24 h Museum
Francesco Vezzoli
From the 24th to the 25th of January
Palais d’Iéna, Paris

This short review was written at Starbucks (something we do miss in Italy, rue de l’Operà, Paris) on the 25th of January, just few minutes before the 24 h Museum closed to the public.

I flew to Paris less than 24 hours ago just in time to visit Francesco Vezzoli’ s last project: 24 h Museum, a super cool environment designed in collaboration with AMO, Rem Koolhaas’ think tank.
The 24h Museum opened yesterday, the 24th of January at the Palais D’Iéna, an historic Parigian Palace designed by Auguste Perret between 1936 and 1946, today home of CESE (Conseil Economique, Social et Environnemental).

The show, so as stated by the title itself, lasts 24 hours.
The format of a 24 hours show is not new in contemporary art events. It was conceived for the first time in 2006 for the 24-Hour Interview Marathon at the Serpentine Gallery Pavilion, in London, designed by Rem Koolhaas and Cecil Balmond. Curated by Hans Ulrich Obrist, who also has run the interview together with Rem Koolhaas, the event featured the biggest names of contemporary culture.
Perhaps we should assume that the 24-h format could be seen as a way to adapt exhibitions and art events to the fact that, nowadays, a show is generally visited at the opening and in the following few days/hours.

I was just in front of the main entrance of the 24 h Museum when a beautiful young lady approached me and suggested to introduce myself as a student who just missed his classmates’ group for the guide, or I couldn’t visit the show.
The 24 h Museum is a praise to the idea of beauty, through a tribute to classical icons and contemporary stars. As stated by Vezzoli on the website of the show “They are my icons turned into sculptures and placed on marble pedestals” (Francesco Vezzoli in L’Espresso, 21-12-2011, p.199).
At the opening night (super VIP – by invitation only) Miuccia Prada welcomes the guests such as monsieur Pinault with her wife Salma Hayek, Anna Wintour, Franca and Carla Sozzani, Dita von Teese, Louis Garrel, Anna Dello Russo and more super stars from the international Olympus of the cinema world, theatre, visual arts, fashion and music, all spheres of the creative world that Vezzoli has tried to “cross-mix” in his career, were delighted by the Dj set by Kate Moss.
The day after the party, the show was open to public and students were welcomed and guided by members of the educational department through the over-lefts from the party. A monumental – pink-lighted cage housed a series of reproductions of classical sculptures, which faces portrayed contemporary pop divas.

The show was produced by Prada (the biggest mentor of Francesco Vezzoli) and it has shown entirely the predominant role of the fashion industry on contemporary visual arts productions, both in the position of commissioners and/or collectors.

Since I stepped in the show, I have a question stocked in my mind: is the 24 h Museum an artistic intervention, an art show or a wonderfully glamorous promotion of a fashion brand during Paris Fashion Week?
Coming into the realm of ethics: given the economic crisis of this contingent historical era, is the 24 h Museum a nice way to show the public how VIP have parties or is a golden work to critic the decay of ethics?

Vanessa Mitter I Am Not Here To Entertain You, Field Project Space, The Bun House, October 2011, curated by Karl Weill

I met Vanessa Mitter at The Why Gallery in London in December 2008. At that time, The Why Gallery (now closed) was run by a group of students from Chelsea College of Art & Design of London, in primis by Ada Yu, a very talented young photographer from Kazakhstan. I was being invited to take part in a performance show alongside Vanessa Mitter and O.B. De Alessi.

