Category: opening

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

Ivana Adaime Makac at Le Bel Ordinaire art contemporain, Pau.

Ivana Adaime Makac, Le Banquet (2008-2017). Pedestal, fruits, flowers, vegetables, locusts or crickets; variable dimensions. Photos: Marc Dommage, Ivan Binet and Ivana Adaime-Makac.

Ivana Adaime Makac‘s ongoing work Le Banquet will be featured in the group show Enchanter le réel, curated by Claire Lambert at Le Bel Ordinaire art contemporain, Pau, from September 13 through November 18, 2017.

The exhibition explores how the imaginary architecture oscillates between pure fiction and utopia. The artists are invited to reflect on how, as human beings, we both inhabit and are inhabited by the habitat.

In Le Banquet, Adaime Makac reverts the process by inviting insects to taste sculptures and structures composed of fruits, flowers, vegetables and different types of food.

Artists: Ivana Adaime Makac, Michel Blazy, Alain Bublex, Benedetto Bufalino, Frédéric Chaubin, Filip Dujardin, Nicolas Floc’h, Yona Friedman, Taro Izumi, Béranger Laymond, Marine Pages and Peter Wüthrich.

For more information on the exhibition please click here.

For more information on Ivana Adaime Makac and Le Banquet please click here.

ECCENTRIC Art & Research is delighted to present Federico Luger’s first solo exhibition in Milan “Mi casa es tu casa”, opens September 18th.

Federico Luger, Swiss Alps, the End of the Illusion (2013). C-print on aluminium. Edition of 3.

ECCENTRIC Art & Research is delighted to present Federico Luger’s first solo exhibition in Milan Mi casa es tu casa, which opens on September 18th, 2017.

The title of the show (my house is your house) alludes both to the fact that it will take place at Secondo Pensiero, a space which is in fact a B&B, thus a temporary house to its guests, and also because one of the series, The Swiss Alps, has been inspired by Luger’s second home in Switzerland.

The exhibition will present different series of works: The Swiss Alps, the End of the Illusion (2013) the aforementioned set of photographs that addresses the end of bank secrecy in the country; small paintings from the series Bananas, a selection of two massive paintings which deal with the human figure, more specifically with portraiture; the Line Concept collages, two works from the Monochrome series and the almost complete Venice Book series. This last set of works on paper will be installed in one of the rooms, so it will only be visible during the opening evening.

Federico Luger is a Venezuelan artist and gallerist. After several years spent travelling around Europe, he opened an art space in Milan, which then turned into Federico Luger Gallery. In the twelve years during which the gallery has been operating, Luger has produced more than fifty exhibitions. However Luger never stopped his artistic practice, which he preferred to conduct in secrecy, reflecting on conceptual art, perception of art, and the art system in general. Both his activities, artist and gallerist have enriched each other. This exhibition and Luger’s oeuvre deeply reflect on the complexity of the twofold nature of his passion.

The exhibition will be open from September 18th thought October 18th, on Tuesday and Wednesday from 3 to 7pm, or by appointment.

To make an appointment, or to request images and further information please contact Gabriela Galati at info@ec-centric.eu.

Secondo Pensiero
Corso Magenta, 12
20121, Milan MI
www.secondopensiero.com

For more information on Federico Luger please click here.

Carlo Gamibirasio partecipa a EXI SHAPES presso Morel, Lugano.

EXI SHAPES è una mostra di arte contemporanea che riflette sul concetto di “demolizione”. Ospitata nell’edificio Morel (Lugano) che presto verrà smantellato, apre le porte del suo “hangar” per la prima volta a sei giovani artisti e al duo curatoriale 3/12.

Artisti presenti in mostra: Carmine Agosto, Byron Gago , Carlo Gambirasio, Edoardo Manzoni , Tomas Øvrelid, Flavia Sciré.

A cura di 3/12.

Vernissage: Giovedì 11 maggio 2017, ore 18:00.

MOREL, Via Antonio Adamini 4, 6900 Lugano Ticino, Svizzera.

Per maggiori informazioni sulla mostra si prega di cliccare qui.

Per maggiori informazioni su Carlo Gambirasio si prega di cliccare qui.

Federico Luger’s solo exhibition Recent Works opens on November 2 at Opere Scelte, Torino.

