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122. SAM FALLS

SINE SOLE SILEO

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Sam Falls, Untitled (Andy), 2017, redwood burl, helium, glass, electricity and transformer, 233,7 x 119,4 cm. Courtesy Franco Noero Gallery, Turin


“Time tells every history, and withholds every future; we only see the light of the burning star lightyears away. Art is like this, tending the garden for fruit to grow. You work and then wait, you step back and look for fruit, you trim the dying parts of the plant and water the roots. Our hearts beat in waves, there’s a pulse that goes up and down – we can understand this – but how can we be the blood?
Nature offers a perspective into this pure potential. I’ve always been inspired by the sublime black and white photographs of Ansel Adams, encouraging the viewer to head for the wilder parts of nature. Reciprocally, I often consider the cautious tale told by Robert Adams’s melancholy photographs of modern man’s caustic and distanced relationship to the American landscape. I was thinking, how can I engage with our national forests on the same level, to continue this artistic consideration and dedication to nature, when the history is well documented, and the future is uncertain? I decided to visit national parks across the country and work within them, with the same photographic precepts as Adams and Adams, but using a paintbrush instead – to try and enter the bloodstream rather than picture the pulse.

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Sam Falls Franco Noero gallery exhibition turin nature sine sole sileo american parks painting sculpture5

Sam Falls, sine sole sileo, installation views at Franco Noero Gallery, Turin


As with photography, these works are tracings of light, but over an extended exposure that would be impossible with a camera – rather than 1/6th of a second, these trace the shadow of a native plant or stone for six hours or more, depending on the season. Beginning at high-noon, I follow the shadow across the linen until sunset, starting over with a new color every time I reach the end of the shadow-plane. Chasing the shadow with the brush, the tracings become organic sundials, an image of a place both fleeting and permanent. They are pictures of a light and time that has been repeating for centuries, as with the petrified wood in the Petrified Desert National Park, or more ephemerally by season like the deciduous leaves in the Green Mountain National Forest.

Sam Falls Franco Noero gallery exhibition turin nature sine sole sileo american parks painting sculpture

Sam Falls Franco Noero gallery exhibition turin nature sine sole sileo american parks painting sculpture6

Sam Falls Franco Noero gallery exhibition turin nature sine sole sileo american parks painting sculpture9

In order: Sam Falls, Untitled (Green Mountain National Forest, Vermont), 2016, 8x10 Fujichrome film in artist's frame, 31,7 x 25,4 cm; exhibition views; installation view of the video, Untitled (Joshua Tree National Park, California), 2016, 8x10 Fujichrome film in artist's frame 31,7 x 25,4 cm. Courtesy Franco Noero Gallery, Turin


The experience of making these works lends such an intimacy and inspiration still guided by the slow working style of large format photography that I was inspired to capture the subject at the beginning or end of the day with an 8x10 camera. I used positive transparency film and framed it in a copper frame (modeled after the film holder) which then hangs in the window creating an equation of intimacy. The light from the place and time was captured on this film and is now re-animated from sun-up to sun-down by the natural light of it’s subsequent location. The same sun shares a vision of the past with the future. The sculptures of wood and light are also tracings, this time using glass and gas to illuminate the portrait of a person laying on the wood, merged with the organic structure of the redwood itself. Each portrait is a friend I work with laying on reclaimed wood that comes from fallen trees in the Redwood National Forest. Centuries old, they’ve finally come to rest, and now as an homage in a sense, mineral glass houses various natural gases to illustrate this history of growth.
Together, the goal of these various works is to ride the pulse of ambient geological time and give an image, a portrait, of light and space as it passes through the vulnerable permanence of natural preserves amidst western growth.’’ (Sam Falls, 2016)

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Sam Falls Franco Noero gallery exhibition turin nature sine sole sileo american parks painting sculpture2

Sam Falls, Sine Sole Sileo, installation views at Franco Noero Gallery, Turin

121. Krištof Kintera

POST——NATURALIA

The Czech sculptor is the protagonist of the beautiful exhibition at the Maramotti Collection in Reggio Emilia, which will remain open until 30 July 2017. A personal reflection on the delicate relationship between nature and culture, through works and installations that seek and propose a new balance between natural and artificial dimensions.