In spite of the very few people who showed up to see the show, the whole night was amazing. I remember viewing the artist, Vanessa Mitter as a kind of maudit Virginia Woolf. She declaimed her poems and some of them were, basically, a collection of swear words. She was brilliant. I was really fascinated by her voice, which was full of grace and a kind of raw anger.
A couple of months later, I went to visit the MA interim show at Chelsea College of Art and I saw, for the very first time, her paintings. They stood out from the rest of the exhibition, because you could easily say there was something in them. They were not merely an exercise on a two-dimensional surface. Furthermore, they were not extravagant or lazy works by a bourgeois individual. They were absolutely interesting, something different from what we usually see at student art shows or anywhere in art system galleries promoting young artists.
In November 2010, Vanessa Mitter invited me to take part in a live art show that she was curating. ‘The Dandyism of Contempt’ (January 2011) turned out to be one of the most exciting projects I have been invited to take part in. Artists such as: Mark McGowan, Brian ‘Dawn’ Chalkley, Jack Catling, The Skinjobs, Robin Bale, Douglas Park, Adham Faramawy, Alec Dunnachie, Pauline A. Amos, John Wild, James Gardiner, Kiki Taira, Lennie Lee, Frog Morris, Karl Weill and Edward Cotterill, made for a very strong performance show.
We continued our collaboration for a show, FORZA NUOVA which I curated in Venice during the 54th Biennale of Venice, July 2011. Vanessa Mitter performed on the bridge that links with the Campo dei Gesuiti in the Canareggio area on the north side of the lagoon. She read out her Mock Modernist Manifesto (Aesthetics of Emptiness) against an overwhelmed audience, who were not used to seeing such an intense performance. Furthermore, the passers by and the policemen who surrounded the area, were shocked and involved in the action. She used the invective of the Modernist manifesto to question the superficiality of the media driven world we live in today. Idealism was replaced by a kind of deliberately dumb irony. The artist struck a hymn of praise to the realm of fictional life-style. This performance was staged for the first time in Peckham Town Square for a performance event in London in 2009.

Aesthetics of Emptiness, mock Modernist manifesto, Forza Nuova, Cannaregio, Venice, June 2011

NRM: Vanessa Mitter is a visual artist, musician, writer, curator, what else? Can you talk a little bit about yourself and your work?
VM:I make paintings and drawings, as well as devising performances and writing. I am interested in a use of alter egos and in autobiography. In all of my practice, I am playing with the gestural and with the performative and exploring their complex history(ies).
One of the major connection points between my painting and performance work is this intertextuality. There is a use of alter egos, particularly in performances. I recently curated a sculpture and live art/performance show using one of my male alter egos, Karl Weill. I am still considering how best to document this work and work in future.
I have played in various bands including ‘The Battle of the Roses’ (next gig, the 02 Academy, Islington, London in February 2012). I am a classically trained violinist but I do a lot of improvising these days. However, I view this as separate to my practice as a visual artist.

NRM: Why would you need to create a male alter-ego?
VM: For me, it’s not necessarily about need. It’s about a desire to do so. The particular male alter ego I have created started to appear in my work a few years ago, both in paintings and in performances. His name is Karl Weill. He also curates shows or at least, he was the inspiration for the last show I curated. The press release was constructed through the use of a fictional interview that he gave (which was obviously invented). He’s the long lost brother of Kurt Weill, the German composer. He’s situated in a particular way. He is a very particular kind of character. For me, he is able to express a spirit of dandyism and of bohemianism. He is definitely of his time and he moves in time. For the last show, he became an artist working in Paris whilst the Paris riots of 1968 were happening. In some ways, he is a parody of a bohemian male artist. His character is also very much related to an artist I have known. For me, the creation of a male alter ego is difficult because this could, potentially, be viewed as anti-feminist. I have also created female alter egos. Saint Joan appears in various guises in my work. I believe that the creation of alter egos is a way of being able to speak in different voices and play different roles and to be able to construct layers of languages, whether in painting or in writing for a performance. It frees you to actually be able to access, perhaps, parts of yourself, which maybe you wouldn’t in other circumstances. With the construction of an alter ego, you are free to be something or someone else or to make as someone else.

Giving Up The Ghost, ‘de Kooning, de Kooning, de Kooning’, curated by Dexter Dalwood, David Risley Gallery, Copenhagen, Jan to Feb 2011

