Category: artist

Tuesday May 14 opens: Matilde Sambo, Falsità in buona coscienza, curated by Gabriela Galati, aA29 Project Room Milan.

Matilde Sambo,

Falsità in buona coscienza

Curated by Gabriela Galati

With a text by Alessandra Galletta

Media partner That’s Contemporary

Opening on Tuesday 14th May, h 6.30pm

aA29 Project Room Milan

Piazza Caiazzo 3, 1st. floor

20124 Milan

 

aA29 Project Room Milano presents Matilde Sambo’s first solo exhibition Falsità in buona coscienza, curated by Gabriela Galati with a text written by Alessandra Galletta.

The artist’s recent research, and in particular the project developed for the present exhibition, is to be considered from the point of view of the topic of the limit, or rather, from its cancellation and blurriness. Binary pairs of seemingly opposite concepts are shown, in Sambo’s work, as a continuum, and the boundaries between them become labile.

The exhibition presents a series of works that question, through simple strategies of intervention or overlapping, the separation, to begin with, between nature and artifice: shells modified in an almost imperceptible way, or strands of hair, wax and thorns that form small compositions that the artist distributes around the gallery, often installing them in places that are difficult to access for the viewer’s gaze. In addition to this set of works, there are some sculptures belonging to the series Cantus ab aestu, which Sambo realises using cicadas moults found on trees as casts.

The irrelevance of the visibility of the object, or at least of its permanent visibility, is also to be found in the second series of works on display La material non è mai al suo posto (Matter is never in its place): it consists in “fake” relics exhibited in four reliquaries—modelled by the artist and cast by Fonderia Artistica Battaglia—which contain stalactites found in a cave. The relic in this case alludes to a continuous cycle, to a kind of closed loop in which artificial and natural, sacred and profane, true and false are reversed and mixed until they become indistinguishable. Thus, the cave takes the place of the profaned temple in which the relic was found, the stalactite, which in turn, when exhibited becomes artifice.

Finally, Omeostasi, belonging to the Untitled-Monitors and Materials series, consists of a video installation on two monitors in which the artist documents a session of “manipulation”. In one of the monitors the gaze is focused on the masseur’s hands, in the other on the patient’s reactions, which passes from intense laughter to anguished crying. This work therefore also raises questions about the act of believing, not as a religious element as is the case of the relic, but in a kind of therapy that in Western culture is considered “alternative” and not scientific, and at the same time puts the accent on the unclear limit between joy and suffering. The work also considers the transformation of the hands from limbs that human animals have in common with other species, to tools that distinguish us, perhaps, from non-human animals.

Matilde Sambo’s first solo exhibition invites us, then, to rethink the world, or at least part of it, in cyclical and non-contradictory terms.

 

Matilde Sambo (Venice 1993) graduated in Visual Arts at the IUAV University of Venice. She currently lives and works in Milan. During her career she has participated in various residences in Italy and in Europe: Roccaporena di Cascia (Umbria, Italy), Collective signatures (Formentera, Spain) and at VIR (Via Farini, Milan). She has also taken part in various representations, through the use of sound improvisations accompanied by video projections, including Sciame Project (Steam Factory, Milan), Radio Raheem for the project by Eva Macail Rava vavàra at Argo16 (Venice), t- space (Milan), Loup Studio (Rovereto), Festival Sconfini (Modena) and Teatro Fondamenta Nuove (Venice). She has exhibited in group exhibitions such as Friends at Space Thetis, Trigger Parties at Marsélleria Paradise (Milan), Villa Memo Giordani Valeri (Treviso), Doxa sounds from society at the Romanian Institute of Culture (Venice) and during the Venice International Performance Art Week. She was selected among the finalists of the Biennale Giovani Trento in 2012, won first prize in the “Un giornoenny” section of the Pasinetti Video Competition in Venice in 2012, the first Pomilio Blumm Award (Pescara) in 2013 and will present in 2019 the own film Collective signatures-the cave at the Formentera Film Festival.

