Tag: Exhibition

Ivana Adaime Makac and Camilla Alberti in Questions on the Living / Domande sul vivente, at aA29 Project Room Milano.

Ivana Adaime Makac, The Variation of Animals and Plants under Domestication (2016); Origine des plants cultivées (2018) and L’univers de notre jardin (2018). Different editions of the three books, Savoy cabbage, varnish, pigments, different measures.


Ivana Adaime Makac’s and Camilla Alberti’s works will be featured in the exhibition Domande sul vivente / Questions on the Living at aA29 Project Room Milan, from May 30th through July 27th, together with Brandon Ballengée, Tiziana Pers, Muriel Rodolosse, Matilde Sambo and SEEDS.

Domande sul vivente /Questions on the Living is a group exhibition curated by Gabriela Galati that features works by six artists and a creative collective who ask questions about the living with very different points of view and approaches, and even sometimes in contradictory contexts.

The exponential acceleration during the last century in technological developments has inevitably led to questions on the changes in the relationship between humans and technology, and, almost at the same time, on the living as a whole. Many of the researches in this regard have been proposed under the name of posthuman: a “condition” that implies an expansion in the interest towards a more complex and comprehensive vision of contemporaneity; a vision that puts all life forms on the same level taking into consideration also the relationship with the inorganic. In this sense, “living”, one of the most discussed and difficult aspects to be defined by biology, includes human and non-human animals, the vegetal world, and why not, even forms considered semi-living, such as viruses.

The exhibition intends to explore diverse visions, approaches and methodologies regarding the living in the artistic practices it presents. Its intention is not to use living beings as materials, or to create a purely aesthetic experience, but on the contrary, all these artists are interested on the living as a topic of reflection, and often of action, whatever the medium chosen to convey it. In fact some of them, like Camilla Alberti, Tiziana Pers and Muriel Rodolosse use panting, Ivana Adaime Makac and Brandon Ballengée include vegetal elements and animals in their oeuvre, and Matilde Sambo works with video and photography.

A great part of Ivana Adaime Makac’s artistic research focuses on investigating the processes of domestication and dis-domestication of living beings. Particularly, in the works in the show she used Savoy cabbage, a vegetable that was domesticated hundreds of years ago for human consumption, treated in different ways: In the books sculptures, she covered an 1867 edition of Charles Darwin’s The Variation of Animals and Plants under Domestication and Alphonse de Candolle’s Origine des plants cultivées (1998) with layers of cabbage treated with pigments and lacquer. In the installation that belongs to the series Jardin Transformiste, the artist used the cabbage to “dress” a stool, and remaining vegetables from other works and installations to build the garlands. The artist’s interest for life cycles and incomplete shapes is paired in all these works with new forms of domestication and reutilisation of the vegetal element.

Camilla Alberti’s paintings deal with nature as landscape: she isolates some details from a landscape, and recomposes the images creating an abstract background. In this way, the elaboration of nature is doubled: firstly when it is conceptualised as landscape, as it usually is, and a secondly through her artistic elaboration.

Brandon Ballengée is an artist and biologist who has been researching for a long time on terminal deformities in amphibian populations, and from these investigations his artistic series Malamp (1996-ongoing) stemmed. Featured in the show there is one work of his Styx series (2007-ongoing). It consists in a chemically cleared and stained tiny frog lying on an illuminated glass dish. The deformed bodies are very small, and as in the Reliquaries photographs (2001-ongoing), the artist intends to create an emotional bond with the viewer, not to present the animals as monsters. His research also includes finding what generated these deformities, and eventually killed the amphibians: the causes are often pollution of the environment and water.

Tiziana Pers research is focused on biocentrism and antiespeciesism. The painting presented in the show is part of the series Elephant Song (2016), a group of works that initially addressed the extinction of elephants, but that successively the artist extended to other species, in this case, sharks. In particular, she is interested in increasing awareness on an extremely cruel practice usual in some parts of Asia where sharks’ fins are used to make a very popular soup: sharks are caught, its fins cut while they are still alive, and then thrown back to the water, where they slowly bleed to death. Elephant Song_Shark is a call to stop these insane practices, and at the same time, an homage to all animals, like all the artist’s oeuvre is.

Muriel Rodolosse’s back paintings on Plexiglas intend to put into question common human views on nature. In the apparent delicate and dreamy quality of many of her works, a quality possibly accentuated by the milky white background, it is possible to perceive a silent struggle between architectural and natural elements. The idea of a disturbed nature is challenged by also conveying the sense of natural wilderness that predominates on the pictorial surface.