NRM: In FRIEZE Magazine (issue 138, April 2011) Christine Antaya wrote about your paintings in the show, ‘De Kooning, De Kooning, De Kooning’ at the David Risley Gallery in Copenhagen. Antaya stated that ‘Vanessa Mitter’s heavily dripping portrait of a girl, brings to mind the work of CoBrA artists with their impasto and flooded surfaces’. Can you explain which artists you are more influenced by, if any?
VM: CoBrA artists obviously (laughs). My influences come from a lot of different sources, literary as well as visual. Charlotte Salomon. Her life was obviously very tragic. There was a use of autobiography but also, a naivety and directness about the way that she translated her life into images and text. I like that. Fantasy. Dawn Mellor, partly because of the use of alter egos and the extreme colour and the heavy application of paint, sometimes jarring. Cecily Brown is a painter whom I’ve looked at a lot over the years. The way she layers paint, the overloading of the surface and the way she pushes the medium whilst still saying something today, is exciting. De Kooning. I mean, that show I was in, was called ‘de Kooning, de Kooning, de Kooning’ but I’m going to New York in January and I’m going to see the major retrospective of his work at MOMA and I’ve seen very little of his work in the flesh and I’m really looking forward to that. Kurt Schwitters. Partly what interests me about him is that he was a kind of outsider in a way. He was rejected by the Berlin Dada movement. Richard Huelsenbeck ridiculed him as ‘the Caspar David Friedrich of the Dadaist Revolution’. Schwitters wrote an Absurdist play in response. There was an element of rebellion in Schwitters’ work which I really respond to. He was a misfit. Paul McCarthy is an incredible artist. In the show I was in, they were showing the 1995 film/performance, ‘The Painter’. What I also realize from that was that when I was studying BA fine art at Central St. Martin’s College, I remember viewing bits of ‘The Painter’ in the library and being outraged, just thinking that McCarthy was degrading the canon of painting, laughing at de Kooning and so on but years later, I’ve realized that there’s this kind of obsession and interrogation of painting in his work. At the time, I had never made a performance. I painted. In works such as ‘Tubbing’ (1975), there’s a major element of the grotesque and the ridiculous. There’s pornography and repulsion, disgust and food. I do think that he has a different kind of freedom as a male artist. Some of the sexual elements in his work, as a female artist, you’d be viewed very, very differently if you carried out those actions. I look at him and think that he has an immense freedom. I mean, there have obviously been female performance artists who’ve used the body but I think it’s quite difficult to go naked as a female artist today because, if you do so, you’re just objectified or thought of as naive. McCarthy’s interest in painting using substances when he covers his body, has probably altered some of my ideas about painting. Another artist before him who took paint off the canvas and on to the body was Gūnter Brus. His commitment was unbelievable. You only have to see the self mutilation performances he made after being traumatized by war. Both McCarthy and Brus have probably influenced several of my performances, in particular the use of substances, such as throwing tinned tomatoes over myself in ‘Mock Modernist Manifesto (Aesthetics of Emptiness)’ and the painting of my face in ‘I Am Not Here To Entertain You’. There is a certain element of slapstick and of the grotesque. I try to become gender neutral, a kind of alien. I make myself as androgynous and ugly as possible or I would be viewed primarily as a woman and it wouldn’t work. I think there’s a great deal of dark humour in my paintings and in my performances. I am very interested in Dada and particularly, in the absurd.
I like Bjarne Melgaard, Ansel Krut and Kai Althoff a lot. Their paintings are what I’d call dirty and intense.

The Rape (after Magritte), mixed media (cardboard, encaustic, oil and horse hair) on canvas, 91 ms (h) x 73 cms (w), 2011

NRM: Your work is very intense and sometimes aggressive. What is your position in respect to contemporary feminist discourse?
VM: That’s a very difficult question, I would say. I’m not sure if it’s entirely the right question, just because I don’t think I approach making work in that way. It’s a good question in terms of actually making me think about how I make work. I think that what interests me is art and artists. Obviously, women have been written out of so called ‘art history’ and the canon. There’s the famous, well trodden arguments in Rozsika Parker and Griselda Pollock’s ‘Old Mistresses: Women, Art and Ideology’. It is important to be politically aware. There still is this difficulty of making your mark as a female artist. There is a sense nowadays that this isn’t a problem but I still think that problems exist. At the same time, you have to be very careful about making broad generalizations about male and female artists.

Galerie Alberta Pane – 14 rue Saint-Claude – 75003 Paris
info@galeriealbertapane.com
MARIE LELOUCHE
Korean landscape
First part opening
14.01.12 | 11.02.12
Opening on Saturday 14th January 2012, from 4 p.m. to 9 p.m.

Second part opening
Variation in Building
16.02.12 | 25.02.12
Opening on Thursday 16th February 2012, from 4 p.m. to 9 p.m.

Coming back from South Korea, Marie Lelouche sweeps Alberta Pane Gallery with a double
exhibition, inspired from her stay in the Land of the Morning Calm, (Goyang Art Studio 2010
and Nanji art studio 2011). This young French artist, born in 1984 and graduated in 2008
from Ensba (Paris), is specialized in the sophisticated arts of blown glass and porcelain,
which she combined to raw materials, such as fabric or wood, by questioning the material
limits to derive unequaled shapes.

