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124. FLOWERS AND DOCUMENTS

An exhibition in two episodes at the ArgeKunst in Bolzano

Flowers and Documents - Arrangement I and II is the last exhibition project in two chapters, just finished at ArgeKunst in Bolzano, curated by Emanuele Guidi.

Argekunst bolzano platform greenmostra Arrangement fiori composizioni emanuele guidi Martina Della Valle Kapwani Kiwanga Haris Epaminonda Ettore Sottsass Jr Natalie Czech Oliver Laric Bruno Munari Milena Bonilla and Luisa Ungar6

Martina della Valle in collaboration with Rie Ono, One flower one leaf #3. Cutted flowers, pots, variable sizes 2017. ©ar/ge kunst, Photo Luca Guadagnini, 2017


As consecutive seasons, the two chapters Arrangement I and Arrangement II have collected and compared positions of artists whose interest in floral compositions opens up explorations in different and parallel research fields. 
Starting from this traditional painting time, and entering into dialogue with the landscape of South Tyrol with its lush and rooted floriculture industry, the exhibition has presented practices that focus and critically contrast with the concepts of decoration, ornamentation, ephemeral and marginal.
Bouquet and Ikebana was presented as devices that allow the viewer to move on the edge of historical events and an "extreme present" to address issues such as decolonization, legality, cultural identity and placemaking.

Argekunst bolzano platform greenmostra Arrangement fiori composizioni emanuele guidi Martina Della Valle Kapwani Kiwanga Haris Epaminonda Ettore Sottsass Jr Natalie Czech Oliver Laric Bruno Munari Milena Bonilla and Luisa Ungar5

Argekunst bolzano platform greenmostra Arrangement fiori composizioni emanuele guidi Martina Della Valle Kapwani Kiwanga Haris Epaminonda Ettore Sottsass Jr Natalie Czech Oliver Laric Bruno Munari Milena Bonilla and Luisa Ungar8

Argekunst bolzano platform greenmostra Arrangement fiori composizioni emanuele guidi Martina Della Valle Kapwani Kiwanga Haris Epaminonda Ettore Sottsass Jr Natalie Czech Oliver Laric Bruno Munari Milena Bonilla and Luisa Ungar4

In order: Kapwani Kiwanga, Flowers for Africa, 2014 – in progres; Milena Bonilla e Luisa Ungar, Ladies, Parrots and Narcotics, cutted flowers and flower pot, lecture-performance. ©ar/ge kunst, Foto Luca Guadagnini, 2017; Exhibition view - ©ar/ge kunst, Photo Luca Guadagnini, 2017


On the occasion of Arrangement II, that we visited just before the closing date, Martina Della Valle presented One flore, one Leaf # 3, a work in progress that starts from the Ikebana study to address the analysis of the residual areas of the landscape and of human intervention on the urban vegetation. A work that reflects on the concepts of time and void and the ability in Ikebana art (as in the language of photography) to exalt details, which are considered “minor", through a process of decontestualization.
Kapwani Kiwanga, on the other hand, start from floral compositions that decor the ceremonies celebrating independence, with the aim to deal with the decolonization stories of African countries, and Haris Epaminonda presents # 21B / H using these words:

In the exhibition is also present the work of Ettore Sottsass Jr, who from 1972 to 1979 withdrew from his work as a studio designer to travel to desert areas around the world in search of a more radical relationship between object, architecture and Landscape that generated architecture and temporal and ephemeral perforation gestures.
Then, Natalie Czech analyzing Victorian practice of using floral arrangements as a clandestine form of communication between lovers, Oliver Laric, Bruno Munari, Milena Bonilla and Luisa Ungar, and the project Serra III.

