Plug-in contemporary art news http://www.plug-in.ch/search.asp Online project for contemporary art and culture, exhibitions, art news, reviews, art projects, artists, events, art links and more. en-us info@plug-in.ch i2a istituto internazionale di architettura, Positions in space 14 , Fabrizio Giannini

English  Italian                                                                                     Back

 

i2a istituto internazionale di architettura in Vico Morcote

Wednesday 26 September 2012 at 7 pm a new installation entitled "Let's call the whole thing off" curated by the artist Fabrizio Giannini.

Giannini's work is the 14th event of the "positions in space" series – the cycle entrusted alternately to architects and artists.

On the occasion of the vernissage, Riccardo Lisi, curator and contemporary art critic, but also director of the rada – contemporary art space in Locarno, will be presenting Giannini's installation. This will be followed by a conference in English and projections by Andreas Angelidakis, utopian architect, artist and designer, based in Athens - invited to exhibit at the current architecture Biennale in Venice - who will be concentrating on the relationships between real and virtual, art and architecture, ruin and construction.

Their will be complementary drinks. At the end of the event, those who wish can meet our guests during a standing dinner (CHF 30.- per person all included, reservations until Monday 24 September by telephone at: 0041 91 996 13 87 or via e-mail: events@i2a.ch).

The installation can be visited daily in i2a's ground floor gallery until the finissage scheduled Wednesday 24 October 2012 at 8.30 pm during which Laura Solari and Stéphane Robert of Edizioni Dasein (Paris/Lugano) will hold a conference.

 
   

i2a istituto internazionale di architettura

Portich da Sura 18 . 6921 Vico Morcote . Svizzera
t 0041 91 996 13 87 . f 0041 91 996 24 21 . aprada@i2a.ch . www.i2a.ch

Amanda Prada . Communication, public relations, development
See details in attachment.

 comunicato stampa
press release
press kit zip file
   

Plug-in
 Contemporary art services
 www.plug-in.ch
   
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]]>

English  Italian                                                                                     Back

 

i2a istituto internazionale di architettura in Vico Morcote

Wednesday 26 September 2012 at 7 pm a new installation entitled "Let's call the whole thing off" curated by the artist Fabrizio Giannini.

Giannini's work is the 14th event of the "positions in space" series – the cycle entrusted alternately to architects and artists.

On the occasion of the vernissage, Riccardo Lisi, curator and contemporary art critic, but also director of the rada – contemporary art space in Locarno, will be presenting Giannini's installation. This will be followed by a conference in English and projections by Andreas Angelidakis, utopian architect, artist and designer, based in Athens - invited to exhibit at the current architecture Biennale in Venice - who will be concentrating on the relationships between real and virtual, art and architecture, ruin and construction.

Their will be complementary drinks. At the end of the event, those who wish can meet our guests during a standing dinner (CHF 30.- per person all included, reservations until Monday 24 September by telephone at: 0041 91 996 13 87 or via e-mail: events@i2a.ch).

The installation can be visited daily in i2a's ground floor gallery until the finissage scheduled Wednesday 24 October 2012 at 8.30 pm during which Laura Solari and Stéphane Robert of Edizioni Dasein (Paris/Lugano) will hold a conference.

 
   

i2a istituto internazionale di architettura

Portich da Sura 18 . 6921 Vico Morcote . Svizzera
t 0041 91 996 13 87 . f 0041 91 996 24 21 . aprada@i2a.ch . www.i2a.ch

Amanda Prada . Communication, public relations, development
See details in attachment.

 comunicato stampa
press release
press kit zip file
   

Plug-in
 Contemporary art services
 www.plug-in.ch
   
subscribe | up-date                                                to unsubscribe click / here  

 

]]> -1 9/23/2012 12:48:53 PM ARSPOLIS EVENT #1, Lugano, 16 September 2011

English       Italian                                                                                       Back

 

ARSPOLIS EVENT #1

Extimacy. The familiar unknown. Reality, symbolism and imagery of Otherness.

Via Lavizzari, Via Canonica, Viale Cassarate, Il Foce

Lugano, 16 September 2011

6.00 p.m. – 05.00 a.m.

Arspolis is back again this year.

Arspolis is an event dedicated to showing contemporary art: taking place in an area in the heart of the city of Lugano, it lasts just one night.

Although this is officially its premier edition, Arspolis is actually already nearly one year old. That’s because the zero numbered edition, Arspolis event zero, took place on 22 October 2010, involving a dozen artists, most of whom live and work in Canton Ticino, whose creations occupied the interiors and exteriors of several private spaces, in many cases places quite off the usual art show circuits that were offered by their owners, who supported the initiative and made its success possible. Encouraged by the event’s evident popularity with the public and that public’s enthusiasm, the organisers decided to create a more structured event for 2011, featuring more services and complying with higher standards. While the aim of the event zero was to illustrate the nature of each chosen artist’s individual research, without giving the event itself any overall concept, the event #1 differs in that it has chosen a specific topic as its starting point, adopting it as the basis for choosing the participating artists. As of this year, then, Arspolis is transformed into a real contemporary art show in the open air and with unrestricted access. Due to be held once every year, the exhibition will be curated by an artistic director who will be appointed for each new edition: the aim is to encourage a fresher, more up-to-date approach in the choice of topics, as well as variety in curatorial methods.

The artistic director for Arspolis event #1 is Pier Giorgio De Pinto (1968) - the current co-ordinator of CACT the Contemporary Art Centre in Canton Ticino, based in Bellinzona - who has decided to focus attention on an aspect peculiar to our era by promoting the topic of extimacy. The term was coined (as extimité) by the French philosopher and psychoanalyst Jacques Lacan to describe a new kind of “simulated” intimacy, one that is not truly intimate, because it is shared by an indefinite number of people. Drawing his inspiration from Arspolis’ urban nature, featuring direct contact with the public and everyday life, De Pinto develops on the theme of the psychological and anthropological impact of new social phenomena in the Internet age, such as social networks, headed by Facebook. Extimacy. The familiar unknown. Reality, symbolism and imagery of Otherness - as the event’s title recites - will transform via Lavizzari, via Canonica, viale Cassarate (Lab_Comacina) and Il Foce into a concrete, albeit temporary, City of extimacy, in which each artist’s work will stimulate its own thinking. For more information about the concepts behind the topic provided for the exhibition, please consult the essay written by Pier Giorgio De Pinto, which can be found in the booklet whose digital version can be downloaded from our website at www.arspolis.ch .

In all, twenty-one artists are showing eighteen works of photography, video, performance and installation. Eleven of the artists at Arspolis event #1 work in Ticino. Italy, France, Spain, Poland and the Netherlands are the homes of the remaining artists chosen by De Pinto, whose contents and languages are always close to the topic of extimacy. Most of the artists are showing a site-specific piece created especially for the event. To clarify the intentions behind each piece, practical information sheets have been prepared for each artist, complete with a short CV and an explanation of the work on show. Whenever possible, these have been written by the artists themselves. They can all be consulted and downloaded from the event website at www.arspolis.ch . Many of the artists will be there in person on the night for information and interviews.