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Krištof Kintera, Artist’s Laboratory, 2017. Collezione Maramotti, exhibition view. Ph. Dario Lasagni


Microchips, electrical wires, plastic objects, metallic components and all sorts of materials draw the complex "nervous system" that regulates the macro organism of contemporary society: these are the protagonists of Krištof Kintera's work.
Its title speaks for itself: the scenario in which our daily experience is inscribed both as individuals and as a community does not belong to the natural world any longer.
In the so-called “copper age”, based on the transmission of energy and information, nature is compared by Kintera to a huge nervous system; for this reason as well, his project is grafted in different spaces of the Collection as a living organism would do.

Kritof Kintera artista mostra collezione maramotti post naturalia naturale artificiale postmodern cali elettrici microchip5

Kritof Kintera artista mostra collezione maramotti post naturalia naturale artificiale postmodern cali elettrici microchip

Krištof Kintera, Postnaturalia, 2016. Collezione Maramotti, exhibition view. Ph. Dario Lasagni


First of all, Nature is recreated and regenerated in the space called Artist’s Laboratory. Images, photographs, notes and sketches on the walls, electric and electronic waste materials, stills, lamps, chemical substances, are all items and tools of the trade which become generative elements of a new natural beauty for the artist. A series of videos are also conveying Kinteras’ real sounds and work processes taking place in his Prague’s studio.
By taking as a model the scientist’s old approaches and his prototypes (scale models and herbariums held in display cases in the workshop), new kinds of plants are grown, classified and sown in a wide para-vegetal nervous system finding its place in a second room in the Collection. The Systemus Postnaturalis presents an artificial carpet of plants growing through an intricate mesh of copper roots: three islands are joined together through pathways that visitors can experience directly. The light fostering its growth is also artificially steered through the space.
A massive three-meter-high sculpture stands in the main entry hall, between the atelier and the artificial forest: Electrons Seeking Spirit, made with wire cables composing its load-bearing skeleton ending with an animal head. Other small creatures surround it, creatures triggering a feeling of collective panic due to this “spiritless system”.
Outside in the garden, under living plants, the works Praying Woods are ritually extended towards the sky or bend down towards the ground. Their structure is part of the “natural nature”: collected by the artist in the woods of his country, they have been dipped and congealed in a silver bath.

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Kritof Kintera artista mostra collezione maramotti post naturalia naturale artificiale postmodern cali elettrici microchip8

In order: Krištof Kintera, Electrons Seeking Spirit, 2016. Collezione Maramotti, exhibition view. Ph. Dario Lasagni; Evolution Revision, 2015/2016, mixed media, 110 x 90 x 70 cm; Electrons Seeking Spirit, 2016, mixed media, 395 x 420 x 420 cm. Courtesy and © Krištof Kintera. Ph. C. Archive of the artist.


“I like to hear the expression “natural nature”, because that is the starting point of all discussions about culture and nature itself. Actually one can say: when culture comes, the nature die, but of course we cannot have such point of view. I rather feel like that we are part of nature, we came out of nature, so nature is us and all we have created is also nature. You can hardly make a border line between nature and culture. All forests in Europe for instance are more parks than forests already, aren’t they? So are they nature or culture? Architecture is also nature and microchip structure is also naturally a “natural” nature”. (K.K. cit.)

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Krištof Kintera, Datalia Immanis, 2016/2017, mixed media, 25 x 67 x 60 cm. Artwork on display at the room Filippo Re, Civic Museums, Reggio Emilia. Courtesy and © Krištof Kintera. Ph. C. Archive of the artist


Kintera finds his way through the topic of “post-natural” with vivid visual suggestions which he leads with ironic, playful but also bitter spirit within the framework of a complex social and political questioning of our time, moved by the hope of raising awareness on an issue of great relevance today.
The relationship with the “natural Nature”, the attempt to know, even by imagining them, and to give order to the diverse forms of biological life –an anchorage of our cultural tradition– are Kintera’s starting points which are provocatively subverted through the construction of completely artificial scenarios, by working and generating new synthetic and waste materials which comprise our everyday para-natural habitat. A melancholic provocation inducing the desire to create alternative scenarios where science and technology –protagonists in the building of our physical landscape and our relational system– could move in the on-going search for a “new Humanism” where humans –and not their mere systems of functions– could remain solidly at the centre and move forward without forgetting their identities, the collective cultural memory in which their lives and the permanence of real relationships are inscribed.
Could then the artist suggest a new poetic texture to the technology, where we do not “disremember” who we are?