 

Matilde Sambo,

Falsità in buona coscienza

Curated by Gabriela Galati

With a text by Alessandra Galletta

Media partner Thats Contemporary

 

Opening Tuesday may 14th, h 6.30pm

 

aA29 Project Room Milan

Piazza Caiazzo 3, 1st. floor

20124 Milan

www.aa29.it

info@aa29.it

Tiziana Pers, CAPUT CAPITIS I, curated by Gabriela Galati, aA29 Project Room Milan

Tiziana Pers,
CAPUT CAPITIS I

Curated by Gabriela Galati
With a text by Gabi Scardi
Media partner THAT’S CONTEMPORARY

Opening Wednesday March 27th, 6.30pm
March 27th – April 26th 2019

aA29 Project Room Milan
Piazza Caiazzo 3,
1st. floor, # 2

 

aA29 Project Room is pleased to present Tiziana Pers’ solo  exhibition CAPUT CAPITIS. The project was conceived as a single exhibition in two parts that will be inaugurated first at the gallery in Milan, and later in Caserta.
Tiziana Pers’s artistic research focuses on biocentrism, and works through the analysis and deconstruction of colonialism, racism, sexism, capitalism, speciesism and domination over nature. Precisely, the title of the exhibition alludes to the fact that the word “capitalism” derives from the Latin caput capitis, i.e. head of cattle. The objectification of the other that produces surplus value from work, or as in this case, from the forced reproduction of animals, forms the basis of the capitalist system.

More specifically, the common thread that binds all her practice, and the exhibition CAPUT CAPITIS in particular, is her project ART_HISTORY, always in-progress.
In the artist’s words, ART_ HISTORY “consists in exchanging one of my paintings with an animal that was destined to be slaughtered: a horse, donkey, rabbit, lamb, chicken, pig, duck, goat, cow, goose…depending on project. The painting has the same height and dimensions as the animal to be saved. And I do not decide who will come with me: the butcher, or breeder makes the choice. A contract certifies the exchange.” In this way the project opens several questions on the attribution of an economic value to a sentient being as well as to a work of art, and at the same time on the possibility of art to interact with the actual situation and save a life.

On show in Milan a selection of works related to the Art History practice and to the liberated animals will be presented, starting from the exchange contracts. These include ART_HISTORY / Vucciria (2018), an action carried out in Palermo for Manifesta 12 (*).
ART_HISTORY is also closely linked to the other fundamental project of Pers’ practice: the residence for artists and animal sanctuary RAVE East Village Artist Residency, founded together with his sister Isabella, in which every year an international artist is invited to live with the saved animals and to develop an artistic project that is somehow the result of this interaction.
The exhibition, although not exhaustive, aims to present the complexity of an artistic research that is largely grounded on concrete action.

Tiziana Persstudied Foreign Languages ​​and Literature, and developed her doctoral research on the dialogue between visual arts and literature. Among the last public events to which she took part are worth mentioning: Ex Wunderkammern, double solo show with Regina Josè Galindo, curated by Mylène Ferrand and Robert Baramov at the National Museum of Natural History in Sofia (BG), Art_History / Vucciria, (*) 2018, performance realized in scope of Memoria Collettiva. Casa Spazio hosts Casa Sponge curated by Lorenzo Calamia and Serena Ribaudo / Border Crossing collateral event MANIFESTA 12, Palermo and her participation with the video RAVEto the project THE INDEPENDENTcurated by Elena Motisi and NESXT, MAXXI National Museum of the XXI Century Arts, Rome. Her works and performances have been presented in numerous museums and institutions, among which: Lapidarium Museum, Novigrad, Croatia; Seoul Biennale of Architecture and Urbanism, South Korea; Drawing Madrid (aA29 Project Room) Circulo de Bellas Artes, Madrid; Musée de la Chasse et de la Nature in Paris; PAV Living Art Pavilion Turin; Museum of Natural History of Trieste and Milan; Palazzo Pretorio Volterra; Castello di Rivoli Museum of Contemporary Art; Italian Market Hong Kong; One Night Stand Gallery, Sofia; Prix-Pictet Palais De Tokyo Paris; Old Police Station, London; 53. Venice Biennale e. c .; Novosibirsk State Art Museum, Russia; TriesteContemporanea, Trieste; N.Est Museo MADRE Naples; DIFC Dubai; Dade Public Library Miami. She has lectured at numerous universities and institutions, including: MAXXI Rome Museum, Polytechnic of Milan, University of Trieste and Udine, PAC Contemporary Art Pavilion in Milan, NABA Milan, Contemporary Dolomites, École nationale supérieure d’arts de Paris-Cergy.