Artists/Works

Katia Bassanini. Surveillance camera. 2004. Video
Giona Bernardi. GNB. 2007/2008. Video
 Ivana Falconi, LIGHT. 2011. Video *
Fabrizio Giannini. L’origine du Monde. 2011. Digital elaboration *
Aglaia Haritz. L’abito dell’extimità. 2011. Installation *
 La Jovenc . Polymorphous. 2011. Sound performance *
 Andrea La Rocca. Never Leave. 2011. Video installation *
Rafaël Rozendaal. Drawings. 2007-2010. Video
Andres Senra. I hurt myself everyday. 2011. Video
Laura Solari and Plinio-Natale Cemento-Müller. Formulario . 2011. Installation *
Parapluie. The Club. 2011. Installation *
Luigi Presicce. La benedizione dei pavoni. Digital print
Miki Tallone. Ciambella con Buco. 2011. Installation *
Stella Goldschmit, Être heureux (Essere felici). 2011. Installation
Suka Off. TranSfera. 2011. Video
Veronica Tanzi. Waiting. 2011. Installation
Massimo Vitangeli. Gender Bending. 2010. Video
 Artur Żmijewski. Oko za Oko (An eye for an eye). 1998. Video
 * works created specifically for the Arspolis event #1 (2011)

The Guide (Booklet)

In addition to all the necessary information, the booklet being distributed to publicise the event also contains a simple voting card for members of the public to have their say about which work they find most interesting. To take part, all they have to do is fill it in and drop it off at the main Arspolis stand (located at the junction of via Canonica and via Lavizzari). The work that gets most votes will win the Public Award. Voting is restricted to during the actual event.

Who, What, When?

The evening’s programme locates the event’s official opening at Il Foce, at 6.00 p.m., with a sound performance by La Jovenc featuring ClashDisko. From 7.00 p.m. to midnight, the exhibition will then take place in several different venues in the streets mentioned above (see the map inside the booklet). There will be plenty of stands to visit on the spot: some of them will carry information (for the Arspolis Association, Arspolis event info, artist/publisher editions), while others will cater for your culinary needs (La Birraria, Il Birrificio). Another series will be artistic, featuring performances by Niska and Rabbitrevolver. Rete Tre, the event’s media partner, will be there with us throughout, airing a series of live links. The shops, bars and several artist studios located on the streets involved in Arspolis will stay open until midnight. When the event comes to an end, music lovers can move back to Il Foce, where the closing party organised by the Youth and Events Department and animated by Rete Tre will go on until 5.00 in the morning. Via Lavizzari and Via Canonica will be closed to traffic from 6.00 p.m. to midnight.

Arspolis. The Association

The Arspolis Association was founded in 2011 to promote and manage artistic and cultural events at cantonal and national level. One of its main aims is to achieve cohesion between the local population and contemporary art. Arspolis invites everyone to support its activities by becoming a member. For further information and to take out membership, please go to: info@arspolis.ch

Media Partner

RSI - RETE TRE

Sponsors

SWISSLOSS Republic and Canton of Ticino DECS - PURO design Sagl Cucine, Locarno - TAKE AWAY Fumo e Profumo, Lugano - CAFFÈ PORTICI, Lugano - S.LISCHETTI-QUADRI A. Macelleria Equina, Lugano

Partnerships

AUL, Arte Urbana Lugano – DGE, Youth and Events Department Lugano - LUGANO LEVEL - COLOR X, Lugano - RABBIT REVOLVER, Lugano - OCCULTO MAGAZINE, Berlin - LA BIRRARIA STEAK HOUSE, Mendrisio - CASCIO EDITORE, Lugano, NISKA, Locarno - ANTIMOBERTOLINO, Lugano - PIZZERIA IL MURETTO, Lugano - BIO MARKET, Lugano

Special thanks

fine arts unternehmen ag, Zug - Galerie Peter Kilchmann, Zürich - CACT Centre for Contemporary Art in Canton Ticino, Bellinzona - I Sotterranei dell’Arte, Monte Carasso - Michele Balmelli Gallery, Lugano - Nopavillion, Lugano - Compagnia Finzi Pasca, Lugano - Studio Meyer Piattini, Lugano - La Rada Contemporary Art Space, Locarno - Wonderingsolo, Milan

ARSPOLIS ESSENTIALS

Arspolis event #1: Friday 16 September 2011. Lugano, Switzerland.

Venues: via Lavizzari, via Canonica and viale Cassarate (Lab_Comacina), Il Foce.

Programme:
6.00 - 7.00 p.m.: official opening - Il Foce (via Foce 1)
7.00 p.m. - midnight: exhibition - various locations (see map in booklet)midnight - 5.00 a.m.: Closing party - Il Foce (via Foce 1)

Artistic Director: Pier Giorgio De Pinto

Association: Michele Balmelli, Al Fadhil, Jean-Marie Reynier

Press Office: Anna Mazzucco –  mazzucco@arspolis.ch  

translation Pete Kercher

 
   

Arspolis event #1
Via Lavizzari, Via Canonica, Viale Cassarate, Il Foce.
6900 Lugano
Switzerland
www.arspolis.ch
Press release: Pdf
Download the: booklet (pdf)
   

Plug-in
 Contemporary art services
 www.plug-in.ch
   
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]]>

English       Italian                                                                                       Back

 

ARSPOLIS EVENT #1

Extimacy. The familiar unknown. Reality, symbolism and imagery of Otherness.

Via Lavizzari, Via Canonica, Viale Cassarate, Il Foce

Lugano, 16 September 2011

6.00 p.m. – 05.00 a.m.

Arspolis is back again this year.

Arspolis is an event dedicated to showing contemporary art: taking place in an area in the heart of the city of Lugano, it lasts just one night.

Although this is officially its premier edition, Arspolis is actually already nearly one year old. That’s because the zero numbered edition, Arspolis event zero, took place on 22 October 2010, involving a dozen artists, most of whom live and work in Canton Ticino, whose creations occupied the interiors and exteriors of several private spaces, in many cases places quite off the usual art show circuits that were offered by their owners, who supported the initiative and made its success possible. Encouraged by the event’s evident popularity with the public and that public’s enthusiasm, the organisers decided to create a more structured event for 2011, featuring more services and complying with higher standards. While the aim of the event zero was to illustrate the nature of each chosen artist’s individual research, without giving the event itself any overall concept, the event #1 differs in that it has chosen a specific topic as its starting point, adopting it as the basis for choosing the participating artists. As of this year, then, Arspolis is transformed into a real contemporary art show in the open air and with unrestricted access. Due to be held once every year, the exhibition will be curated by an artistic director who will be appointed for each new edition: the aim is to encourage a fresher, more up-to-date approach in the choice of topics, as well as variety in curatorial methods.