During her travels, Marie Lelouche plunges herself into cultural and social contexts very far
from what she usually knows, in order to actively influence her artistic practice. Real exote –
as Victor Segalen defined it – the artist experiences the different and the “other” to reach a
full freedom in the observation of the object she will describe or just feel. The participating
observance and the experience, as means of creation, are at the heart of her artistic practice.
For the first section of the exhibition, Marie Lelouche has decided to present a brand new
series of objects in various techniques – drawings, sculptures and installations – developing
the many features of the idea of Landscape.

Sans Tire (Still Life Landscape), is made of a wall drawing and a sculpture-installation
inspired by Chuseok, the harvest celebration, one of the most important festivals in Korea.
During this occasion, families carefully set out on a small table a pile of food for their
forefathers. The title of the piece underlines the aesthetic impression of this view that, in fact, could remind a still life painting. On the Gallery walls pastel lines are horizontally drawn, a thin shade that evokes the typical celadon (pale green) in Korean landscapes and ceramics.

Close-up and moved from the wall, a bookshelf hosts some totems in plumped porcelain
shapes towering over wooden circles. The tops of the porcelain elements are painted in three
shades of green: a color evocating both the Korean ceramic glazing and the image of a
rotting fruit.

Sans titre (Landscape) is a set composed of a blown glass sculpture standing on a wooden
support and a series of drawings (graphite on paper). The glass bust, shaped and doubled,
lies on the inclined wooden board: this almost abstract view, echoes the onlooker. As for the
drawings, they remind of the body through dresses, as the artist explained: “only a dress, as
a piece of the social body, could take it back to an intelligible form.”
In the first section of the Korean Landscape exhibition, Marie Lelouche approaches the
body’s themes, the subjects of object and landscape as an architect-anthropologist, dealing
with a profound reflection on rituals, traditions and values of a completely different country: South Korea.

For the second section of the exhibition (Variation in Building), Marie Lelouche presents a set
of pieces – installations and drawings – produced during her stay in Goyang, in 2010. This
city belongs to the megalopolis of Seoul, noticeably developed after its enormous economic
growth, during the last fifty years. The population increase and the exodus towards the
capital, brought a mass construction of several occidental structure covered, while building,
by anti-dust barriers. These, divided in colored slashes, generated a strange frame: nearly
imaginary buildings. This kind of colored decoration could also be seen in traditional Korean
architectures. Marie Lelouche has chosen to use these slashes in her installation Variation in
Building, by giving them a real, plastic value. Hanging from the wall – as curtains hiding
infinite, blind windows – or gently divided in colored piles on a white socle, they fluently and visionary evoke those buildings and the Korean population increase. “These tissue panels
are like cultural persistences. Being part of the construction process, they are invisible in the finalized building.” From the Korean megalopolis, Marie Lelouche keep only a specific object that can, by itself, remind both the country development – expressed by the
proliferation of buildings – and heritage through the South Korean characteristics.

The installation and the drawing (thin felt- tip pen) inspired an ideal urban structure, made upon the unconscious renewal of traditions.

Panorama is at Tate Modern London until 8 January 2012.

(Gerhard Richter, Reader 1994 Courtesy San Francisco Museum of Modern Art © Gerhard Richter)

Tate Modern presents an impressive and ambitious overview of five decades of Gerhard Richter’s work.

As first stage of an itinerary that will continue in Berlin and Paris, and coinciding with the artist’s 80th birthday, Panorama is collaborating to celebrate him as the greatest living artist.

Besides a chronological order, each of 14 rooms has a precise concern; from his early blurry photo paintings produced after leaving east Germany in 1960, to his communication with Duchamp’s work,to his damaged landscapes and colours charts to the moment in which figuration of photography meets abstraction of his painting at the end of 1970s.

Richter has continued to respond to significant moments in history throughout his career as he did fifty years ago reflecting on the history of National socialism, painting from his personal photographs of his family members who had been members,as well as victims, of the Nazy party till the painting of the terroristic attacks of 2001.

Final room shows his ‘Cage paintings’ from 2006, painted while listening to the music of John Cage and completed in 2006.

The range is astonishing and his work is stunning because the use of every tecnique with such refinement.