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Kritof Kintera artista mostra collezione maramotti post naturalia naturale artificiale postmodern cali elettrici microchip10

Kritof Kintera artista mostra collezione maramotti post naturalia naturale artificiale postmodern cali elettrici microchip9

In order: Krištof Kintera. Postnaturalia, 2016. Collezione Maramotti, exhibition view. Ph. Dario Lasagni; Installation of Krištof Kintera - Postnaturalia, March 2017, Ph. Sofia Picariello; Herbaria Electronica, 2016/2017, mixed media, artwork on display at the room Filippo Re, Civic Museums, Reggio Emilia; Postnaturalia, exhibition image. Courtesy and © Krištof Kintera, Ph. C. Archive of the artist 


“You know, of course, I am aware of our responsibility, but our - I mean of humankind - for drastic changes of climate, extinctions of species and all kinds of living organisms, and therefore we’ll face sooner or later fatal problems. It is our shame, it is my shame. On the other hand, saying “we have to protect nature” always sounds ridiculous to me. You can’t protect nature because you are only such a very small part of it. Nature is stronger than all humankind and nature is also larger than our planet, so how can we protect something like that? We should just behave more modestly, that would be enough”. (K.K. cit.)

Kritof Kintera artista mostra collezione maramotti post naturalia naturale artificiale postmodern cali elettrici microchip6

Kritof Kintera artista mostra collezione maramotti post naturalia naturale artificiale postmodern cali elettrici microchip7

In order: Krištof Kintera, Praying Woods, 2015/2016, installation in the garden, Ph. Dario Lasagni; Praying wood I / Praying wood IV, 2015/2016, mixed media, 100 x 38 x 40 cm / 30 x 68 x 40 cm; Krištof Kintera portrait. Courtesy and © Krištof Kintera, Ph. C. Archive of the artist


Cit. Krištof Kintera. Interview to the artist by Marina Dacci, in: Krištof Kintera. Post—naturalia, Silvana Editoriale, 2017, p. 172.

120. HAPPY EARTH DAYS

THE PAN IN NAPLES CELEBRATES THE WORLD EARTH DAY

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It has been almost fifty years since the first World Earth Day in 1970 and apparently it seems that anything goes in the right direction.
Recently we had notice from the W.H.O. that a new record about CO2 emissions in the atmosphere has been reached, exceeding the threshold of 400 parts per million. Therefore, many scientists and specialists declare that it was crossed the point of no return.
Moreover, the recents political decisions of the new President of the U.S.A goes in the opposite direction regarding the environmental safeguard, overshadowing the necessity to reduce the CO2 emissions in the atmosphere and the importance to reflect on the reasons of the global warming.
What is the goal?: to produce at any cost and without limits, supporting today’s thought according to which the only possible evolution path coincide with an industrial production and an increasing consumerism.

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world earth day 2017 napoli pan beuys fiuliano mauri cattedrale vegetale ambiente ecologia natura giornata mondiale terra2


In this sense, It would be probably much more appropriated to talk about this event as a new worldwide tradition. Something that humanity feels like important to propose again every year for a communal sense of ethics and responsibility. 
So, what is better to do? Stay or go? And in which side of the barricade we want to take place? The occasion to deal again with the ecological refection is the next World Earth Day that will be celebrated at PAN museum in Naples from the 22 until the 29 of April. A serie of events, shows and conferences will take place under the central idea of this year: “Ego and Eco: individualism and ecological consciousness”.
The event, that was conceived and organized by the ArtStudio’93 Association, in collaboration with the Assessorato alla Cultura e Turismo of the Municipality of Naples, was supported also this year by the Municipality of Naples and by Earth Day Italia. It is included in the Official Nationals celebrations of the Earth Day 2017.

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119. ADRIANO VALERI

MARGINAL LANDSCAPES

Acid colors and settings between real and unreal, or better still surreal. Places that are imaginary and experienced at the same time, which come from a dreamy dimension and from the daily life. Adriano Valeri’s painting is absolutely expressive and communicative. His work speaks in a clear way, despite the incomplete references to the dimensions that only partially intend to express something certain.

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Adriano Valeri, Dogs of the Sinai, 2015, drawing, collage and acrylic painting on paper, 22x29 cm. Courtesy the artist and Galleria Marcolini, Forlì.