The artistic director for Arspolis event #1 is Pier Giorgio De Pinto (1968) - the current co-ordinator of CACT the Contemporary Art Centre in Canton Ticino, based in Bellinzona - who has decided to focus attention on an aspect peculiar to our era by promoting the topic of extimacy. The term was coined (as extimité) by the French philosopher and psychoanalyst Jacques Lacan to describe a new kind of “simulated” intimacy, one that is not truly intimate, because it is shared by an indefinite number of people. Drawing his inspiration from Arspolis’ urban nature, featuring direct contact with the public and everyday life, De Pinto develops on the theme of the psychological and anthropological impact of new social phenomena in the Internet age, such as social networks, headed by Facebook. Extimacy. The familiar unknown. Reality, symbolism and imagery of Otherness - as the event’s title recites - will transform via Lavizzari, via Canonica, viale Cassarate (Lab_Comacina) and Il Foce into a concrete, albeit temporary, City of extimacy, in which each artist’s work will stimulate its own thinking. For more information about the concepts behind the topic provided for the exhibition, please consult the essay written by Pier Giorgio De Pinto, which can be found in the booklet whose digital version can be downloaded from our website at www.arspolis.ch .

In all, twenty-one artists are showing eighteen works of photography, video, performance and installation. Eleven of the artists at Arspolis event #1 work in Ticino. Italy, France, Spain, Poland and the Netherlands are the homes of the remaining artists chosen by De Pinto, whose contents and languages are always close to the topic of extimacy. Most of the artists are showing a site-specific piece created especially for the event. To clarify the intentions behind each piece, practical information sheets have been prepared for each artist, complete with a short CV and an explanation of the work on show. Whenever possible, these have been written by the artists themselves. They can all be consulted and downloaded from the event website at www.arspolis.ch . Many of the artists will be there in person on the night for information and interviews.

Artists/Works

Katia Bassanini. Surveillance camera. 2004. Video
Giona Bernardi. GNB. 2007/2008. Video
 Ivana Falconi, LIGHT. 2011. Video *
Fabrizio Giannini. L’origine du Monde. 2011. Digital elaboration *
Aglaia Haritz. L’abito dell’extimità. 2011. Installation *
 La Jovenc . Polymorphous. 2011. Sound performance *
 Andrea La Rocca. Never Leave. 2011. Video installation *
Rafaël Rozendaal. Drawings. 2007-2010. Video
Andres Senra. I hurt myself everyday. 2011. Video
Laura Solari and Plinio-Natale Cemento-Müller. Formulario . 2011. Installation *
Parapluie. The Club. 2011. Installation *
Luigi Presicce. La benedizione dei pavoni. Digital print
Miki Tallone. Ciambella con Buco. 2011. Installation *
Stella Goldschmit, Être heureux (Essere felici). 2011. Installation
Suka Off. TranSfera. 2011. Video
Veronica Tanzi. Waiting. 2011. Installation
Massimo Vitangeli. Gender Bending. 2010. Video
 Artur Żmijewski. Oko za Oko (An eye for an eye). 1998. Video
 * works created specifically for the Arspolis event #1 (2011)

The Guide (Booklet)

In addition to all the necessary information, the booklet being distributed to publicise the event also contains a simple voting card for members of the public to have their say about which work they find most interesting. To take part, all they have to do is fill it in and drop it off at the main Arspolis stand (located at the junction of via Canonica and via Lavizzari). The work that gets most votes will win the Public Award. Voting is restricted to during the actual event.

Who, What, When?

The evening’s programme locates the event’s official opening at Il Foce, at 6.00 p.m., with a sound performance by La Jovenc featuring ClashDisko. From 7.00 p.m. to midnight, the exhibition will then take place in several different venues in the streets mentioned above (see the map inside the booklet). There will be plenty of stands to visit on the spot: some of them will carry information (for the Arspolis Association, Arspolis event info, artist/publisher editions), while others will cater for your culinary needs (La Birraria, Il Birrificio). Another series will be artistic, featuring performances by Niska and Rabbitrevolver. Rete Tre, the event’s media partner, will be there with us throughout, airing a series of live links. The shops, bars and several artist studios located on the streets involved in Arspolis will stay open until midnight. When the event comes to an end, music lovers can move back to Il Foce, where the closing party organised by the Youth and Events Department and animated by Rete Tre will go on until 5.00 in the morning. Via Lavizzari and Via Canonica will be closed to traffic from 6.00 p.m. to midnight.

Arspolis. The Association

The Arspolis Association was founded in 2011 to promote and manage artistic and cultural events at cantonal and national level. One of its main aims is to achieve cohesion between the local population and contemporary art. Arspolis invites everyone to support its activities by becoming a member. For further information and to take out membership, please go to: info@arspolis.ch

Media Partner

RSI - RETE TRE

Sponsors

SWISSLOSS Republic and Canton of Ticino DECS - PURO design Sagl Cucine, Locarno - TAKE AWAY Fumo e Profumo, Lugano - CAFFÈ PORTICI, Lugano - S.LISCHETTI-QUADRI A. Macelleria Equina, Lugano

Partnerships

AUL, Arte Urbana Lugano – DGE, Youth and Events Department Lugano - LUGANO LEVEL - COLOR X, Lugano - RABBIT REVOLVER, Lugano - OCCULTO MAGAZINE, Berlin - LA BIRRARIA STEAK HOUSE, Mendrisio - CASCIO EDITORE, Lugano, NISKA, Locarno - ANTIMOBERTOLINO, Lugano - PIZZERIA IL MURETTO, Lugano - BIO MARKET, Lugano

Special thanks

fine arts unternehmen ag, Zug - Galerie Peter Kilchmann, Zürich - CACT Centre for Contemporary Art in Canton Ticino, Bellinzona - I Sotterranei dell’Arte, Monte Carasso - Michele Balmelli Gallery, Lugano - Nopavillion, Lugano - Compagnia Finzi Pasca, Lugano - Studio Meyer Piattini, Lugano - La Rada Contemporary Art Space, Locarno - Wonderingsolo, Milan

ARSPOLIS ESSENTIALS

Arspolis event #1: Friday 16 September 2011. Lugano, Switzerland.

Venues: via Lavizzari, via Canonica and viale Cassarate (Lab_Comacina), Il Foce.

Programme:
6.00 - 7.00 p.m.: official opening - Il Foce (via Foce 1)
7.00 p.m. - midnight: exhibition - various locations (see map in booklet)midnight - 5.00 a.m.: Closing party - Il Foce (via Foce 1)

Artistic Director: Pier Giorgio De Pinto

Association: Michele Balmelli, Al Fadhil, Jean-Marie Reynier

Press Office: Anna Mazzucco –  mazzucco@arspolis.ch  

translation Pete Kercher

 
   

Arspolis event #1
Via Lavizzari, Via Canonica, Viale Cassarate, Il Foce.
6900 Lugano
Switzerland
www.arspolis.ch
Press release: Pdf
Download the: booklet (pdf)
   

Plug-in
 Contemporary art services
 www.plug-in.ch
   
subscribe | up-date                                                   to unsubscribe click / here  

 

 

]]> -1 2/24/2012 7:25:28 AM VITO ACCONCI at CACT Chiasso_Switzerland

English   Italian                                                                             Back

 

Vito Acconci

SETTANTA/SEVENTIES

CACT Chiasso

Centro d’Arte Contemporanea Ticino_Switzerland

22 May – 13 June 2009

Vernissage_Friday 22 May 2009 at 6.00 p.m.