Argekunst bolzano platform greenmostra Arrangement fiori composizioni emanuele guidi Martina Della Valle Kapwani Kiwanga Haris Epaminonda Ettore Sottsass Jr Natalie Czech Oliver Laric Bruno Munari Milena Bonilla and Luisa Ungar1

Argekunst bolzano platform greenmostra Arrangement fiori composizioni emanuele guidi Martina Della Valle Kapwani Kiwanga Haris Epaminonda Ettore Sottsass Jr Natalie Czech Oliver Laric Bruno Munari Milena Bonilla and Luisa Ungar7

In order: Paul Thuile, selection of the show Serra III, curated by Paul Thuile at Gärtnerei Schullian Floricultura, installation view. ©ar/ge kunst, Photo Luca Guadagnini, 2017;

123. VIVA ARTE VIVA

Trans-pavilions and a chapter entirely dedicated to the Earth

"Art is alive and we must also consider art for itself, for what it does in our daily lives."

biennale 2017 venezia padiglione terra anna halprin platform green natura ecologia ambiente christine mace1

Anna Halptin, Planetary Dance, 1981-2017, performance filmed by John and Marguerite Veltri, video, color, sound, 4’19’’. Courtesy: La Biennale di Venezia


It is from these words of the director and curator Christine Macel, that the last edition of the Venice Biennale moves. What appears to be obvious, by visiting the exhibition in the Arsenal spaces, is that art is not a simple aesthetic propaganda instrument or an economic product which is thought for rich collectors, rather a medium that still has the power to convey wide-ranging messages that can communicate with the public.

Without art, you can not reinvent the world, you can not imagine the world of tomorrow. The role of artists is also to transform reality through art...Art is a way to reconcile with oneself. It allows you to experience reality in a global way: there is thought, there is physical experience, there is the emotion...And the emotion gives you a thought, creating a loop. Art destabilizes and you have to approach it by considering your own emotions, what you feel before it, and then developing a rational comparison” (C.M.)

biennale 2017 venezia padiglione terra anna halprin platform green natura ecologia ambiente christine macel

biennale 2017 venezia padiglione terra platform green natura ecologia ambiente christine mace2

In order: Anna Halptin, Planetary Dance, 1981-2017, performance filmed by John and Marguerite Veltri, video, color, sound, 4’19’’; Antoni Miralda, Joan Rabascall, Dorothée Selz, Edible Performance, 2017
, Performance, edible installation. Courtesy La Biennale di Venezia


With the experience gained at the Center Pompidou in Paris, Christine Macel focuses on the "pedagogical" role of art and the interaction with viewers, offering artists and works designed to reach a wide audience.
The artistic path is divided into nine "Trans-pavilions" that follow in the evocative spaces of the Arsenal: the Pavilion of Artists and Books, that of Joy and Fear; The Pavilion of Common Space, Traditions, Shaman; The Dionysian Pavilion, the Colors Pavillon and the Pavilion of Time and Infinity.
But what is most intrigued is the Pavilion of the Earth, to which Platform Green devotes particular attention.

The Pavilion of the Earth brings together utopias, real facts and dreams around the environment, the planet and the animal world. A wide and fascinating collection that offers the search for more and less famous artists whose research is shared by a fil rouge that emerges in a strong and clear way: from the utopias of the community to the ecological and esoteric resonances of the seventies, from the current reflections on the relations of the environment with the strategies of the capitalist world, passing through individual fiction, while highlighting both a certain melancholy and a deep joy.

biennale arte 2017 venezia padiglione terra charles atlas platform green natura ecologia ambiente christine macel slide biennale arte 2017 venezia padiglione terra charles atlas platform green natura ecologia ambiente christine macel slidebis biennale arte 2017 venezia padiglione terra nicolas garcia uriburu platform green natura ecologia ambiente christine macel slide biennale arte 2017 venezia padiglione terra thu van tran platform green natura ecologia ambiente christine macel slide

In order: Charles Atlas, The Tyranny of Consciousness, 2017, five-channel video installation, color, audio: helm and Lady Bunny, 23’44’’; Nicolás García Uriburu, Various works, 1968-1973, Mixed materials; Thu Van Tran, Untitled, 2017, mixed materials. 57th International Art Exhibition - La Biennale di Venezia, Viva Arte Viva (Installation view). Courtesy: La Biennale di Venezia


Marcos Avila Forero presents the video Atrato (2014), whose title is born from the homonymous Columbus River: originally one of the commercial and migration routes before becoming before becoming the mainstay of the armed conflict in those lands.
The artist interacts with the communities living along this river in the struggle for the survival of their traditions, filming "ritual actions" by men and women who are "playing the water". A gesture of rebellion, aimed at recovering the bond with the lost roots.