Born in Milano in 1987, but since many years relocated in New York, Adriano Valeri has experimented several mediums before hearing the pictorial as the most suitable to his artistic sensibility. The genesis of his work comes from a direct comparison with the space, from long walks, excursions and a lot of time spent lonely in nature. Moreover it is probably related with the need that as a child led him to copy the naturalistic images found in natural history books.
Adriano Valeri proposes the scrap materials of the urban life that he founds into temporary and marginal landscapes, more interesting because outside the usual narratives. His purpose is not to respond to the ecological call and at the same time he isn’t interested in the idea of nature like something that we must love or save. Rather, the subtle hint that the artist does, call to mind the critical readings of Pier Paolo Pasolini and his harsh criticism to the corruptions and the immorality of the contemporary society. An interpretations which is more political and interested to reflect on those life conditions “on the border”. A point of view that is at the same time able to underline and to find out the presence of a great ferment and a great energy even where apparently everything seems to be abandoned and compromised.
In this sense, the decision to employ provocative colors, clear shapes, intentionally out of focus, evokes a suspended dimension, which is typical of adolescents and poor people: the main protagonists who daily live and inhabit these places and conditions.

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Adriano Valeriartista pittura natura periferia paesaggio scarto societ platform green pasolini2

In order: Adriano Valeri, The Florida Room, 2015, oil on canvas, 160x140cm; Air Handlers, 2015, oil on canvas, 140x160 cm; Araucarie, 2014, oil on canvas, 220x180 cm. Courtesy the artist and Galleria Marcolini, Forlì


“Among the things that fascinate me most there is painting and the observation of the natural world. For me the two activities are by now deeply complementary, rather I feel them absolutely essentials.
With this, I do not mean a therapeutic activity but I think that for most part of painters, to paint is a specific way to replenish the experiences that elude verbalization. It is the possibility to translate, to fix and to reexamine them out of the language context. In this sense, when I look at the landscape, I personally feel the necessity to investigate it in a pictorial way, not with the intent to make a celebration of the landscape or to describe it in a faithfully way, but to build new images that can be useful to fix it and to relive it again”.

 

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Adriano Valeriartista pittura natura periferia paesaggio scarto societ platform green pasolini3

In order: Adriano Valery, Memory Disc, 2016, oil on canvas, 140 cm d.; Yours Truly, 2016, oil on canvas, 140 cm d.; Rubberneckers, 2017, oil on canvas, 140 cm d.; Memory Disc, 2016, oil on canvas, 140 cm d.; courtesy the artist and Galleria Marcolini, Forlì


"If we consider the landscape as a matrix that records the action of all the forces acting: biological, meteorological, human, then the marginal spaces become very significant, our waste speak of our material culture, thermal systems and fans speak of our bodies, how technology affects our place’s experiences. When I depict cans, plastic bags, dirty handkerchiefs, tube of pipes, food packaging and electric cables, I focus on all that materials that are placed on the edge of our lives and which are always present whether we like it or not. The colors I choose reflect a sense of alienation and urgency but they are also the colors of the signage, the energy drinks and the leaflets of a very hot place, such as the asphalt under the August sun.
The best justification I can give of my 'painting activity’ is to produce a testimony of the Earth as we live it in this historical moment, knotting the ancient and seemingly eternal forces of nature with the unaware waste of our present civilization ".

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Adriano Valeri, Profezia Minore, acrylic on paper, 2015, 25x35 cm. Cortuesy the artist and Galleria Marcolini, Forlì

118. SWISS MOUNTAINS

Mountain scenarios at Kunstmuseum in BaseL

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Ernst Ludwig Kirchner, Amselfluh, 1922, oil on canvas, 120 x 170.5 cm. Kunstmuseum Basel, with the support of Dr. H.C. Richard Doetsch-Benziger and Max Ras erworben, 1944. Courtesy Kunstmuseum Basel, photo credit Martin P. Bühler


The mountains, the epitome of stability and permanence, even of a reality that transcends time. Curated by Eva Reifert, the selection of works from our collection demonstrates in what way our idea of the mountains, their image in our minds, has kept evolving ever since outsiders started exploring the high mountain regions of the Alps two and a half centuries ago.
Art is always also a reflection of shifting worldviews. Depictions of the Alps emerge as a distinctive genre at the dawn of the Enlightenment, and a painter like Caspar Wolf, who undertakes extensive excursions into the mountains, embodies the spirit of scientific inquiry that is characteristic of his era. On the eve of the twentieth century, by contrast, Ferdinand Hodler’s works signal his efforts to overcome realism and restore nature’s mystery. By submitting his motifs to a symmetry that heightens their majesty, Hodler conveys his awe before the phenomena of nature.