Matilde Sambo’s recent video Fairy Cage (2018) investigates the tension between human fascination with nature, more specifically with other non-human animals, and the also very human need of possessing it/them. The artist slowly unveils each image and each movement, a choice that together with the disturbing audio intensifies the feeling of uneasiness when the viewer understands that each one of the living beings in the piece is a prisoner.

The exhibition is completed with the participation of SEEDS, a collective dedicated to exploring the relations between people and plants. For the exhibition, Giada Seghers, one of SEEDS’ three founders, conceived the installation Up Above and Down Below in which plant cuttings that belonged to different people, and thus have different stories are exhibited. The work aim is twofold: on the one hand, tracing and sharing plants’ movements and stories, on the other hand, in this work the roots, which are usually hidden and untouchable acquire the same importance as the “upper green” part.

SEEDS will also present the performance The Plant Swap on June 23rd, from 4 to 8pm. It will be an event open to the public in which participants exchange plants, plant cuttings and seeds, advices on how to better take care of them, but also their stories (The Plant Story Project). SEEDS has been organising the The Plant Swap event in Bruxelles, Paris and Milan since 2015 as a way of creating a community through these cities grounded on the love of plants and their shared stories.

Thus Questions on the Living aims at making evident that, even when the angles to tackle the diverse topics and the artistic research methodologies can vary, sometime greatly, there are current artistic practices, like the presented ones, which actively engage in the necessary efforts to rethink and re-enact the co-existence between the living, the inorganic and the technological as a complex ecosystem. In this complexity, older hierarchies, especially the ones that considered “the human” on top, are put into discussion and new models of interaction and co-habitation are conceived and deployed.


Questions on the Living

 Ivana Adaime Makac, Camilla Alberti,

Brandon Ballengée, Tiziana Pers,

Muriel Rodolosse, Matilde Sambo,


curated by Gabriela Galati

Opening May 30th, 6.30pm

May 30th – July 27 2018

Wed-Fri, 2.00-7.30pm

Or by appointment

The Plant Swap by SEEDS

Saturday June 23rd, 4-8pm

aA29 Project Room Milan

Piazza Caiazzo 3

20124 Milan



Baptiste Debombourg at Dans le cadre de 4+4, Galerie RX, Le Marais.

Baptiste Debombourg, Cesium XIII, 2017.

Baptiste Debombourg has been selected by Isabelle de Maison Rouge to take part of the show Dans le cadre de 4+4, 4 invités  + 4  Artistes at Galerie RX.

The exhibition opens on February 1st, 6p-9pm.

Four curators invite four artists:

Isabelle de Maison Rouge l Baptiste Debombourg
Florence Guionneau-Joie l Lionel Sabatté
Françoise Paviot l Alain Fleischer
Sandra Hegedüs l Julio Villani


For more information on the exhibition please click here.

For more information on Baptiste Debombourg please click here.


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).

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.

Minority Report: Camilla Alberti’s work will presented on September 28th at Spazio22, Milan.

Camilla Alberti, Landscape 7 (2016). Acrylic on canvas, 100 x 80 cm.

ECCENTRIC Art & Research is pleased to present Camilla Alberti’s work Landscape (2016-17) as part of the section Minority Report.

Landscape will be presented on September 28th at Spazio22 Window Project and will remain on view during the duration of the exhibition.
In Landscape, Alberti investigates through painting form and matter that conform the Earth. The series starts from the isolation of a detail in a picture landscape, which is then reworked through study drawings that simplify the form. Then, the artist uses painting to redefine neat shapes that create a sharp contrast with the flat surface of the monochrome background.

For more information on Camilla Alberti and Minority Report please click here.

Opening September 28th, 7pm, Spazio22, viale Sabotino 22-20135, Milano, www.spazio22.com


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.

Sarah Ciracì partecipa alla mostra EFFIMERA che inaugura il 18 marzo presso il MATA Modena.

EFFIMERA Suoni, luci, visioni

Carlo Bernardini, Sarah Ciracì, Roberto Pugliese

a cura di Fulvio Chimento e Luca Panaro

18 marzo 7 maggio 2017
MATA | Manufattura Tabacchi Modena


 Comunicato stampa:

Inaugura sabato 18 marzo alle ore 18.00 al MATA di Modena una nuova edizione di Effimera – Suoni, luci, visioni, a cura di Fulvio Chimento Luca Panaro e in collaborazione con la Galleria Civica di Modena, che quest’anno propone opere di Carlo Bernardini, Sarah Ciracì e Roberto Pugliese. La mostra è realizzata con il supporto di Coptip e del Gruppo Fotografico Grandangolo BFI.

