sculptures, which seem to play on the PAV outdoor setting, are made of cement and pigments, the 'matrix' is a rudimentary paper pattern, packed with a technical fabric. The relationship with surfaces and translation processes are recurrent strategies in the artist's work, which, by maintaining a pictorial thought, acts in three-dimensionality and in space. The double value that is typical of the cultural device of the suit wants to reflect the dichotomous aspects of right and duty, pleasure and responsibility, which we should take into account in articulating our body in the open space.
Partly Cloudy (2000-01-01/2000-01-01) by Bruna EspositoViafarini
Grass bridge St. Eufemia (1990-01-01/1990-01-01) by Salvatore FalciViafarini
Forex sawdust pegs and seeds arranged as covering the steps and floor of the Sant'Eufemia bridge in Venice. People, during the walkway, disseminated the mixture. Then everything was humidified, transferred to the greenhouse, watered.
Row of chairs (1995-01-01/1995-01-01) by Emilio FantinViafarini
Untitled, from "Held Sculptures" series (2014-01-01/2014-01-01) by Cleo FariselliViafarini
This photograph is taken from the U. project, an ongoing exhibition / performance born in 2012, aimed at small groups of spectators. The works involved, which include sculptures, object trouvé, assemblages, drawings and paintings, are first presented in the hands of the artist to be then passed and experienced by the participants. Contextualized through poses and gestures that highlight the features or influence the reading, the works are exposed and installed over time rather than in space, giving rise to combinations and "phrases". The decision not to produce video-photographic documentation of the performance derives from the artist's need to give life to a space that exists on criteria other than image. The stories of those who have experienced the performance, the backstage photographs and the study images that accompany the construction phase of the work, constitute the only existing documentation. Since 2014 the performance has been enriched by the collaboration of Patrizio Fariselli, renowned musician.
Brera Grafts (2007-01-01/2007-01-01) by Barbara FässlerViafarini
Site specific installation at Brera Botanical Garden, variable dimensions; 40 metal signs each 12 x 7 x 75 cm, distributed in a limited area of the vegetable garden. Colored labels on the signs of the botanical garden refer to works on display at the Pinacoteca di Brera.
Rebel Rebel (2016-01-01/2016-01-01) by Roberto FassoneViafarini
Rebel Rebel is a prankster that tries to seep into all Roberto Fassone project. It consists of a Coca-Cola full of Pepsi and a Pepsi full of Coca-Cola.
Gummo V (2012-01-01/2012-01-01) by Lara FavarettoViafarini
Lily road (2017-01-01/2017-01-01) by Flavio FavelliViafarini
Natura(lee)ty (2015-01-01/2015-01-01) by Ettore FaviniViafarini
Negotiating Amnesia (2015-01-01/2015-01-01) by Alessandra FerriniViafarini
Negotiating Amnesia is an essay film based on research conducted at the Alinari Archive and the National Library in Florence. It focuses on the Ethiopian War of 1935-36 and the legacy of the fascist, imperial drive in Italy. Through interviews, archival images and the analysis of high-school textbooks employed in Italy since 1946, the film shifts through different historical and personal anecdotes, modes and technologies of representation. Organised in four chapters, (Heritage vs Memory; Photography vs Memory; Monuments vs Memory; Education vs Memory) it aims to reveal the amnesic and racial politics characteristic of this historical period and its aftermath, while exposing public and personal strategies of remembering and forgetting.
Dominium Melancholiae (2014-01-01/2014-01-01) by Antonio FiorentinoViafarini
AniManiMism (2017-01-01/2017-01-01) by Michael FliriViafarini
Slow Distance (there is no Distance without Relationship) (2013-01-01/2013-01-01) by Graziano FolataViafarini
Territorial (2014-01-01/2014-01-01) by Francesco FonassiViafarini
Territoriale is a structure of mediation through individuals. Working as an electromagnetic field, or as an osmotic biological system, it perceives the density and the proximity of bodies into the sensitive areas. As much as people are getting closer to the wall, a sound field grows in intensity on the other side, and viceversa. The two fractions of territory that respectively emanate from the two surfaces of the wall become sympathetic, mutually drawn closer to each other by a strong libidinal bond. From high and resonant textures to low and loud turbulent moments, the ground field of Territoriale encounter of bodies throughout the wall become a display of the deep aspects of human nature. Territoriale has been produced by Fondazione Maxxi and acquired as a part of the permanent collection.