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Ferdinand Hodler, Die Dents du Midi von Chesières aus, oil on canvas, 65.7 x 88.3 cm. Courtesy Kunstmuseum Basel, Vermächtnis Max Geldner, Basel, 1958. Photo credit: Kunstmuseum Basel, Martin P. Bühler
Alexandre Calame, Am Urnersee, 1849, oil on canvas, 194 x 260.5 cm. Kunstmuseum Basel, donation of the heirs of Marie Vischer d'Assonleville, 1950. Credit Kunstmuseum Basel, photo Martin P. Bühler 


The very formats indicate how the market and audience for landscape paintings change over time as the genre rises in prestige: in the mid-eighteenth century, the first tourists are enthralled by Johann Ludwig Aberli’s dainty souvenirs, whereas Alexandre Calame’s breathtaking vistas unmistakably cater to his clients’ desire for imposing art objects.
In art-historical terms, the selection traces an arc from Romanticism to Expressionism. Joseph Anton Koch’s idealizing depictions of snowcapped peaks, Segantini’s turn to painting en plein air right in front of the motif, and Ernst Ludwig Kirchner’s use of violently agitated pinks and violets to visualize inner states of mind are important milestones in this development.
The domestication of Alpine peaks and panoramas as Switzerland’s trademark tourist attractions is part of this history as well. By contrast, what would seem to have changed very little are the longings that bring people to the mountains and the experiences with which they return from their explorations. The works on view reflect a strikingly constant set of themes: the desire to leave everyday life behind, the joy of natural beauty, the exhilaration of rising above it all, and the overwhelming sense of a presence greater than us.

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niklaus stoecklin giovanni giacometti paesaggio dautunnolandscape swiss mountain exhibition kunstmuseum basel platform green nature

In order: Swiss Mountains, installation view at Kunstmuseum Basel, Julian Salinas; Niklaus Stoecklin, Landschaft bei Visp, 1920, oil on canvas, 51.5 x 59 cm. Acquired with the contribution of the Birmann Funds. Courtesy Kunstmuseum Basel, photo credit: Martin P. Bühler
Giovanni Giacometti, Paesaggio d’autunno, 1927, oil on canvas, 100.4 x 104.9 cm. Kunstmuseum Basel, property of the Federal Office of Culture in Bern (permanent loan, Kunstmuseum Basel, 1929). Credit Kunstmuseum Basel, photo: Martin P. Bühler


SWISS MOUNTAINS
Kunstmuseum, Basel
Curatet by Eva Reifert

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117. FABIO MARULLO

Figuration Plants

by Elisabetta Villani 

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Fabio Marullo, Ciò che di misterioso è palpabile, 2016, white clay, cm 53 x 42 x 24. Photo by Francesco Pizzo. Courtesy the artist

  • Since long time Fabio Marullo goes ahead with an artistic research whose intent is to dig deeper the unknown places of the mind and biology in general. Using different types of medium, such as painting, drawing and sculpture, the artist observes the phenomena of life and the laws that govern human beings.
    His work could be seen like a trip into a mysterious garden, with the aim to catch its invisible, mysterious and perhaps chaotic nature. To investigate the properties of things, of places but first of all to know the intimate nature of all organisms who live there.
    His representation, as rooted in a real dimension which is made of certain physical processes (Marullo in fact collects scraps of plants, roots and floral materials) is influenced also by a more dreamy sphere.
    The artist creates new imaginary, ideal and fantastic archeology and new universes of interpretation.

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  • In order: Orbite, 2016, installation view, variable dimension; Aprirci all’enigma dell’essere, 2015, Oil on linen, cm 140x100, courtesy Cultrera Collection; Ciò che di misterioso è palpabile, 2016, Oil on linen, cm 39x34. Photo by Francesco Pizzo. Courtesy the artist

  • His current production, titled “Figuration Plants”, moves from the intention to identify primitives creations that, with their ineffable character, have been for a long time considered as a “freak of nature”; organisms with uncertain features, characterized by a sense of suspended time. The reference is to the world of fossils: testimony of the past full of charme and mystery.
    It comes me to mind the publication of “The life of the inanimate objects” by Paul Nash (1938) for the “Country Life” magazine. Nash is a surrealist painter and during the Thirties started to use photography as an immediate form or registration as well as documentation of reality, declining, also in this case, his interest for the “objet trouvé” founded in nature (shells, stones, roots, shale pieces..).