Effimera giunge dunque alla sua seconda edizione, coerente con l’intento dichiarato dai suoi curatori già nel 2016: individuare e valorizzare artisti, preferibilmente italiani e con esperienza all’estero, che fanno dell’utilizzo avanzato della tecnologia la cifra stilistica del proprio lavoro. Un evento espositivo che si propone quale indagine critica in relazione alle ultime tendenze artistiche caratterizzate dai “Nuovi Media”, momento di crescita e di aggregazione a livello nazionale intorno a parole chiave quali arte, tecnologia e comunicazione.

Nel 2016 Effimera aveva individuato il suo punto focale nel web, inteso come strumento di conoscenza artistica e relazionale grazie alla presenza degli artisti Eva e Franco Mattes, Carlo Zanni e Diego Zuelli. La nuova edizione si concentra sull’analisi della componente immateriale che è caratteristica della ricerca artistica dei nostri giorni, che trova trasposizione (e sintesi) all’interno di un percorso espositivo che prevede la creazione di un viaggio sensoriale interno alle tendenze artistiche recenti.

Nel 2017 i curatori hanno dunque strutturato i 500 mq del MATA in tre ambienti distinti. Punto di partenza di questo “attraversamento” è costituito dalla ricerca sonora del sound artist Roberto Pugliese, mentre l’approdo si identifica nelle installazioni luminose in fibra ottica di Carlo Bernardini, dipanando il percorso fra le immagini fluttuanti degli affreschi digitali di Sarah Ciracì.

Effimera – Suoni, luci, visioni è costruita intorno a un percorso spiccatamente immersivo, ideato e strutturato appositamente sul MATA: tre imponenti installazioni ambientali, separate ma contigue, marcano una distinzione linguistica e temporale, e al tempo stesso suggeriscono una linea di continuità all’interno del percorso evolutivo dell’arte. Arte intesa come esperienza totale e totalizzante, in grado di stimolare l’intelletto, ma anche di innescare un corto circuito a livello sensoriale.

Per rimarcare le distinte peculiarità d’approccio i curatori hanno coinvolto artisti appartenenti a tre generazioni differenti, nati rispettivamente negli anni Sessanta, Settanta e Ottanta, che riflettono altrettanti modi di intendere l’interazione tra arte e tecnologia. Il fil rouge che contraddistingue Effimera è sempre rappresentato dall’intento di indagare l’arte attraverso le sue componenti immateriali, al fine di far luce sullo statuto attuale dell’opera. I lavori degli artisti di ultima generazione, infatti, si caratterizzano per la spiccata componente effimera legata al procedimento artistico che rispecchia l’epoca nella quale viviamo. Non a caso il nome della rassegna si ispira anche a quello della specie animale che ha vita più breve sulla terra, l’Ephemera, un piccolo insetto acquatico (simile a una libellula) la cui esistenza dura all’incirca un’ora e mezza. Altro assioma fondante di Effimera è il constatare come l’unicità dell’opera non sia più un assunto dell’uomo contemporaneo: grazie alle tecnologie di cui disponiamo, ogni copia è riproducibile con la medesima qualità, e quindi è sempre potenzialmente identica all’originale.

Fa da corredo a Effimera un ricco calendario di incontri collaterali che prevede la presenza degli artisti coinvolti, ma anche di filosofi ed di esperti del settore “arte e tecnologia”.

Per maggiori informazioni sulla mostra si prega di cliccare qui.

Per maggiori informazioni su Sarah Ciracì si prega di cliccare qui.


Axel Straschnoy will present new work at ARS17 exhibition in Kiasma Museum of Contemporary Art, Helsinki opening March 2017.

Axel Straschnoy will present a new project at ARS17 exhibition in Kiasma Museum of Contemporary Art, Helsinki opening March 2017.

On November 2, Kiasma disclosed the list of participating artists:


Ed Atkins (1982 Iso-Britannia)
Andrey Bogush (1987 Venäjä)
Nina Canell (1979 Ruotsi)
Cécile B. Evans (1983 USA/ Belgia)
Lizzie Fitch & Ryan Trecartin (1981 USA & 1981 USA)
Melanie Gilligan (1979 Kanada)
Juha van Ingen (1963 Suomi)
Yung Jake (2011 Internet)
Ilja Karilampi (1983 Ruotsi)
Nandita Kumar (1981 Mauritius)
Tuomas A. Laitinen (1976 Suomi)
LaBeouf, Rönkkö & Turner – Shia LaBeouf (1986 USA), Nastja Säde Rönkkö (1985 Suomi), Luke Turner (1982 Iso-Britannia)
Reija Meriläinen (1987 Suomi)
Katja Novitskova (1984 Viro)
Jaakko Pallasvuo (1987 Helsinki)
Aude Pariset (1983 Ranska)
Jon Rafman (1981 Kanada)
Charles Richardson (1979 Iso-Britannia)
Rachel Rossin (1987 USA)
Jacolby Satterwhite (1986 USA)
Hito Steyerl
(1966 Saksa)
Anna Uddenberg (1982 Ruotsi)
Julia Varela (1986 Espanja)
Artie Vierkant (1986 USA)