Thur-Fri-Sat_3.00-7.00 p.m. (or by appointment)

Artists have always dialogued with the space around them, almost as though driven to undertake a necessary attempt to confer on it and on themselves – in general – a different, further-reaching dimension. In space, the creative has always left the sign of his passing, of his power, as though that individual trace could be represented in the model for a society of the future, thus stratifying experiences and ultimately strengthening the concept of evolutionism.

Contemporary art, the interface with a paradoxical reality in a technological post-modern era that tends to level us all, needs to redefine the architectural spaces in which it operates, since it is through urban fabrics that man’s identity stands to be strengthened or weakened. This applies to the years of Marc Augé, of Marshall McLuhan and many, many more, who have been working in this sense ever since the fifties; to the concept of ‘art in space’ and the duality of art and architecture, in which the architectural structure of the museum was later destined to become totally subject to the requirements of artists’ spatial needs and proposals.

it was in those same years that the author of works of art started sensing the need fully to accept his social responsibility, faced with a situation in which art critics and historians were revealed to be incapable of competently outlining the changes taking place, but also the societal and epoch-making constructions under way, culminating in the advent of the new force and potentially ultimate great revolution of telematics: a revolutionary discovery, because it uses virtual languages, once again, to influence the parameters and confines of man’s identity, seriously questioning the very notion of body, of space and of time that, moreover, has become demagnetised.

[…] La géométrie de l’espace est entièrement déterminée par son contenu matériel. […] (Michel Cassé, Paris 1985)

The body artists veraciously theorised by Lea Vergine introduce the body directly, using it ‘as a language’, transmuting it from a carnal object to a subjective identity. So we find these authors coming to grips with the Ego and the Id, relating to the space in which they act and adopting man’s need for social, intellectual and analytical (re)definition by means of his own body. While architecture redesigns its identity, artists relate to it, implementing their own bodies, reduced and reconfigured as a consequence, for example, of the discovery of other universes, such as the feat of breaking through the atmosphere to reach the moon, of which we have satellite images.

Installed in the spaces in the CACT Chiasso, the Settanta/Seventies exhibition is dedicated entirely to one of these artists who, together with others, has left his mark on this historical phase of passage and awareness: VITO ACCONCI (USA 1940).

The exhibition presents a selection of video works, aptly dating back to the seventies, which reveal the performance-oriented slant mentioned above. Acconci tackled film technology and the architecture of closed spaces, so architectural constriction, preserving himself for posterity and recording his carnal and corporal action with the camera. He became a psychological subject almost detached from the actual exercise of culture, but that tended – at times imprisoned or desperate – to reconstruct his own awareness of identity, though before that his human awareness, through the obsessive liturgy of the gesture or the repetitive conceptualisation of an obsession that he repeated verbally.

Acconci’s actions were recorded on film, decomposed and detached from tangible reality, then restored to an audience after a time-lapse through a technological medium. Just as in the case of a whole generation of body artists, in their gestures as recorded on film, in photography or in writings, there is a pernicious communicative malaise, a paradoxical attempt to reconstruct the artist’s own psychological, corporal or sexual personality, to regain possession of those archetypes that have always belonged to man.

 

Mario Casanova/Silvano Repetto_2009

[Translation Pete Kercher]

Special thank to Ierimonti Gallery Milan

 
   

CACT
CENTRO D'ARTE CONTEMPORANEA TICINO
 Via Dante Alighieri 10
CH-6830 Chiasso
Informazioni:
T +41 (0)91 683 83 45
www.ifduif.ch

  

Supported By:
 Repubblica e Cantone Ticino, Swisslos, Federal Office of Culture, City of Bellinzona, Ernst Göhner Stiftung Zug, Alfred Richterich Stiftung Kastanienbaum, Farmacia Nuova Gordola, Friends of CACT		  

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]]>

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Vito Acconci

SETTANTA/SEVENTIES

CACT Chiasso

Centro d’Arte Contemporanea Ticino_Switzerland

22 May – 13 June 2009

Vernissage_Friday 22 May 2009 at 6.00 p.m.

Thur-Fri-Sat_3.00-7.00 p.m. (or by appointment)

Artists have always dialogued with the space around them, almost as though driven to undertake a necessary attempt to confer on it and on themselves – in general – a different, further-reaching dimension. In space, the creative has always left the sign of his passing, of his power, as though that individual trace could be represented in the model for a society of the future, thus stratifying experiences and ultimately strengthening the concept of evolutionism.

Contemporary art, the interface with a paradoxical reality in a technological post-modern era that tends to level us all, needs to redefine the architectural spaces in which it operates, since it is through urban fabrics that man’s identity stands to be strengthened or weakened. This applies to the years of Marc Augé, of Marshall McLuhan and many, many more, who have been working in this sense ever since the fifties; to the concept of ‘art in space’ and the duality of art and architecture, in which the architectural structure of the museum was later destined to become totally subject to the requirements of artists’ spatial needs and proposals.

it was in those same years that the author of works of art started sensing the need fully to accept his social responsibility, faced with a situation in which art critics and historians were revealed to be incapable of competently outlining the changes taking place, but also the societal and epoch-making constructions under way, culminating in the advent of the new force and potentially ultimate great revolution of telematics: a revolutionary discovery, because it uses virtual languages, once again, to influence the parameters and confines of man’s identity, seriously questioning the very notion of body, of space and of time that, moreover, has become demagnetised.

[…] La géométrie de l’espace est entièrement déterminée par son contenu matériel. […] (Michel Cassé, Paris 1985)

The body artists veraciously theorised by Lea Vergine introduce the body directly, using it ‘as a language’, transmuting it from a carnal object to a subjective identity. So we find these authors coming to grips with the Ego and the Id, relating to the space in which they act and adopting man’s need for social, intellectual and analytical (re)definition by means of his own body. While architecture redesigns its identity, artists relate to it, implementing their own bodies, reduced and reconfigured as a consequence, for example, of the discovery of other universes, such as the feat of breaking through the atmosphere to reach the moon, of which we have satellite images.

Installed in the spaces in the CACT Chiasso, the Settanta/Seventies exhibition is dedicated entirely to one of these artists who, together with others, has left his mark on this historical phase of passage and awareness: VITO ACCONCI (USA 1940).