Fino all’età di 21 anni Luger ha vissuto a Caracas, Venezuela. Ha studiato pittura alla Scuola d’Arte “Armando Reveron” e con Adriana Cifuentes; social communication, graphic design, fotografia e commercio internazionale. Per anni ha vissuto in varie città europee per poi stabilirsi a Milano, dove ha aperto la Federico Luger Gallery.
Negli anni la ricerca artistica di Federico Luger si è concentrata sempre più sul sistema dell’arte e la sua fruizione: in quale contesto l’opera diviene oggetto d’arte? Per Luger anche il progetto della galleria è stato un atto artistico, un processo attraverso il quale trovare risposta a numerosi interrogativi sul fenomeno dell’arte.
Interessato in particolare a determinati aspetti della vita contemporanea – sharing economy, flussi di informazione, decentramento della produzione, la coesistenza di culture diverse, il diluire dell’ego – nella sua pittura si manifesta una riflessione sulla fine del Monocromo attraverso i suoi elementi formali più essenziali, il colore e la materia.
Nei lavori esposti, prodotti nell’ultimo anno, emerge la sua interpretazione dell’intervento artistico, quale elemento catalizzatore di cambiamento.
Ironico e dissacrante, Federico Luger include però anche un aspetto poetico nelle sue immagini che realizza con medium e tecniche differenti, funzionali alla contestualizzazione dell’opera.

La mostra rimarrà allestita fino a sabato 10 dicembre 2016.

Inaugurazione mercoledì 2 novembre, ore 18.30

Opere Scelte

via Matteo Pescatore 11/D, Torino.

Per maggiori informazioni su Federico Luger si prega di cliccare qui.

Steve Piccolo for ECCENTRIC: APPUNTO / EXACTLY, an invitation to all participants and guests of the exhibition Naturalia et artificialia, opening October 12, 6.30pm.

steve_piccolo-exactly

APPUNTO / EXACTLY

Steve Piccolo for ECCENTRIC

To all participants and guests of the exhibition Naturalia et artificialia
A tutti i partecipanti e invitati alla mostra Naturalia et artificialia

ITALIANO
Siete pregati di usare con insolita frequenza la parola “appunto”, abituandovi a pronunciarla in modo eccessivo, appunto, nei giorni prima dell’inaugurazione e cercando – appunto – di farla diventare un vero e proprio tic. Appunto all’inaugurazione, avrete la possibilità di dimostrare i risultati di quest’allenamento, e di condividere – appunto – le vostre esperienze. Suggeriamo a tutti di mettere un post-it con la parola “APPUNTO” sulla propria scrivania o in altro luogo ben visibile in casa. Grazie, appunto!

ENGLISH

We would like to ask you to use the word “exactly” as often as possible in the next few days, exactly before the opening of the exhibition. Train yourself as exactly as possible to overuse this word until it becomes a meaningless verbal tic, exactly a very bad habit, exactly like the word “like,” for example. At the opening you can show off exactly how well you have trained yourself, and share your experiences exactly with others. English speakers have a special option in this exercise: you can choose between “exactly,” “precisely,” “definitely” and “absolutely.” Choose the word that comes most “naturally” and make it come all too naturally, as a matter of habit – precisely! We suggest putting a post-it with your exactly selected word on the edge of your computer, or in an exactly and constantly visible place in your home. Thanks! Absolutely!

 

Axel Straschnoy’s Neomylodon Listai Anneghino at Inter Arts Center, Lund University, Malmö.

Axel Straschnoy’s Neomylodon Listai Anneghino will be exhibited at Inter Arts Center, Lund University, Malmö, opening on October 14th, 2016.

Starting in 1895 with the finding in a cave in southern Chilean Patagonia of a peculiar skin, the world was soon to face a sensationalist chase for an animal that was thought long since extinct. It was a very large mammal, weighing around 1.000 kg, which had both external fur and a protective armor embedded into the skin, which was surprisingly well preserved.

Two Argentinian palaentologists played out a drama of scientific rivalry. Dr. Florentino Ameghino was first to write about the beast and named it Neomylodon Listai Ameghino, declaring it still alive and roaming the plains of Patagonia. Dr. F. P. Moreno responded by pronouncing it extinct since thousands of years. A number of European scientists arrived at the spot or had material sent to their museums for closer scrutiny, creating an intense scientific debate about the animal. This way, some of the material found in the cave ended up in Sweden, other parts in London and Berlin. Some findings made their way much later also to Helsinki.

While scientists were soon doubtful about the existence of the living Neomylodon, the popular press was all the more enthusiastic. A price was promised to the one who could hunt down a specimen, and the Daily Express in London sent off a hunting team. Over the years the interest faded, as of course no-one could find and shoot an animal that had been extinct since more than 10.000 years. The Neomylodon proved to be a result more of wishful thinking than of science.