biennale 2017 venezia padiglione terra Marcos Avila Forero  platform green natura ecologia ambiente christine mace4

biennale 2017 venezia padiglione terra Julian Charrire  platform green natura ecologia ambiente christine mace3

biennale 2017 venezia padiglione terra Shimabuku  platform green natura ecologia ambiente christine mace8

In order: Marcos Avila Forero, Atrato, 2014, HD video, color, sound, 13’52’’; Julian Charriere, Future Fossil Spaces, 2017, salt from Salar de Uyuni, lithium-brine in acrylic containers, dimensions variable; SHIMABUKU, Various works, 2007-2016 , mixed materials. 57th International Art Exhibition - La Biennale di Venezia, Viva Arte Viva. Courtesy: La Biennale di Venezia


Julian Charrière proposes a reflection on the so-called "era of anthropocene" with a striking installation that proposes an analysis of a theme such as lithium processing, also called "white gold.
Japanese Shimabuku shows The Snow Monkeys of Texas - Do Snow Monkeys Remember Mountains? (2016). In the video, the encounter of a group of monkeys with a snowdrift in an arid landscape is the epiphany of an incomprehensible presence that is curious because out of context. 
The “monkeys of the snow” moved from Japan to Texas in 1972, have developed an adaptation, but what has been their memory?
Then there are the historical research of Maria Lai, Nicolas Garcia Uriburu, Bonnie Ora Sherk, Anna Halprin, Oho Group, Antoni Miralda, with Joan Rabascall, Dorothée Selz, Jaume Cifra and other amazing artists.

biennale 2017 venezia padiglione terra michel blazy platform green natura ecologia ambiente christine mace6

biennale 2017 venezia padiglione terra michel blazy platform green natura ecologia ambiente christine mace7

biennale 2017 venezia padiglione terraMaria Lai  platform green natura ecologia ambiente christine mace5

In order: Michael Blazy, Collection de Chaussures, 2015-2017 shoes, plants, soil, water, mixed media, 375 x 510 x 80 cm; Acqua Alta, 2017, color photocopies from Instagram, dribbled water, 50 x 150 x 150 cm; Maria Lai, Legare collegare, Un filo di Maria Lai Real. Tonino Casula, 1981; 57th International Art Exhibition - La Biennale di Venezia, Viva Arte Viva. Courtesy: La Biennale di Venezia

 

122. SAM FALLS

SINE SOLE SILEO

Sam Falls Franco Noero gallery exhibition turin nature sine sole sileo american parks painting sculpture4

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)

Sam Falls Franco Noero gallery exhibition turin nature sine sole sileo american parks painting sculpture1

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.

Kritof Kintera artista mostra collezione maramotti post naturalia naturale artificiale postmodern cali elettrici microchip3

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.

Kritof Kintera artista mostra collezione maramotti post naturalia naturale artificiale postmodern cali elettrici microchip2

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.)

Kritof Kintera artista mostra collezione maramotti post naturalia naturale artificiale postmodern cali elettrici microchip1

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?

Kritof Kintera artista mostra collezione maramotti post naturalia naturale artificiale postmodern cali elettrici microchip4

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

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


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.

world earth day 2017 napoli pan beuys fiuliano mauri cattedrale vegetale ambiente ecologia natura giornata mondiale terra1

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.

world earth day 2017 napoli pan beuys fiuliano mauri cattedrale vegetale ambiente ecologia natura giornata mondiale terra3

 

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.

Adriano Valeriartista pittura natura periferia paesaggio scarto societ platform green

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.

Adriano Valeriartista pittura natura periferia paesaggio scarto societ platform green pasolini1

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”.

 

Adriano Valeriartista pittura natura periferia paesaggio scarto societ platform green pasolini4

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

ernst ludwig kirchner swiss mountain exhibition kunstmuseum basel platform green nature landscape

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.

Ferdinand hodler swiss mountain exhibition kunstmuseum basel platform green nature landscape

Alexandre Calame mountain swiss mountain exhibition kunstmuseum basel platform green nature landscape

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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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.

Franco Mello plart foundation napoli design plastic poliuretano

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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