The exhibition presents a selection of video works, aptly dating back to the seventies, which reveal the performance-oriented slant mentioned above. Acconci tackled film technology and the architecture of closed spaces, so architectural constriction, preserving himself for posterity and recording his carnal and corporal action with the camera. He became a psychological subject almost detached from the actual exercise of culture, but that tended – at times imprisoned or desperate – to reconstruct his own awareness of identity, though before that his human awareness, through the obsessive liturgy of the gesture or the repetitive conceptualisation of an obsession that he repeated verbally.

Acconci’s actions were recorded on film, decomposed and detached from tangible reality, then restored to an audience after a time-lapse through a technological medium. Just as in the case of a whole generation of body artists, in their gestures as recorded on film, in photography or in writings, there is a pernicious communicative malaise, a paradoxical attempt to reconstruct the artist’s own psychological, corporal or sexual personality, to regain possession of those archetypes that have always belonged to man.

 

Mario Casanova/Silvano Repetto_2009

[Translation Pete Kercher]

Special thank to Ierimonti Gallery Milan

 
   

CACT
CENTRO D'ARTE CONTEMPORANEA TICINO
 Via Dante Alighieri 10
CH-6830 Chiasso
Informazioni:
T +41 (0)91 683 83 45
www.ifduif.ch

  

Supported By:
 Repubblica e Cantone Ticino, Swisslos, Federal Office of Culture, City of Bellinzona, Ernst Göhner Stiftung Zug, Alfred Richterich Stiftung Kastanienbaum, Farmacia Nuova Gordola, Friends of CACT		  

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]]> -1 2/24/2012 1:51:43 AM Fluid Artcanal International

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German  French                                                                                       Back

 

Fluid Artcanal International

Port du Landeron Samedi 6 mai 2006, 11h00 Nous sommes heureux de vous convier à l’ouverture de l’exposition Fluid Artcanal International.
Le vernissage débutera à 11:00 heures sous la tente Artcanal située près du débaracadère dans le port du Landeron. Il sera suivi d’un circuit en bateau Orange Boat pour les hôtes conviés.
En outre, nous nous réjouissons d’ores et déjà d’accueillir les oratrices/orateurs suivants Monsieur Pierre Liechti Président Artcanal, Cressier Les représentants des communes du Landeron et de Gals Monsieur Heinrich Gartentor Ministre de la culture suisse, Thoune Madame Marianne Burki responsable du domaine des arts visuels, Pro Helvetia, Zurich Monsieur l’Ambassadeur Park Ambassade de la Corée du Sud, Berne Monsieur l’Ambassadeur von Stechow Ambassade d’Allemagne, Berne Monsieur Roland Streule Président de la direction générale de Rado Watch Co. Ltd., Presenting Sponsor, Lengnau Monsieur Jean-Frédéric Jauslin Directeur de l’Office fédéral de la culture, Berne Avec l’aimable participation d’orange

Un projet intercontinental de coopération artistique 2006/2007
Suisse/Corée du Sud/Allemagne
Suisse, canal de la Thielle du 6 mai au 6 août
2006 Corée du sud, DaeJeon City du 27 septembre au 30 novembre 2006
Allemagne, Berlin été 2007

Fluid Artcanal – l’idée
Le concept d’Artcanal définit des positions aritstiques dans un espace extérieur, un paysage offrant une voie d’eau. L’exposition itinérante de 2006/2007 a donné naissance à l’idée d’îles d’art flottantes. 45 îles présenteront chacune les oeuvres de 15 artistes venus d’Allemagne, de Suisse et de Corée du sud.

45 artistes invitent

GEREON LEPPER, YOO DONG-JO, ANDREAS GYSIN & SIDI VANETTI, CHRISTOPH PÖGGELER, UELI & SUSI BERGER6 LIZ BACHHUBER, KIM SEUNG-YOUNG8 SUZANNE & ALBRECHT WILD, PAUL WIEDMER, DANIEL BRAEG, CHOI IN-SU, YVES METTLER, FRANZISKA BAUMANN/LUKAS BERCHTOLD, INGOLD AIRLINES, LEE JOONG-KEUN, GISELA KLEINLEIN, UWE SCHLOEN, CHRISTOPH RIHS, TOM FRUECHTL, PAVEL SCHMIDT, KIM JOO-HYUN, JEAN MAUBOULÈS, LEE JAE-HYO, CHUN SUNG-MYONG, STEFAN SOUS, LEE GEE-CHIL, CAROLA BUERGI, BOK JONG-SOON, JOUNG-EN HUH FEAT HEINRICH GARTENTOR, ALFONSO HUEPPI, CAROLIN HAECKER, BRUNO WANK, JEONG JANG-JIG, AHN KYU-CHUL, SEBASTIAN BADEN/LUKAS BADEN, M.S. BASTIAN/ISABELLE L., TIMM ULRICHS, KO SEUNG-HYUN, JOHN ARMLEDER, JO SOOK-JIN, ALEXANDER STERN, RALF SANDER, HONG MYUNG-SEOB, LEE KI-IL, FABRIZIO GIANNINI

 
   

Association Artcanal
Case postale 332
CH 2525 Le Landeron
Fluid Artcanal International 06/07
Toutes les infos sur le site
www.artcanal.ch

 Communiqué de presse: Pdf
   
Plug-in
Contemporary art news
www.plug-in.ch
   
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]]>

Plug-in contemporary art news
German  French                                                                                       Back

 

Fluid Artcanal International

Port du Landeron Samedi 6 mai 2006, 11h00 Nous sommes heureux de vous convier à l’ouverture de l’exposition Fluid Artcanal International.
Le vernissage débutera à 11:00 heures sous la tente Artcanal située près du débaracadère dans le port du Landeron. Il sera suivi d’un circuit en bateau Orange Boat pour les hôtes conviés.
En outre, nous nous réjouissons d’ores et déjà d’accueillir les oratrices/orateurs suivants Monsieur Pierre Liechti Président Artcanal, Cressier Les représentants des communes du Landeron et de Gals Monsieur Heinrich Gartentor Ministre de la culture suisse, Thoune Madame Marianne Burki responsable du domaine des arts visuels, Pro Helvetia, Zurich Monsieur l’Ambassadeur Park Ambassade de la Corée du Sud, Berne Monsieur l’Ambassadeur von Stechow Ambassade d’Allemagne, Berne Monsieur Roland Streule Président de la direction générale de Rado Watch Co. Ltd., Presenting Sponsor, Lengnau Monsieur Jean-Frédéric Jauslin Directeur de l’Office fédéral de la culture, Berne Avec l’aimable participation d’orange

Un projet intercontinental de coopération artistique 2006/2007
Suisse/Corée du Sud/Allemagne
Suisse, canal de la Thielle du 6 mai au 6 août
2006 Corée du sud, DaeJeon City du 27 septembre au 30 novembre 2006
Allemagne, Berlin été 2007

Fluid Artcanal – l’idée
Le concept d’Artcanal définit des positions aritstiques dans un espace extérieur, un paysage offrant une voie d’eau. L’exposition itinérante de 2006/2007 a donné naissance à l’idée d’îles d’art flottantes. 45 îles présenteront chacune les oeuvres de 15 artistes venus d’Allemagne, de Suisse et de Corée du sud.