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  • In order: Paul Nash, The Life of the Inanimate Object, Country Life, May 1937, Tate archive. Courtesy Tate Modern London. Fabio marullo, Cio che di misterioso è palpabile, 2016, pencil and ink on parchment, cm 30,5 x 22,5. Photo by Francesco Pizzo. Courtesy private collection


  • Elisabetta Villani

    Fabio, what are the references from which your artistic research moves from? Where does your interest in all the “strange objects”, apparently out of context, comes from?
    Fabio Marullo

    I have to say that nature, with its game of transformations, remains my reference paradigm, the one from which I start my work and that I need to propose.
    I am interested in creating works that reflect the natural elements, without any distinction or hierarchy, in their mutual interaction.
    My idea is that the combination between nature and artifice, between living organisms and spurious artifacts is able to trigger deliberate anachronisms, underlining that idea of ambiguity in which I am particularly interested: what at first could seems a fiction is instead a real situation that has escaped from our knowledge our perception or our ability to see.
    My interest is there, in that dubious place where the combination of natural species generate new revelations; organisms that for morphological similarity may be defined as intermediate beings, including plants, animals and vegetables.
    These convictions are the result of the combination of two different ways to go deep into this specific world: the first one in a literally way and thanks to scientific topics covered in the past by distinguished personalities from the field of science. The second one is the direct and unexpected encounter which is very important because it can modify your way of seeing things.


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    Fabio Marullo, Infiorescenza, 2015, cm 47 x 57. Courtesy Cultrera Collection


  • EV

    
The mystery and the double life of the so-called inanimate objects is timeless and therefore eternal.
    In “Archaeology”, one of your recent works, you show your insistent gaze for the fantastic, the imaginary, the memory and for the traces of time, nature and history.

    FM
    Yes, you are right. The work you are talking about was part of a project that I proposed in the exhibition titled “Archaeology” that was presented in Milano and later hosted at CPH-AIR (Copenhagen Artist in Residence). It is a pictorial transposition of a an imaginary and fantastic place, which is conceived with associations of symbolic codes, hidden memories and plants.
    A form of meditation with the aim to show the memory’ tension that aspires to open a palimpsest of new meanings full of light and silent magic.
    The main theme of the work titled Garanzia di discendenza has been the limited space of my jacket pocket, metaphorically as a small greenhouse where, unbeknownst to me, and for an indefinite time, had found its own living place a flower of the "Xanthium strumarium" specie.
    A work made in memory of a time spent between the beginning of a journey and its succession. It is like if the plant with its flower wanted to declare me its eternity, its power and its ambivalent functions, in a cosmic path between primordial and perfection.

  • EV
    What about your future projects?
    FM
    I am currently working on two different projects: the first one is titled "The Awaiters" and it is about the idea of wait; a visualization of a world in which the characters and the symbols coexist in a subtle and fragile balance through architecture, installation and painting.
    Furthermore I am working on a book project whose intent is to examine my idea of travel in an uncertain and doubtful garden.

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  • In order: Fabio Marullo, Garanzia di discendenza, 2015, oil on linen, cm 20 x 30, courtesy Cattaneo Diaz Collection; Xanthium strumarium, 2015, mixed media. Photo by Francesco Pizzo, courtesy the artist

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116. FRANCO MELLO

PROVOCATIONS AND CORRESPONDENCES

The Plart Foundation of Naples recently presented the exhibition PROVOCATIONS AND CORRESPONDENCES. Franco Mello between arts and design curated by Giovanna Cassese, organized in the context of PROJECT XXI (ed. 2017) in collaboration with the Donnaregina Foundation for Contemporary Arts.