(Gerhard Richter, Candle 1982 Museum Frieder Burda, Baden-Baden © Gerhard Richter)

(Gerhard Richter, Lilies [Lilien] 2000 National Gallery of Canada, Ottawa © Gerhard Richter)

Opened on Friday, the 18th of November, at SPLATTERPOOL ARTSPACE in Brooklyn NY, BODY OF WORK is the first solo exhibition in the United States by the Polish artist Karol Radziszewski.
BODY OF WORK, with the support of Residency Unlimited and the Polish Cultural Institute, featured the videos Ready 2 Die (2009) and Backstage (2011).

Ready 2 Die is a black and white video record of the performance in the Muzeum Sztuki in Lodz (PL) in 2009. Addressing to the male nude tradition in the history of art, “Ready 2 Die” turns the audience into an hungry voyeur, staring at the image of a naked male model, posing for the artist, transmitted live in the Museum’s space.
Backstage is a video made at The Bunkier Sztuki Contemporary Art Gallery in Krakow where the artist has invited, by an open call, a group of young men to interact with him to the making-up of the project.

Backstage is a video documentation of casting sessions: Radziszewski interviews each young man, around the idea of shame, exhibitionism and voyeurism. Whilst talking with his models, Karol invites them to gradually undress, in order to examine how people are willing to engage in the art contest and their feelings of appearing naked in art venues, being aware of someone’s watching.

Manipulating and driving the viewer’s gaze into the analysis of performance and body art of the 70s, by a strong conceptual attitude Radziszewski questions the idea of masculinity in the contemporary society. Radziszewski’s work comes out in a society where traces of homophobia, phallocentrism, racism and sexism, all issues that have characterized the modernism age, are back. The idea of masculinity comes together with the idea of metrosexuality, that outbreaks also in the United States in the 90’s: the idea of Sport and the Athlete-body as the only way to save the weak male from the effeminate attitude (so as it was in the Fascist era in Italy): the idea of Military, War and Fight (see at this point “Fag-Fighters”, Karol Radziszewski 2007).

Born in Bialystok (Poland) in 1980, Karol lives in Warsaw where he works as non-media-specific artist (he works with video, performance, installation, painting, photography), as curator and author of interdisciplinary projects and, last but not least, he is Editor-in-chief of “DIK Fagazine”.

PRETTY IN PINK by Kitsch bar Milano, is hosting an exhibition of arworks by Matteo Menotto. Images are based on female figures of Dante’s inferno and all realized in digital fine art on canvas and watercolors pinated. Pass by if you’re in Milano … here’s a preview and the video teaser.

Video teaser

Fanciulle dall’inferno
By Matteo Menotto
Corso Sempione, 5, 20154 Milan, Italy
02 3310 3788
Dal 30/11 al 22/12
Orari 18:00 – 00:00 all day

From 9 November to 18 December 2011, the Fondazione Nicola Trussardi is presentingParasimpatico, curated by Massimiliano Gioni, the first major solo exhibition by Pipilotti Rist in Italy. 

The setting for the Swiss artist’s new project is the former Cinema Manzoni, which for over fifty years was one of the most important movie theaters in Milan, and has been closed to the public since 2006.

more on: Fondazione Nicola Trussardi
edited by: Matteo Menotto

Pipilotti Rist is one of the most highly respected, unconventional voices in art today: she has had solo shows in the world’s best-known museums—including MoMA in New York and Centre Pompidou in Paris—and has participated in major international events such as the Venice Biennale and the biennials of Berlin, Sydney andLyon. In 2009 she presented her first feature-length film, Pepperminta, at the Venice Film Festival.

Floating visions, vibrant, psychedelic colors, hypnotic soundtracks, sensuality and ethereality are some of the main ingredients in the world of Pipilotti Rist, which lies at the border between dreams and reality. Her luxuriant videos and multimedia installations explore human sexuality and media culture with a playful, provocative blend of fantasy and everyday life, with images in movement transforming familiar subjects, themes and places into fascinating kaleidoscopes.

For Pipilotti Rist, video images are a projection of desires and emotions, a new form of organic life that viewers can perceive not just with their eyes but with their bodies. Often hidden in unexpected places—toilets, liquor bottles, seashells and handbags—or projected onto evocative surfaces—church ceilings or giant television screens—her installations are explorations of the senses, all-enveloping experiences in which all physical and psychological distance from the viewer is abolished. In Rist’s visual journeys, viewers often find themselves in spaces with topsy-turvy proportions, reduced to lilliputian scale before giant images that heighten the sensation of childhood memories of a pure world, where corporeality seems reconciled with rationality and where sensuality takes on an almost spiritual dimension, sometimes tinged with irony and melancholy.