ARS17+ Online Art

David Blandy (1976 Iso-Britannia)
Cécile B. Evans (1983 USA)
Ed Fornieles (1983 Iso-Britannia)
Juha van Ingen (1963 Suomi)
Rachel Maclean (1987 Iso-Britannia)
Florian Meisenberg (1980 Saksa)
Reija Meriläinen (1987 Suomi)
Pink Twins, Juha Vehviläinen & Vesa Vehviläinen (1978 & 1974 Suomi)
Angelo Plessas (1974 Kreikka)
Jon Rafman (1981 Kanada)
Tuomo Rainio (1983 Suomi)
Charles Richardson (1979 Iso-Britannia)
Jarkko Räsänen (1984 Suomi)
Axel Straschnoy (1978 Argentiina)
Jenna Sutela (1983 Suomi)
Amalia Ulman (1989 Argentiina)


Ed Atkins (Iso-Britannia)
Florentina Holzinger ja Vincent Riebeek (Itävalta, Hollanti)
Rodrigo Sobarzo (Chile)
Otso Huopaniemi ja Pilvari Pirtola (Suomi)
WAUHAUS, Samuli Laine, Jussi Matikainen, Jarkko Partanen (Suomi)
Jacolby Satterwhite (USA)
Anne-Mari Karvonen ja Anni Puolakka (Suomi)
Eeva Muilu ja Jaakko Pietiläinen (Suomi)

ARS17 takes over Kiasma in 2017

The theme of the ARS17 exhibition is the global digital revolution whose impacts are evident in culture and the economy, as well as in human identity and behaviour. Opening in March 2017, the exhibition will showcase artists of the new millennium and offer a fresh approach to contemporary art by also expanding the viewing experience into the online realm.

ARS17 will feature works by several Finnish and international contemporary artists. The names of the participating artists will be announced during the autumn and winter.

Digitality changes art

Digital technology has become an important part of everyday life. In addition to its purely technological applications, digitality also plays a role in the management of social relations, in community formation, and in communication. One of the key themes of the exhibition is how artists have responded to this transformation that touches us all. Art also plays the role of a pioneer in the digital revolution of culture.

Although it is highly reliant on the digital revolution, contemporary art regards its impacts with a certain scepticism, while also helping us to understand the world around us. The Internet is addictive and powerful: how radically has our worldview been altered by digitalisation and social media?

ARS17 extends into the online realm

ARS17 will serve as a platform for Kiasma to develop the accessibility of art and the methods for its presentation, as well as the museum’s collection practices. As part of ARS17, the museum will launch a website, ARS17+ Online Art presenting online works by approximately 20 artists.

Today, an increasing amount of interesting work is being produced specifically for online viewing. Artists are using the internet and social media in many ways for their art. ARS17 will showcase several online works in order to engage the audience and extend the experience beyond the confines of the museum walls.

The ARS exhibitions are a series of major surveys of international contemporary art that have been organised since 1961. In total, the exhibitions have had more than half a million visitors, presenting work by about 600 artists or groups. ARS17 is the ninth exhibition in the series, and the fourth to be held in the Museum of Contemporary Art Kiasma.

For more information on ARS17 please click here.

For more information on Axel Straschnoy please click here.


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 for ECCENTRIC

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

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!


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!


ECCENTRIC Art & Research announces the first selected artist for the section Minority Report: Carlo Gambirasio.

ECCENTRIC Art & Research presents Minority Report, a new section dedicated to showcasing young, talented and promising artists. Artists who despite of being at the very beginning of their careers already evidence great potential: A glimpse of, and a bet on the future.

The first selected artist for Minority Report is Carlo Gambirasio (Verona 1994), and his work will be featured at Naturalia et artificialia.

For more information on Minority Report and Carlo Gambirasio please click here.



ECCENTRIC Art & Research annuncia il primo artista selezionato per la sezione Minority Report: Carlo Gambirasio.

ECCENTRIC Art & Research presenta Minority Report, una nuova sezione dedicata a promuovere artisti giovani, talentuosi e promettenti. Artisti che nonostante siano all’inizio della loro carriera dimostrano già di avere un grande potenziale: uno sguardo e una scommessa sul futuro.

Il primo artista selezionato per Minority Report è Carlo Gambirasio (Verona 1994), e il suo lavoro sarà parte della mostra Naturalia et artificialia.

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


Image captions: Carlo Gambirasio, L’ancestrale (2016). Steel, clock mechanism, sensors, software; 10 cm x 32 cm Ø.