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Franco Mello, Sedute Suburbia

This project exhibition is dedicated to the peaks of excellence in the production of Franco Mello, creator of contemporary design icons – such as the Cactus coat rack, designed in 1972 with Guido Drocco for the company Gufram – but, above all, living symbol of a designer who has believed in the dialogue among the arts from the start, as well as the Plart Foundation that hosts it.
Mello’s production is varied and elaborate, ranging from design to photography, from graphics to publishing, and it sees him in the role of an artist, a jewelry maker and a designer of complex installations.
On display the famous sculpture-objects in polyurethane foam made for Gufram and Dog Design: among them, the Seduta Incastro, the Tavolo Erba, and the Cactus presented in all its re-editions produced by the company from Piedmont, up to the Psychedelic Cactus of 2016 created by the fashion designer Paul Smith, and the Suburbia, Mun and Mun Bis seats.

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In order: Franco Mello, La-Grande Zucca; Mun and Mun; Testone con pratone, installation view at Castello di Rivoli. Museo d'arte contemporanea; Cactus.

Another section will be devoted to Franco Mello’s activity as a graphic designer, presenting artist’s books, catalogs and art magazines characterized by an outstanding print quality.
The exhibition displays also the jewels designed by Michelangelo Pistoletto, Emilio Isgrò, Mimmo Paladino, Marco Gastini, Matteo Bonafede, Aldo Spinelli: a selection from the Sfioro collection created in 2013 by Franco Mello, Mauro Bonafede and Susanna Besio Tosco.
Two unreleased videos and a wide selection of photographs taken by the artist in small and large format are part of the exhibition itinerary and will mark the voices of a production that ranges across the board from art to communication design and product design.

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In order: Metacactus; Roccocactus; Catalogue of the exhibition The rock furniture. Il design della Gufram negli anni del rock presso il Castello di Rivoli, 2002; Incastro; Tavolo Erba.

 

PROVOCATIONS AND CORRESPONDENCES. Franco Mello between arts and design
Plart Foundation - Naples
Curated by Giovanna Cassese
Until June 3, 2017

PROPOSAL #15 STEFANO CORBO

RHEOLOGY

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Rheology is an itinerant research project, developed between Europe and Middle East, and characterized by a clear methodological approach: a mere documentary and realist intent is superposed, through urban exploration, by the pursuit of latent conditions and unexpressed potentials.
Natural and artificial landscape, city, nature, architecture: all of these millenary interpretative categories merge into a new condition, which is at the same time blurred, altered, alienated.
Rheology works on a hybrid representation of the real, constituted by spatial-temporal fragments, from which it’s impossible to separate objects and subjects.
Rather than depicting finite objects located in a continuous and homogeneous space, through photography we can reflect about fluidity as a contemporary paradigm.
The so-called aesthetics of disappearance, evoked by Paul Virilio, acquires in Rheology a divergent meaning: by facing the ephemeral and de-materialized character of the recent artistic production, Rheology investigates the contamination among different agents, actors, bodies.
It’s possible, therefore, to define a rheology of art: discussion of art as flowing.

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"Rheology": the branch of physics that deals with the deformation and flow of matter, especially the non-Newtonian flow of liquids and the plastic flow of solids (Oxford Dictionary)

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All images: Stefano Corbo, Rheology, courtesy the artist 
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115. DIEGO PERRONE

HERBIVOROUS CARNIVOROUS

Herbivorous Carnivorous is the title of the last solo show by Diego Perrone at Massimo De Carlo in Milano. A project that was presented overseas simultaneously at Casey Kaplan.
In both exhibitions the artist has unveiled to the public the last step of his artistic research, which focuses, one time again, the sculptural sperimentation.

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Diego Perrone, Senza Titolo, 2016, Glass, 60×80×20 cm. Photo by Roberto Marossi. Courtesy Massimo De Carlo, Milan/London/Hong Kong


Diego Perrone approaches his practice with aesthetic inventiveness, reimagining stylistic and more classical technical processes in sculpture and drawing. Using these mediums as a starting point for his investigations, Perrone expands these mediums accessing a transitory space that merges representation with the indescribable. For this exhibition, the bridge between convention and innovation is built through the time-honored technique of cast-glass. Within this process glass is cast by turning molten glass into a mold where it solidifies: through this technique Perrone is able to create distinct yet amorphous shapes and imagery. As individual fragments of glass are heated and fused together, gradations are produced within pigment-infused minerals and oxides. Clouds of color filter through translucent glass, each layer caught between crystal and soil.
Perrone’s interpretation of the cast glass process originated from a series of fiberglass sculptures titled “La fusione della campana (The casting of the bell)” (2005-2008). Conceived from traditional metal and bronze casting techniques, Perrone merged the three stages of bell casting into objects that were not bells, but bizarrely abstracted tubular and natural forms connected to bell shells. Unifying the individual steps involved in the conventions of this process, Perrone compressed tradition, time and space into a liquified structure resembling an excavated landscape.