The gateway into Pipilotti Rist’s work is our emotional side, the part of us that reacts involuntarily to external stimuli.

This observation inspired the title for her show with the Fondazione Nicola Trussardi, Parasimpatico: with her usual sense of humor, Pipilotti Rist is referring to the division of the nervous system that governs the body’s involuntary functions, such as digestion, relaxation, rest and energy storage.

Like her previous installations, this project conceived for the former Cinema Manzoni combines old and new work, with the objective of transforming the former theater into a huge living creature, mingling cinema and television, hallucinations and high-definition images. In Parasimpatico, Pipilotti Rist wraps the sumptuously decorated spaces of the Manzoni—from the lobby to the grand staircase, and from the auditorium to the bar—in a new skin of images, an all-enveloping carousel of sound, light, and color that restores a joyous magic to what was once Milan’s most prestigious movie theater, in a final flutter of life before its definitive transformation. This exhibition by Pipilotti Rist will be a unique opportunity to see the spaces of the former Cinema Manzoni in their original beauty, after five years of closure. 


For any further information
:

Fondazione Nicola Trussardi

Tel.+39.02.80.68.82.1

press@fondazionenicolatrussardi.com

Come imbattersi in uno dei piu’ grandi interpreti dell’arte contemporanea in un anonimo giovedi d’autunno? L’occasione e’ offerta dal MAXXI che, in collaborazione con Telecom, organizza una serie di incontri di altissimo profilo da seguire anche in streaming.

Assistendo all’intervista fiume condotta in poco piu’ di un’ora, veniamo guidati da Michelangelo Pistoletto lungo il suo interessantissimo percorso artistico, da Piero della Francesca a Mondrian, raccontando il suo viaggio nella storia dell’arte, la sua opera, le sue esplorazioni, le sue ricerche passando per spiritualita’, filosofia e i componenti fondamentali del fare arte, come il confronto con la tradizione e la ricerca sull’io in relazione al mondo che ci circonda.

Pistoletto non si risparmia e analizza con fare puntuale e sagace molte delle opere che lo hanno reso riconoscibile in tutto il mondo, dal “Quadro Specchio” agli “Oggetti in meno”, dalla prima personale al Walker Art Center nel 1966 alla recente mostra tenutasi proprio al MAXXI. Parlando degli “Oggetti in meno” dice: “Ho introdotto concetti filosofico-scientifici: la nostra mente e’ un piccolo universo. L’artista puo’ coglierne le possibilita’. Tutto quello che avviene e’ possibile, ogni giorno si avvera. Ho accettato di produrre una possibilita’, se realizzata ho una possibilita’ in meno. E’ un infinito dal quale viene tolto un finito.”
Altri incontri sono in programma nelle prossime settimane, per maggiori informazioni http://www.socialmedianews.it/maxxinweb-la-rassegna-sullarte-contemporanea-di-telecomitalia

Sull’altro lato dell’alberata Viale Tiziano, a pochi passi dal MAXXI, e’ in dirittura d’arrivo il Festival del Film di Roma, giunto all sua sesta edizione. Tra lustrini e paillettes ed il pubblico in vetrina, c’e’ qualche perla che riaffiora dal fondo del mare. Un Vie Meilleure diretto da Cedric Kahn e’ il miglior film presentato. Vero, con ottimi personaggi che pur non realizzando il loro sogno non perdono la speranza.

Interpretati magistralmente da Guillame Canet, Leila Bekhti ed il piccolo Slimane Khettabi, i tre co-protagonisti si dimenano tra le tante difficolta’di chi decide di imbarcarsi in un’avventura dai risvolti economici tragici. E’ un film crudo, un’analisi spietata sul sistema finanziario che strozza molti cittadini fino a portarli sul lastrico, ma e’ anche un trampolino verso un domani che puo’ ancora essere costruito.