Tiziana Pers,
CAPUT CAPITIS I
Curated by Gabriela Galati
With a text by Gabi Scardi
Media partner That’s Contemporary

Opening Wednesday March 27th, 6.30pm

aA29 Project Room Milan

Piazza Caiazzo 3,
1st. floor, # 2

Camilla Alberti finalista del STATES OF MIND PRIZE, inaugurazione 1 febbraio Palazzo Valmarana Braga, Vicenza.

Comunicato stampa:

Dopo un intenso lavoro di valutazione da parte dei giurati  – Simona Bordone, Orietta Brombin, Riccardo Caldura, Gabi Scardi e Luigi Viola – che ringraziamo, finalmente pubblichiamo i nomi degli artisti finalisti della prima edizione del premio di arte contemporanea dedicato agli UNDER 35, ideato da Gli Stati della Mente, realizzato con il sostegno del MiBACT e di SIAE, nell’ambito dell’iniziativa “Sillumina – Copia privata per i giovani, per la cultura”, avvalendosi del patrocinio di PAV – Parco Arte Vivente (Torino) e dell’Istituzione Fondazione Bevilacqua La Masa (Venezia).

Le opere selezionate saranno esposte dal 1 al 17 febbraio presso lo storico Palazzo Valmarana Braga a Vicenza.
In occasione dell’inaugurazione sarà Barbara Fragogna, direttrice della galleria d’arte torinese partner del concorso Fusion Art Gallery / Inaudita, in accordo con la giuria, a decretare il vincitore in occasione dell’inaugurazione della mostra.
L’artista vincitore del Premio States of Mind avrà la possibilità di effettuare una residenza d’artista e la conseguente mostra personale presso la galleria partner. Verrà invece assegnato da Petra Cason, art director del Festival Gli Stati della Mente, il Premio Speciale Nicefall dedicato alla videoarte, e messo a disposizione assieme al know-how da Nicefall, agenzia di soluzioni digitali interattive specializzata in video mapping, lighting design e visual design.

 

Per maggiori informazioni su Camilla Alberti si prega di cliccare qui.

Per maggiori informazioni sul premio e la mostra di prega di cliccare qui.

 

Baptiste Debombourg at Plasticus, Galerie ENSAPLV École nationale supérieure d’architecture de Paris-La Villette

RENDU FINAL JPG WEB

PLASTICUS

Exposition du 16/11/2018 au 25/01/2019

Avec Boris Achour, Rada Boukova, Baptiste Debombourg & David Marin, Pierre-Yves Hélou, Camille Henrot, Delphine Kohler & Les Filles du Facteur, Eric Monin, la Plastic Bank, les étudiants de l’ENSAPLV.

Le projet Plasticus est né de la collaboration entre Rada Boukova, artiste invitée en 2018, et Baptiste Debombourg enseignant en art à L’ENSAPLV. L’exposition est une toile de fond pour un projet de recherche plus large, développé en atelier.

Cette exposition autour du sac plastique aborde le problème de son envahissement du fait de sa production de masse et donc la pollution engendrée. Elle propose une réflexion sur l’usage, le détournement, le recyclage de cet objet dans l’art contemporain, le design, l’architecture, l’histoire, l’économie ou la mode. Véritable atelier de recherche ouvert sur l’imagination, l’objectif est de proposer des pistes pour transformer et recycler ce matériau. Marqueur spatio-temporel de notre civilisation, basique, original, banal ou sophistiqué, le sac fait partie de notre quotidien depuis les années 1960 environ. Devenu un objet universel, il n’en demeure pas moins un matériau pourvu d’un immense potentiel tout autant qu’il est devenu un fléau pour l’environnement.

L’idée de cette exposition est un élan vers une autre direction : commençons par rêver et bricoler pour engager une autre manière de faire.

For more information on Baptiste Debombourg please click here.

 

 

Axel Straschnoy is artist in residence at Grenna Museum – Polar Center, Sweden.

Axel Straschnoy is artist in residence at Grenna Museum – Polar Center during September 2018.

Axel Straschnoy has a specific interest in S. A. Andrée’s Polar Expedition and will immerse himself in the collections. In conjunction to his stay, he will give a talk on Tuesday 11 September at 6.30 pm

Under the heading “The Graphic Method” he will speak about his previous work and what fascinates with him about polar expeditions.

The lecture is given in English and free of charge.

Artist in Residence in collaboration with Nya Smaland. The conversation is organised with ART TALKS with support of Culture and Development, Region Jönköping County.

For more information about the artist please click here.