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In order: Diego Perrone, Senza Titolo, 2016, Glass, 79×77×30 cm; Diego Perrone. Herbivorous Carnivorous, installation views at Massimo De Carlo, Milan-Ventura. Photo by Roberto Marossi. Courtesy Massimo De Carlo, Milan/London/Hong Kong


In a 2013 presentation at Museion Bolzano, Italy, Perrone applied this process using glass, presenting a series of sculptures in which representations of an ear and its spiral innards emerged. The repetition of the ear canal throughout the artist’s practice, initially appearing in biro on paper drawings in 1995, connects an anatomical anomaly to organic forms within nature. To Perrone, a material’s capacity to simultaneously cloak the passing of time through a physical object merges notions of permanence with the elusiveness of elements forever in motion.
The spherical glass heads contain recurring motifs within Perrone’s practice. Imagery of koi fish and tractors circle the space of the artist’s psyche. The repetition of symbols rooted in the artist’s rural upbringing alludes to living landscapes, by land or by sea, as they persist within the artist’s consciousness. In a surreal daze the tractor plows through from the corporeal to the cerebral.
In direct dialogue with the sculptures, Perrone’s works on paper embody similar perspectives. Viewed from peculiar downward angles, Perrone’s red biro self portraits are guided by striations of color and line, converging in compositions that exist as multidimensional forms in the round.
Natural shapes and industrial landscapes dwell within the artists’ mind, which translates the physical and mental consumption of these surroundings in the vocabulary of art. Each work in Self Portraits and Herbivorous Carnivorous addresses and challenges an overwhelming yet calming feeling of emptiness, where even the most fleshly actions are coated by a tangible mist.

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Diego Perrone. Herbivorous Carnivorous, installation views at Massimo De Carlo, Milan-Ventura. Photo by Roberto Marossi. Courtesy Massimo De Carlo, Milan/London/Hong Kong


DIEGO PERRONE
Herbivorous Carnivorous
Massimo De Carlo / Milan
Until March 11, 2017

114. ANNA REIVILÄ

NATURAL FORMS AND TENSION STRUCTURES

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Anna Reivilä, Bond #17, 2016, photo print on fine art paper. Courtesy the artist and Taik Persons Gallery


Generation 1988 and native of Helsinky, Anna Reivilä is a young photographer to which we dedicate the news number 114. Her artistic research, after the studies at the School of Arts, Design and Architecture of the Aalto University, is clearly influenced by the ambiental suggestions of the North European sphere within which the artist is immersed.
The “Bond” serie, that we are presenting here, seems to be a work very close to the performative dimension. Starting from the use of an element as the rope, Anna Reivilä transforms the traditional iconography of natural figures, which are relegated into “tension structures”.
Starting from an erotic imaginary that evokes to mind the hyper sensuality of tied bodies, Anna Reivilä generates unreal objects, able to fascinate the eye and to suggest important thoughts.

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In order: Anna Reivilä, Bond #17, 2016; Bond #1, 2014; Bond #3 2014, photo print on fine art paper. Courtesy the artist and Taik Persons Gallery


“I search spaces where nature’s elements combine to create interesting natural tensions and continue this dialogue through my interpretations by extending, wrapping and pulling upon these indigenous forms. I create a new sense of volume from the existing components”.

According to Japanese religious ceremonies, ropes and ties symbolize the connections among people and the divine, as a means to identify sacred space and time.
Inspired by Nobuyoshi Araki ́s images and their mixture of raw violence and beauty, Anna Reivilä studies the relationship between man and nature by referring to the Japanese bondage tradition. The Japanese word for bondage, kinbaku, literally means “the beauty of tight binding”. It is a delicate balance between being held together and being on the verge of breaking.
The use of ropes as lines is Anna Reivilä’s form of drawing. The lines create interactions, making connections between the elements and producing a reinterpretation of the landscape. These three-dimensional drawings are physically unstable - they exist only for the moment.

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In order: Anna Reivilä, Bond #2, 2014; Bond #13, 2016; Bond #18 2016, photo print on fine art paper. Courtesy the artist and Taik Persons Gallery