45 artistes invitent

GEREON LEPPER, YOO DONG-JO, ANDREAS GYSIN & SIDI VANETTI, CHRISTOPH PÖGGELER, UELI & SUSI BERGER6 LIZ BACHHUBER, KIM SEUNG-YOUNG8 SUZANNE & ALBRECHT WILD, PAUL WIEDMER, DANIEL BRAEG, CHOI IN-SU, YVES METTLER, FRANZISKA BAUMANN/LUKAS BERCHTOLD, INGOLD AIRLINES, LEE JOONG-KEUN, GISELA KLEINLEIN, UWE SCHLOEN, CHRISTOPH RIHS, TOM FRUECHTL, PAVEL SCHMIDT, KIM JOO-HYUN, JEAN MAUBOULÈS, LEE JAE-HYO, CHUN SUNG-MYONG, STEFAN SOUS, LEE GEE-CHIL, CAROLA BUERGI, BOK JONG-SOON, JOUNG-EN HUH FEAT HEINRICH GARTENTOR, ALFONSO HUEPPI, CAROLIN HAECKER, BRUNO WANK, JEONG JANG-JIG, AHN KYU-CHUL, SEBASTIAN BADEN/LUKAS BADEN, M.S. BASTIAN/ISABELLE L., TIMM ULRICHS, KO SEUNG-HYUN, JOHN ARMLEDER, JO SOOK-JIN, ALEXANDER STERN, RALF SANDER, HONG MYUNG-SEOB, LEE KI-IL, FABRIZIO GIANNINI

 
   

Association Artcanal
Case postale 332
CH 2525 Le Landeron
Fluid Artcanal International 06/07
Toutes les infos sur le site
www.artcanal.ch

 Communiqué de presse: Pdf
   
Plug-in
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www.plug-in.ch
   
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]]> -1 2/23/2012 4:00:04 PM Opening: Fabrizio Giannini - Live without dead time - Museo Cantonale d'Arte , Lugano

English   Italian                                                                             Back

 

Fabrizio Giannini
 Live without dead time

Museo Cantonale d'Arte, Lugano
Ala Est
13 November 2009– 17 January 2010

Opening: Thursday 12 November, 6.30 p.m.

Opening hours: Tuesday 2 p.m. - 6 p.m., Wednesday to Sunday 10 a.m. to 6 p.m.
Monday closed

Free entrance
Fabrizio Giannini, Live without dead time, video installation, detail, 2009
 
 

Following the exhibition held this Spring of the Zurich twins, huber.huber, with this exhibition of the Ticinese artist Fabrizio Giannini (1964) we come to the second appointment of the cycle treating the emergent Swiss art scene. This cycle alternates artists both from Ticino and the rest of Switzerland with the exhibitions housed in the East Wing of the Museo Cantonale d'Arte. This is a series of one-man exhibitions whose two-fold purpose is to offer the Ticinese public a broader perspective of the Swiss art scene and to encourage exchanges between Ticino and the rest of the country with regards to contemporary art production.

Curated by Elio Schenini, the exhibition presents a series of recent works by the artist which investigate the ways with which individual identity is constantly subjected to a process of construction and deconstruction in today's society in which even identity is reduced to a consumer good on a par with other goods, to a disposable product that is easily replaceable with every change in fashion or trend.

Starting out from a series of images isolated in the media flow which in an increasingly more invasive way envelops our day-to-day lives, the works by Fabrizio Giannini carry out an eidetic reduction - in the phenomenological sense - of visual forms and in this way evidence the truth of the means of mass communication. Mostly taken from advertising and the world of information in the form of photographs, videos or graphic elaborations, these images are then once again elaborated using the computer and subjected to a process of formal and chromatic simplification or else superimposed to create computer animations or digital paintings and collages. By stripping the advertising image of its seductive patina and its illusory adhesion to the optical datum, Giannini reveals its essence as medium that becomes message, of hypnotic illusion which substitutes reality with a simulacrum, of self-referential language that no longer refers to the world but which moves increasingly closer to a pure abstraction constructed by way of a play of signs that refer to each other but which no longer have a referent.

Catalogue with texts by
 Elio Schenini
Italian, english pp. 42
Museo Cantonale d’arte, Lugano

Information and Press Release:
Museo Cantonale d'Arte, Lugano
 Benedetta Giorgi Pompilio
tel. 0041(0)91 9104780
fax 0041(0)91 9104788
e-mail: benedetta.giorgi@ti.ch
   

Museo Cantonale d'Arte
Via Canova 10
6900 Lugano (Switzerland)
p +41 (0)91 910 47 80
f +41 (0)91 910 47 89
e-mail  decs-mca@ti.ch
www.museo-cantonale-arte.ch
 

 Comunicato stampa: zip.file 1.69 Mb
Press release: zip.file 1.69 Mb

Supported by:
Percento culturale Migros Ticino
 

  

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 www.plug-in.ch
   
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]]>

English   Italian                                                                             Back

 

Fabrizio Giannini
 Live without dead time

Museo Cantonale d'Arte, Lugano
Ala Est
13 November 2009– 17 January 2010

Opening: Thursday 12 November, 6.30 p.m.

Opening hours: Tuesday 2 p.m. - 6 p.m., Wednesday to Sunday 10 a.m. to 6 p.m.
Monday closed

Free entrance
Fabrizio Giannini, Live without dead time, video installation, detail, 2009
 
 

Following the exhibition held this Spring of the Zurich twins, huber.huber, with this exhibition of the Ticinese artist Fabrizio Giannini (1964) we come to the second appointment of the cycle treating the emergent Swiss art scene. This cycle alternates artists both from Ticino and the rest of Switzerland with the exhibitions housed in the East Wing of the Museo Cantonale d'Arte. This is a series of one-man exhibitions whose two-fold purpose is to offer the Ticinese public a broader perspective of the Swiss art scene and to encourage exchanges between Ticino and the rest of the country with regards to contemporary art production.

Curated by Elio Schenini, the exhibition presents a series of recent works by the artist which investigate the ways with which individual identity is constantly subjected to a process of construction and deconstruction in today's society in which even identity is reduced to a consumer good on a par with other goods, to a disposable product that is easily replaceable with every change in fashion or trend.

Starting out from a series of images isolated in the media flow which in an increasingly more invasive way envelops our day-to-day lives, the works by Fabrizio Giannini carry out an eidetic reduction - in the phenomenological sense - of visual forms and in this way evidence the truth of the means of mass communication. Mostly taken from advertising and the world of information in the form of photographs, videos or graphic elaborations, these images are then once again elaborated using the computer and subjected to a process of formal and chromatic simplification or else superimposed to create computer animations or digital paintings and collages. By stripping the advertising image of its seductive patina and its illusory adhesion to the optical datum, Giannini reveals its essence as medium that becomes message, of hypnotic illusion which substitutes reality with a simulacrum, of self-referential language that no longer refers to the world but which moves increasingly closer to a pure abstraction constructed by way of a play of signs that refer to each other but which no longer have a referent.