Tomislav Brajnović’s solo exhibition Direct Link at the Museum of Contemporary Art Zagreb will be on view until June 10.

Tomislav Brajnović: Direct Link

MSU Gallery, Thursday, 24th May 2018 at 8:00 pm

Curator of the exhibition: Nataša Ivančević, Deputy Director & Museum Advisor

For Tomislav Brajnović, art is more than the exploration of the form, visual artistic means, production, and presentation of the work of art. The radicalism of the artistic idea is more important to him than the radicalism of the artistic form. His works as well as his worldview are concerned with the issues of ethics, social justice, and are a critical reflection of the times we live in. Art and life are interfused without limitation. His methodology is focused on asking questions, analyzing and criticizing the social moment, the polemics with proponents of opposing views, and the disagreement with generalized answers. The range of his themes spans from social to religious to political to economic controversies, and is present in the works created from the beginnings of his artistic activity in the 1990s to this day.

He easily moves from medium to medium, and uses video, installation, sound, performance, readymade, and other means that best serve to transfer ideas at a specific point in time. More recently, he has been using social networks as a medium of artistic activity, as they provide the possibility to quickly spread information and personal views, as well as to express the opinions of a large number of users. At his first larger solo exhibition in Zagreb, “Direct Link”, he presents installations, documentation, video works, FB comments, and texts taken from the Internet, in which he reveals the social inequality that is reflected in the unequal distribution of wealth, power and influence, in the manipulation and abuse of advanced technology, which becomes a means of controlling free will and possible consequences of such action.

Brajnović takes the concept of Direct Link (Direktna veza) by the Slovenian philosopher Slavoj Žižek for the title of his exhibition. The term implies a direct link between the human brain and digital space. Technology and scientific research bring progress, and the insertion of implants brings health benefits. What is a threat to the loss of autonomy of human thought and action and, ultimately, to freedom, is the possibility of managing the human mind through chip implants and digital links. According to Žižek, for an individual, the possibility of separating from the outside world and the possibility of withdrawal into one’s inner worlds thus disappears, which raises the ultimate question: “Who will control it?” On the other hand, Elon Musk thinks that humans already possess the characteristics of cyborgs, given the connection with digital devices, clouds and space. In the worst scenario, this can lead to the abolition of free will and of the space of freedom, and to the introduction of art censorship at the level of thought and idea. In this exhibition, Brajnović therefore issues a manifesto on the death of the audience as a result of the abolition of the artist, the audience and art.

After MSU, the exhibition will be presented at the Gallery of Fine Arts, Split, albeit on a lesser scale. Curator of the Split exhibition: Jasminka Babić, Senior Curator

Tomislav Brajnović was born in Zagreb in 1965. He completed his first year of studies at the Royal Academy of Art (KABK) in The Hague. He graduated from the Academy of Fine Arts in Zagreb in 1999, where his mentor was Professor Đuro Seder, and completed postgraduate studies in Fine Art at Central Saint Martins College of Art & Design in London in 2003. He works and exhibits intensively both in Croatia and abroad. He is a recipient of several awards, scholarships and recognitions, and has taken part in several residence projects. He teaches New Media, City Mapping, and Recontextualization at the Academy of Applied Arts in Rijeka. Since 2007, he has been running the Studio Golo Brdo Project/Gallery. He is the author of the Supper with the Artist project.

For more information on the exhibition please click here.

For more information on Tomislav Brajnović please click here.

Carlo Gambirasio ha inaugurato la sua personale Bodylights n°1 presso Porto dell’arte

Bodylights n°1 di Carlo Gambirasio

a cura di Irene Angenica

 dal 4 al 6 maggio dalle ore 18 alle 22.

Carlo Gambirasio | Verona 1994 |

 

Il pensiero di Carlo Gambirasio prende origine da un’attenta analisi della cultura visiva nella quale viviamo e pone l’attenzione sull’impossibilità di codificare attraverso un segnale finto, digitale, ogni tipo di rappresentazione sensibile. Il nostro mondo è pieno di immagini analogiche, prodotte attraverso un processo discreto che può essere semplificato ma mai riprodotto in forma identica.

Le sue non sono opere ma dispositivi privi di scopo pratico, strumenti capaci di trasmettere un concetto e di far riflettere sulle modalità di fruizione della realtà. Il suo fare pone domande sulle regole del mondo artificiale, non si abbandona a un futuro ormai programmato ma cerca di insinuarsi nel sistema per comprenderlo e modificarlo.