Per maggiori informazioni http://www.wildbunch.biz/films/a_better_life
Per maggiori informazioni sul festival http://www.romacinemafest.it/ecm/web/fcr/online/home

Anche se fuori zona rispetto al triangolo di viale Tiziano, la galleria Edieuropa a Piazza dei Cenci, zona Largo Argentina, ci sembra degna di rilievo. Lo spazio che attualmente ospita lavori di Bros -uno dei piu’ importanti street artists italiani-insieme a quelli del fotografo svizzero Cosimo Filippini, offre la possibilita’ di entrare in una dimensione successiva a quella del graffito. Bros non e’ nuovo a performance ed altre forme espressive. Servendosi di tessuti, legno, pvc, forex, plexiglass, e altri materiali aveva realizzato, nel mese di marzo del 2011 presso una galleria di Milano, abiti, accessori e oggetti, veri e propri costumi-opere, già indossati ed utilizzati da circa 36 interpreti. Quest’ultimi sono stati fotografati da Cosimo Filippini. Foto e costumi-opere sono ora in mostra alla galleria Edieuropa. L’inaugurazione di “Characters”, svoltasi il 23 ottobre, e’ stata inoltre animata da una performance curiosa ed intelligente. I visitatori sono stati invitati ad indossare una maschera, riproducendo ne’ piu’ ne’ meno l’azione svolta durante eventi come questi, quando il piu’ delle volte ci si immerge in un personaggio per sentirsi a proprio agio nella mondaneita’.

Per maggiori informazioni http://www.galleriaedieuropa.it/

Florence Girardeau frist solo exhibition will take place at Alberta Pane gallery in the heart of Paris. Florance Giradeau (1980) is a french artist graduated at Ensba Paris in 2005.
The perception of space, body and image nowadays is the basis of Florence Girardeau´s art work.

Throught drawing, collage, video and installation, she questions connections and relations between elements. Continuity and discontinuity, detail and whole, the focus is putted on what happens in between. Her approach is of a tactile kind, a haptic vision, every art piece being thought as a proposition rather than as a representation. The importance given to the body − made of cells, atoms, an animal body, without organs − confronts the immateriality of video, and queries the dematerialization of this body in a time when our customs, our relation to the world passes by screens, by virtuality. Besides, the quantity and the immediacy of images today, becoming a stream which assails us or into which we like plunging, are considered by the artist as a continuous food which our memory would try to digest. Some of her videos, conceived as series, remain opened to new units. This aspect of her practice is found again in the graphic work, every drawing being, more than a finished product, a new transformation of a continuous work−in−progress. It is about letting be born a space, while walking on tightrope walker´s rope between landscape, illusion of depth, formless, surface. By gesture and line, a dilemma takes place between closed and opened shape, between automatism and some mental images of humus, herbs, dusts, skin appendages..

Premio Arte Laguna 2011

Bando concorso Arte Laguna edizione 2011

Il Premio Arte Laguna 2011 è dedicato all’arte visuale contemporanea, non vi sono limiti d’età e gli artisti possono scegliere liberamente il tema delle opere. L’ammontare totale dei premi è 170.000 euro, inoltre vengono offerte molteplici opportunità: residenze d’arte, mostre collettive e personali e partecipazioni ai festival internazionali.

IL PREMIO ARTE LAGUNA IN BREVE:

Le opere premiate rimarranno di proprietà degli artisti.

Sezioni: pittura, scultura, arte fotografica, video arte e performance, visual art.

Chiusura iscrizioni:  11 novembre 2011

Quota di iscrizioni: 50 euro di un opera, 90 euro due opere.

Esposizione collettiva: Venezia

Finalisti: 110 artisti

Premi speciali: Residenza d’arte, Mostre personali, Festival internazionali, Esposizioni collettive.

Curatore premio: Igor Zanti- critico d’arte

Giurati:

Alessio Antoniolli – Direttore Gasworks di Londra

Chiara Barbieri – Direttore Pubblicazioni, collezione Peggy Guggenheim

Gabriella Belli – Direttrice Markt di Trento e Rovereto

Ilaria Banacossa – Curatrice Cndipendente

Soledad Gutierrez – Curatrice Macba Barcellona

Kanchi Metha – Curatrice Padiglione Indiano Biennale di Praga

Ludovico Pratesi – Direttore Centro Arti Visive Pescheria di Pesaro

Maria Savarese – Curatrice Indipendente

Ralf Schmitt – Direttore Preview Berlin

Alma Zevi – Critico d’ Arte.

info: info@premioartelaguna.it