Catalogue with texts by
 Elio Schenini
Italian, english pp. 42
Museo Cantonale d’arte, Lugano

Information and Press Release:
Museo Cantonale d'Arte, Lugano
 Benedetta Giorgi Pompilio
tel. 0041(0)91 9104780
fax 0041(0)91 9104788
e-mail: benedetta.giorgi@ti.ch
   

Museo Cantonale d'Arte
Via Canova 10
6900 Lugano (Switzerland)
p +41 (0)91 910 47 80
f +41 (0)91 910 47 89
e-mail  decs-mca@ti.ch
www.museo-cantonale-arte.ch
 

 Comunicato stampa: zip.file 1.69 Mb
Press release: zip.file 1.69 Mb

Supported by:
Percento culturale Migros Ticino
 

  

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 www.plug-in.ch
   
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]]> -1 2/22/2012 3:53:56 AM Opening: Triennale de l’art imprimé contemporain, Musée des beaux-arts, Le Locle

                                                                                                 Back

 

Triennale de l’art imprimé contemporain
26 septembre 2010 - 13 février 2011

Vernissage le samedi 25 septembre, à 18h30
Musée des beaux-arts, Le Locle

Le Musée des beaux-arts du Locle présente la septième Triennale de l’art imprimé contemporain. Tripartite, la manifestation rend compte de la création suisse dans le domaine de l’estampe et l’interroge par l’intermédiaire d’une exposition collective regroupant seize artistes contemporains, d’une exposition monographique consacrée au Lausannois Jean Crotti (Prix de la Ville du Locle en 2007) et de la présentation de l’activité d’EDITION CESTIO, éditeur d’estampes. Evénement unique en Suisse, la Triennale de l’art imprimé contemporain se fait le miroir des transformations qui s’opèrent depuis plusieurs années dans ce domaine, notamment par les techniques d’impression utilisées, de plus en plus hybrides, et d’autres formes d’imprimés tels que le papier peint.

Les seize artistes présentés dans l’exposition collective ont été choisis par une commission composée des différents représentants des cabinets d’estampes en Suisse, dont notamment la Graphische Sammlung der ETH Zürich, le Cabinet des arts graphiques de Genève, le Cabinet cantonal des estampes du Musée Jenisch Vevey et la Graphische Sammlung du Kunstmuseum Bern:

John M Armleder – Reto Boller – Silvia Buonvicini – Jean Crotti – Emilie Ding – Urs Frei – Fabrizio Giannini – Amy Granat – Fabrice Gygi – David Hominal – Monika Huber – Cécile Hummel – Vincent Kohler – Urs Lüthi – Jean-Luc Manz – Sébastien Mettraux – Olivier Mosset – Jean Pfaff – Markus Raetz – Didier Rittener – Albrecht Schnider – Studer/van den Berg – Christian Vetter – Cécile Wick

L'exposition collective
MIROIRE D'UN DOMAINE EN PLEINE MUTATION

Formant un vaste panorama de techniques, démarches et sujets, les travaux des seize artistes présentés dans le cadre de la septième Triennale de l’art imprimé contemporain apportent un éclairage particulier sur les mutations actuelles du domaine imprimé. L’essor des nouvelles technologies a élargi de façon significative le champ artistique. Dans l’estampe, celles-ci se présentent, d’une part, comme un moyen de création d’une image et, d’autre part, comme une technique d’impression.

Jean Crotti
IMPRESSIONS ET DESSINS

Fidèle à la figuration depuis les années 1980, Jean Crotti (Lausanne, *1954 ), prix de la Ville du Locle lors de la précédente Triennale de l’art imprimé contemporain en 2007, reproduit à l’acrylique, au crayon de couleur ou encore avec un fer à souder, les visages d’anonymes. De ces figures tirées de magazines ou de photographies privées, il ne retient que les lignes essentielles.

Regard sur les activités d’un éditeur d’estampes
EDITION CESTIO

Fondé à Bâle en 1986 par Jean Pfaff, artiste, et Nik Hausmann, imprimeur lithographe, l’éditeur EDITION CESTIO est né du souhait d’offrir aux artistes contemporains à la fois un espace pour la création d’estampes originales et les connaissances nécessaires pour la réalisation de celles-ci, dans les techniques tant anciennes que plus expérimentales.
 
   
Musée des beaux-arts, Le Locle
Marie-Anne-Calame 6
CH-2400 Le Locle
T +41 (0)32 931 13 33
 http://www.mbal.ch/

 
  

 

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Contemporary art services
 www.plug-in.ch
   
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]]>

                                                                                                 Back

 

Triennale de l’art imprimé contemporain
26 septembre 2010 - 13 février 2011

Vernissage le samedi 25 septembre, à 18h30
Musée des beaux-arts, Le Locle

Le Musée des beaux-arts du Locle présente la septième Triennale de l’art imprimé contemporain. Tripartite, la manifestation rend compte de la création suisse dans le domaine de l’estampe et l’interroge par l’intermédiaire d’une exposition collective regroupant seize artistes contemporains, d’une exposition monographique consacrée au Lausannois Jean Crotti (Prix de la Ville du Locle en 2007) et de la présentation de l’activité d’EDITION CESTIO, éditeur d’estampes. Evénement unique en Suisse, la Triennale de l’art imprimé contemporain se fait le miroir des transformations qui s’opèrent depuis plusieurs années dans ce domaine, notamment par les techniques d’impression utilisées, de plus en plus hybrides, et d’autres formes d’imprimés tels que le papier peint.

Les seize artistes présentés dans l’exposition collective ont été choisis par une commission composée des différents représentants des cabinets d’estampes en Suisse, dont notamment la Graphische Sammlung der ETH Zürich, le Cabinet des arts graphiques de Genève, le Cabinet cantonal des estampes du Musée Jenisch Vevey et la Graphische Sammlung du Kunstmuseum Bern:

John M Armleder – Reto Boller – Silvia Buonvicini – Jean Crotti – Emilie Ding – Urs Frei – Fabrizio Giannini – Amy Granat – Fabrice Gygi – David Hominal – Monika Huber – Cécile Hummel – Vincent Kohler – Urs Lüthi – Jean-Luc Manz – Sébastien Mettraux – Olivier Mosset – Jean Pfaff – Markus Raetz – Didier Rittener – Albrecht Schnider – Studer/van den Berg – Christian Vetter – Cécile Wick

L'exposition collective
MIROIRE D'UN DOMAINE EN PLEINE MUTATION

Formant un vaste panorama de techniques, démarches et sujets, les travaux des seize artistes présentés dans le cadre de la septième Triennale de l’art imprimé contemporain apportent un éclairage particulier sur les mutations actuelles du domaine imprimé. L’essor des nouvelles technologies a élargi de façon significative le champ artistique. Dans l’estampe, celles-ci se présentent, d’une part, comme un moyen de création d’une image et, d’autre part, comme une technique d’impression.