Botanica (2011-01-01/2011-01-01) by Formafantasma (Andrea Trimarchi, Simone Farresin, since 2009)Viafarini
The project Botanica was commissioned by Plart, an Italian foundation dedicated to scientific research and technological innovation in the recovery, restoration and conservation of works of art and design produced in plastic. Marco Petroni, curator of the project, commissioned the studio to create their own personal interpretation of polymeric materials.Concept, design and development: Andrea Trimarchi, Simone Farresin, Production: Andrea Trimarchi, Simone Farresin, Michele Santomarco Curated by: Marco Petroni
What Time is Love? (2017-01-01/2017-01-01) by Anna FranceschiniViafarini
The main topic of my research are objects and all the symbolic aspects concerned with them. My interest is connected with the symbolic reactivation of the object in itself (a kind of initiation ritual, after which a new and better life is promised) and with some aesthetic values carried by it. My oeuvre is mainly composed of moving images and performative pieces. The world in my films and videos is one deserted by humans, a world in which movement is the result of mechanical action, a world of infinite repetition and constant sameness, of gravitation and attraction. I harness the illusionist potential of motion pictures to animate the inanimate. I typically start by isolating or framing a single object, device, machine or process, which I then submit to the discerning gaze of her camera until it takes on a life of its own, freed from its functional context to become an object of poetic contemplation. Yet the context never vanishes completely. Glimpses remain to remind us of the parallel development of cinema and industrial manufacturing. Synopsis: T.U.V. is a corporation qualified in providing european certificates of suitability to goods and commodities. Its Nuremberg headquarters, where the video has been shot, is specialized in toys and infancy products examinations. This video, in between documentary and fiction, investigates the concept of 'suitability' and wonder how high is the price for being accepted by a community.
Dreams’ Time Capsule project (2011-01-01/2011-01-01) by Eva FrapicciniViafarini
Dreams’ Time Capsule is a research and participatory project started in 2011. According to the Jungian concept of Collective Unconscious as a universal primordial system of images and ideas, the project is attempting to create a source to understand how the archetypes surfacing in dreams, through different religions, traditions, or geographical areas. The first step of the project consisted of a series of events where the visitors were invited to record by voice its dreams. An inflatable structure with a seashell-like appearance, whose structure has been specially designed by the artist in collaboration with designer Michele Tavano, its first phase of materialization of a process-based, it is also ideated to travel easily in a luggage, around the continents. The formula of a pop-up exhibition where the “time machine”, Time Capsule, in fact, travels to be installed in public realm. The installation is gently taking the public into an extraordinary spatial dimension, projecting him/her outside the immediate surroundings, stepping into a dimension characterized by deep feelings of lightness and intimacy: the perfect atmosphere for the visitor’s individual recording of his/her own testimonies and memories. The visitors are invited to donate their own dream - a dream that they remember, but they cannot understand. A performative work drawing its inspiration from dreams as traces of a collective imagery, Dreams’ Time Capsule requires the participation and engagement of its visitors, whose testimonies of oneiric experiences it collects. In 2020, after almost 10 years from the start of the project, each dream will be sent back to legitimate donors in order to permit them to understand it in the best way possible, thanks to distance of time. Dreams’ Time Capsule, thus takes the form of a dilated performance considering the role of time and the oneiric memory in our wake life. Until now, more than 2000 recordings were collected through Africa, Latin America, Europe and the Middle East.
The Hidden Mother (2006-01-01/2013-01-01) by Linda Fregni NaglerViafarini
Impersonal (2010-01-01/2010-01-01) by Giulio FrigoViafarini
The space is characterized by a stringent rationality so as to generate in the viewer’s mind a state of hallucinatory perception. The installation can be considered as a kind of conceptual cage, at the same time fragile and violent, within which the viewer, mesmerized by the countless perspective lines, has to move himself carefully, in order to avoid the risk of collapse of the structure. The artist is aware of the fact that forms generate behaviors, i.e. traffic flowerbeds, pedestrian crosswalks and game fields. The social history of Western Art and Architecture boasts a series of similar examples of the human longing for order, such as the Platonic geometric solids, the plants of the classic temples, the golden section and the wind rose. The artist’s aim is to translate all of these conceptual inputs into an harmonic series of geometric shapes, nets and wall paintings. These interventions can be read as expressions of a pointless attempt to capsulate an atavistic need, a kind of crystal prison from which Giulio Frigo will try to escape during a performance that will take place during the opening. Milovan Farronato
Portrait of a young artist (2014-01-01/2014-01-01) by Christian FrosiViafarini
Hostages (2017-01-01/2017-01-01) by Gaia FugazzaViafarini
Free like the speech of a Socialist (2011-01-01/2011-01-01) by Chiara FumaiViafarini
"I’m very interested in a number of figures who lived around the turn of the 19th century, their still untarnished utopias and their methods of relating to an audience. In particular I’m interested in worlds that have something to do with the invisible, as they seek the truth and re-present it to an audience in other forms, using any method, at the cost of embracing artifice, mystery and uncertainty. In this regard I believe that the end justifies the means, and that surrealistic means are capable of producing new sustenance for the mind. Thanks to the after-effects of the abstract work, what seems a monument to memory can speak to the present and the future, the ghosts are themselves the future…” Chiara Fumai