Carlo Gambirasio svela i trucchi dei signori delle macchine, mostra come le tecnologia sia priva di anima e necessiti di un logos per essere utile e portatrice di senso. Strumenti e macchine sono solo mezzi la cui funzione ultima viene identificata attraverso il termine “Metànthropia”. Coniata dall’artista stesso, la parola vuole evidenziare come esista un’ autoevoluzione artificiale creata dall’uomo, che differisce da quella naturale per metodi e tempi.

Per maggiori informazioni sull’artista si prega di cliccare qui.

Per informazioni sulla mostra si prega di cliccare qui.

 

 

Testo di Marco Roberto Marelli

Jane Grant at GRANULAR colloquium and exhibition, University of Greenwich Galleries.

 

Utilising a range of formats from audio-visual performance to talks, Granular: The Material Properties of Noise event is an experiential investigation of noise as a granular entity. State changes are a central theme. Processes of disintegration and/or reintegration of material elements at a granular level are explored, both as the mode of transference between states (whether physical or digital) and the means by which a thing starts or ceases to be.

The colloquium will take place on January 26 and 27 from 10 am – 5pm at The University of Greenwich, Stockwell Street Building and is held in association with the exhibition Granular: The Material Properties of Noise. The event will be followed by a private viewing of the exhibition.

Chaired by Dr. Stephen Kennedy, University of Greenwich, Department of Creative Professions and Digital Arts
(author: Chaos Media: A Sonic Economy of Digital Space – Bloomsbury 2015)
Keynote: Greg Hainge , University of Queensland, Associate Professor, School of Languages and Cultures
(author: Noise Matters: Towards an Ontology of Noise – Bloomsbury 2013)
Contributors include Russell Duke, Jane Grant, Antonio Roberts, Dr David Ryan, Charles Danby and Rob Smith.

For more information on the event please click here.

For more information on Jane Grant please click here.

 

Image: Jane Grant, Soft Moon (2010).

ECCENTRIC Art & Research is pleased to announce representation of Camilla Alberti.

We are delighted to announce that ECCENTRIC Art & Research now represents Camilla Alberti.

After receiving her high school diploma, Camilla Alberti (Milan, 1994) attended the Faculty of Philosophy at the University of Milan for one year, at the same time that she started to get interested in contemporary art. In 2014 she leaves the studies in philosophy to enroll in NABA (Nuova Accademia di Belle Arti di Milano), where she obtained an BA and is now pursuing an MA. She also collaborates with an art critic since then. She lives and works in Milan.

For further information on Camilla Alberti please click here.

Axel Straschnoy wins the Feature Expanded 2017 SUB-TI Award

Axel Straschnoy wins the Feature Expanded 2017 SUB-TI Award

AWARDS FEATURE EXPANDED 2017

SUB-TI Award
> Axel Straschnoy
 with the film project Argentine from Helsinki,

which “addresses the issue of alienation through Horacio’s language and cultural challenges, an Argentinian who moved to Finland, who, when his existence is about to collapse, is forced to decide who he is and what he wants from life.”

Feature Expanded Distribution Award
> Janis Rafa 
with the film project Kala-a-zar 

Feature Expanded Development Award
>Assaf Gruber 
with the film project The Conspicuous Parts

ottod’Ame Film Award
> Pauline Curnier Jarden 
with the film project $eba$tiano Blu

FEATURE EXPANDED: European Art Film Strategies is a training program specifically designed to provide knowledge, methodologies and skills necessary for filmmakers with a background in visual arts to develop and produce feature films.

Feature Expanded is directed by Leonardo Bigazzi (Lo schermo dell’arte Film Festival) and Professor Sarah Perks (HOME).

Feature Expanded 2017 Jury, consisting of Marietta von Hausswolff von Baumgarten, Heinz Peter Schwerfel and Yorgos Tsourgianis, awarded 4 awards for the development, promotion and distribution of 4 film projects produced by the 12 participants in the third edition of the project training in collaboration with HOME, supported by Creative Europe Media and directed by Leonardo Bigazzi and Sarha Perks:

 

FEATURE EXPANDED 3rd edition

21 – 26 June 2017, HOME, Manchester
on-line sessions July – October
15 – 19 November 2017, Lo schermo dell’arte, Florence.

For more information on the program please click here.

For more information on Axel Straschnoy please click here.