Axel Straschnoy’s exhibition Neomylodon Listai Ameghino approaches this footnote in the history of science critically and from a multitude of angles. The four vitrines are designed to host the complete findings now spread to different museums in Argentina, Chile, England, Germany, Sweden and Finland, plus the originals of the essential texts published on the animal during the years around 1900. But while the texts remain the same each time the work is displayed on its tour across the world, two of the vitrines will be mostly empty and only show what is available in the local collections.

Thus mirrored, the story of the Neomylodon becomes less a story about science than about the construction of myths as well as of truths. It is also a study of colonialism at work. It quite clearly displays the ironic truth that barely any findings ended up in the country where they were excavated.

Not the least, Neomylodon Listai Ameghino addresses the cultures of display, as well as the roles of the spectator in science and art. By moving between different ways of seeing and of showing artifacts, the vitrines themselves become witnesses of how authority and “truth” is transferred through the methodologies of display.

Pontus Kyander

For more information and updates on the project, please click here.

For more information on Axel Straschnoy, please click here.

Naturalia et artificialia. ECCENTRIC Art & Research’s first exhibition in Milan announced for October 12 2016.

Please scroll down for English version

ECCENTRIC Art & Research è lieta di presentare la sua prima mostra che inaugurerà il 12 ottobre 2016 a Milano. La mostra includerà lavori di tutti gli artisti rappresentati fino ad oggi: Ivana Adaime Makac, Jamie Allen, Tomislav Brajnović, Sarah Ciracì, Baptiste Debombourg, Gabriele Di Matteo, Federico Luger, Brian Montuori, Steve Piccolo, Anja Puntari, Axel Straschnoy e Massimiliano Viel.

Naturalia et artificialia erano due categorie con cui si classificavano le meraviglie esposte negli studioli durante il Rinascimiento. Nel contesto di questa mostra queste categorie sono il fil rouge che attraversa i temi trattati da artisti e opere. Ma non è questa differenziazione in se stessa artificiale? Perché non esiste natura senza artificio, senza il filtro della cultura, né tecnologia o artificio che non partecipi della natura. Questo è il discorso che la mostra intende affrontare.

ECCENTRIC è un dispositivo flessibile senza una location fissa. Naturalia et artificialia avrà luogo nello spazio MyOwnGallery presso Superstudio, via Tortona 27, Milano, dal 12 al 21 ottobre 2016.

Naturalia et artificialia si realizza con il generoso supporto di PERFORMANT, SCOA ed EXEO Consulting.

ENGLISH

ECCENTRIC Art & Research is pleased to present its first exhibition in Milan, opening on October 12, 2016. The exhibition will feature the work of all its represented artists up-to-date: Ivana Adaime Makac, Jamie Allen, Tomislav Brajnović, Sarah Ciracì, Baptiste Debombourg, Gabriele Di Matteo, Federico Luger, Brian Montuori, Steve Piccolo, Anja Puntari, Axel Straschnoy and Massimiliano Viel.

The title of the exhibition is Naturalia et artificialia, both of the categories with which the wonders exhibited in the cabinets of curiosities during the Renaissance were classified.
In the context of this exhibition both concepts work as the common thread that brings together the diverse topics addressed by the featured artists and artworks. All of them, in one way or another, pose questions about issues that have to do either with nature, or with artifice and technology, and often with both. However, isn’t’ this differentiation in itself artificial, and even false? Because there is no nature without artifice—without the artificial filter of culture—nor technology or artifice which doesn’t participate of nature.

ECCENTRIC is a flexible dispositive with no definite location. Naturalia et artificialia will take place in the space MyOwnGallery at Superstudio, via Tortona 27, Milano, from October 12 through the 21.

Naturalia et articifialia is realised with the generous support of PERFORMANT, SCOA and EXEO Consulting.

Sponsored by:

 

logo-1logo grande MyOwnGallery_LOGO

 

Gabriele Di Matteo a Fuori Uso, inaugurazione 22 luglio, Pescara.

Torna Fuori Uso dopo quattro anni di assenza, inaugura venerdì alle ore 19 nei locali dell’ex Tribunale di Pescara.

L’obiettivo di questa edizione è ridare un ruolo chiave alle Accademie nel sistema dell’arte contemporanea, tanto che a garantire i giovani talenti sono proprio i docenti, in questa edizione di Fuori Uso; da qui il titolo: “AVVISO di GARANZIA”. A cura di Giacinto Di Pietrantonio e Simone Ciglia.

Tutti gli artisti di Fuori Uso 2016: Riccardo Benassi, Sara Carraro, Lorenzo Lunghi, Alessandra Pioselli (Accademia di belle arti di Bergamo) Francesca Grilli, Asia Giannelli, Piero Deggiovanni; Luigi Presicce, Mimì Enna, Lelio Aiello (Accademia di belle arti di Bologna) Pantani-Surace, Matteo Coluccia, Stefano Giuri, Cecilia Guida; Paolo Parisi, Lori Lako, Irene Lupi, Pier Luigi Tazzi (Accademia di belle arti di Firenze) Perino & Vele, Rachele Sabatino, Sevi e Tonti, Alberto Dambruoso (Accademia di belle arti di Foggia) Alfredo Pirri, Mattia Abballe, Annamaria Tanzi, Marco Tonelli (Accademia di belle arti di Frosinone) Enzo De Leonibus, Gioele Pomante, Eliano Serafini, Domenico Spinosa; Italo Zuffi, Simone Camerlengo, Manuele Ianni, Cecilia Canziani (Accademia di belle arti L’Aquila) Gianni Caravaggio, Alessandro Mazzatorta, Giacomo Monza, Rachele Ferrario; Marco Cingolani, Alessandro Boscarini, Giulia Trivelli, Giulio Ciavoliello; Gabriele Di Matteo, Gao Lan, Wang Haotian, Elisabetta Longari (Accademia di belle arti di Brera) Adrian Paci, Cecilie Hjelvik Andersen, Isabella Benshimol – Mati Jhurry, Caterina Iaquinta (Nuova Accademia di Belle Arti – Milano NABA) Moio & Sivelli, Alessandro Minervini, Girolamo Viola, Chiara Pirozzi (Accademia di belle arti di Napoli) Stefania Galegati Shines, Genuardi/Ruta, Marcello Carriero (Accademia di belle arti di Palermo) Donatella Landi, Lucia Bricco, Adelaide Cioni, Cecilia Casorati (Accademia di belle arti di Roma) Pierluigi Calignano, Martina Cara, Valeria Secchi, Sonia Borsato (Accademia di belle arti Mario Sironi – Sassari) Mario Airò, Emanuele Marullo, Gabriele Nicola; Simeone Crispino (Vedovamazzei), Mohsen Baghernejad Moghanjooghi, Vincenzo Napolitano Matilde Galletti (Accademia Albertina di belle arti – Torino) Luigi Carboni, Lavinia Cestrone, Alessia Neri, Umberto Palestini; Matteo Fato, Marco Bacoli, Danilo Giuseppe Sciorilli, Alberto Zanchetta; Giuseppe Stampone, Kane Caddoo, Claudio Zorzi, (Accademia di belle arti di Urbino) Nemanja Cvijanovic, Martin Verdross Collettivo del corso di Tecniche e Tecnologie delle Arti Visive / Accademia di Belle Arti di Venezia, Riccardo Caldura (Accademia di belle arti di Venezia) Luca Trevisani, Marco Rizzardi, Valentino Russo, Angela Vettese (Università IUAV di Venezia).

Federico Luger in Relevant Notes at Cara Gallery, New York

Federico Luger’s work is featured at Relevant Notes, a group exhibition that presents a dialogue between the work of 11 artists to explore the boundaries of disciplines among installation art, land art and architecture. Exhibiting in a wide variety of medias including installation, drawing, photography, painting and sculpture–each created over the past five decades – act as relevant notes to the testimony of the artists’ interpretation of the concept of human intervention. Studying their sustainability in the natural environment, these artists take the location and materials of their work into careful consideration using cultural, political and environmental histories to create art as a catalyst for change.

Through their respective practices, the exhibiting artists have been analyzing the unification of materials, space and nature to address the importance of interference. If the balance between these elements were to be lost the intervention of the artist would be lost as well. The visual and conceptual investigations into the conjunction of these elements transform the architectural space of the gallery into an exhibition space where the artist is evident and a vision is perceived.

Relevant Notes, as an exhibition, comments on the temporary nature of spatial structures and the constant flux of our environment. Physical and mental aspects of art making come through in order to express the importance of creating a history for a place and acknowledging the presence of the artist. With the constantly shifting nature of time and knowledge our focus is easily destabilized, causing us to forget what we have experienced in the past. The temporary aspect of these works, allow them to live in a location if only for a moment before they are moved or destroyed by the hand of man.

Artists Exhibited: Christo & Jeanne-Claude, Gianni Pettena, Bruna Esposito, Andres Jaque, Diango Hernandez, Igor Eskinja, Jason Middelbrook , Franklin Evans, Federico Luger, Matteo Berra, Ebtisam Abdulaziz.

From June 23 through July 30, 2016 at

Cara Gallery, 508 W 24th Street – New York, NY 10011.

For more information on Federico Luger please click here.