Jean Crotti
IMPRESSIONS ET DESSINS

Fidèle à la figuration depuis les années 1980, Jean Crotti (Lausanne, *1954 ), prix de la Ville du Locle lors de la précédente Triennale de l’art imprimé contemporain en 2007, reproduit à l’acrylique, au crayon de couleur ou encore avec un fer à souder, les visages d’anonymes. De ces figures tirées de magazines ou de photographies privées, il ne retient que les lignes essentielles.

Regard sur les activités d’un éditeur d’estampes
EDITION CESTIO

Fondé à Bâle en 1986 par Jean Pfaff, artiste, et Nik Hausmann, imprimeur lithographe, l’éditeur EDITION CESTIO est né du souhait d’offrir aux artistes contemporains à la fois un espace pour la création d’estampes originales et les connaissances nécessaires pour la réalisation de celles-ci, dans les techniques tant anciennes que plus expérimentales.
 
   
Musée des beaux-arts, Le Locle
Marie-Anne-Calame 6
CH-2400 Le Locle
T +41 (0)32 931 13 33
 http://www.mbal.ch/

 
  

 

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 www.plug-in.ch
   
subscribe | up-date                                                 to unsubscribe click / here  

 

]]> -1 2/21/2012 5:11:25 AM Bex Arts 2008

                                                                                           Back

 

Bex & Arts 2008
10e triennale de sculture suisse contemporaine en plein air.

La fondation Bex & Art et la commune de Bex ont le plaisir de vous inviter au vernissage de l'exposition LASCIAMI le Samedi 31 mai 2008

La propriété de Szilassy sera accessible au public de 16h à 20h

Avenue de la gare, intervention de Bonnard et Woeffray / d'après des photographies de Magali Koenig / Parc de la Grande Salle, hommage à André-Paul Zeller.

Apéritif, partie officielle et repas à partir de 18h à la Grande Salle de Bex.

Bex & Arts 2008
Exposition du 1er juin au 28 septembre Tous les jours de 10h à 19h

87 artistes ont été invités à exposer leur œuvre sur le thème "Lasciami". « Un thème qui veut marquer l’absence et le détachement » indique le commissaire de l’exposition Nicolas Raboud.


Artistes:

Guillaume Arlaud - Caroline Bachmann et Stephan Banz - Katia Bassanini - Vincenzo Baviera - Adriana Beretta - Daniel Berset - Anne Blanchet - Mariapia Borgnini - Gianfredo Camesi - Chantal Carrel - Valentin Carron - Davide Cascio - Maria Ceppi - Yves Dana - Rudy Decelière - Gaspard Delachaux - Alois Dubach - Hadrien Dussoix - Francine Eggs et Andreas Bitschin - Anton Egloff - Reto Emch - Olivier Estoppey - Etoy - Faro - Geneviève Favre - Joelle Flumet - Dominique Fontana - Daniel Galley - Fabrizio Giannini - Véronique Goël - Bob Gramsma - Pascal Häusermann - Jürg Häusler - Roland Hotz - San Keller - Monica Kilga et Stephan Popp - Vincent Kohler - Andreas Kressig - Isabelle Krieg - René Küng - Aliska Lahusen - Paul Le Grand - Claude Magnin - Pierre Marietan - Gian Paolo Minelli et Silvano Repetto - Charles de Montaigu - René Moser - Manuel Muller - Ursula Mumenthaler - Heinz Niederer - Josef Maria Odermatt - Pierre Oulevay - Nicolas Pahlisch - Erica Pedretti - Gilles Porret - Laurent de Pury - André Raboud - Christian Ratti - Delphine Reist - Andi Rieser - Christoph Rihs - Daniel Ruggiero - Jean Scheurer - Daniel Schlaepfer - Pavel Schmidt - Denis Schneider - Kurt Sigrist - Laura Solari et Stéphane Robert - Henri Spaeti - Ludwig Stocker - Paul Suter - Pascal Suter et Christiane Bult - Matteo Terzaghi et Marco Zurcher - Hans Thomann - Niele Toroni - Urs Twellmann - Tamara de Wehr - Gillian White - Nikola Zaric - Pierre-Alain Zuber.

 
   

BEX & ART 2008
Parc Szillassy
1880 BEX
Switzerland
P +41 24 4631009 / 4632275
info@bexarts.ch

www.bexarts.ch

 Press release: Pdf
   

Plug-in
 Contemporary art services
 www.plug-in.ch
   
subscribe | up-date                                                to unsubscribe click / here  

 

]]>

                                                                                           Back

 

Bex & Arts 2008
10e triennale de sculture suisse contemporaine en plein air.

La fondation Bex & Art et la commune de Bex ont le plaisir de vous inviter au vernissage de l'exposition LASCIAMI le Samedi 31 mai 2008

La propriété de Szilassy sera accessible au public de 16h à 20h

Avenue de la gare, intervention de Bonnard et Woeffray / d'après des photographies de Magali Koenig / Parc de la Grande Salle, hommage à André-Paul Zeller.

Apéritif, partie officielle et repas à partir de 18h à la Grande Salle de Bex.

Bex & Arts 2008
Exposition du 1er juin au 28 septembre Tous les jours de 10h à 19h

87 artistes ont été invités à exposer leur œuvre sur le thème "Lasciami". « Un thème qui veut marquer l’absence et le détachement » indique le commissaire de l’exposition Nicolas Raboud.


Artistes:

Guillaume Arlaud - Caroline Bachmann et Stephan Banz - Katia Bassanini - Vincenzo Baviera - Adriana Beretta - Daniel Berset - Anne Blanchet - Mariapia Borgnini - Gianfredo Camesi - Chantal Carrel - Valentin Carron - Davide Cascio - Maria Ceppi - Yves Dana - Rudy Decelière - Gaspard Delachaux - Alois Dubach - Hadrien Dussoix - Francine Eggs et Andreas Bitschin - Anton Egloff - Reto Emch - Olivier Estoppey - Etoy - Faro - Geneviève Favre - Joelle Flumet - Dominique Fontana - Daniel Galley - Fabrizio Giannini - Véronique Goël - Bob Gramsma - Pascal Häusermann - Jürg Häusler - Roland Hotz - San Keller - Monica Kilga et Stephan Popp - Vincent Kohler - Andreas Kressig - Isabelle Krieg - René Küng - Aliska Lahusen - Paul Le Grand - Claude Magnin - Pierre Marietan - Gian Paolo Minelli et Silvano Repetto - Charles de Montaigu - René Moser - Manuel Muller - Ursula Mumenthaler - Heinz Niederer - Josef Maria Odermatt - Pierre Oulevay - Nicolas Pahlisch - Erica Pedretti - Gilles Porret - Laurent de Pury - André Raboud - Christian Ratti - Delphine Reist - Andi Rieser - Christoph Rihs - Daniel Ruggiero - Jean Scheurer - Daniel Schlaepfer - Pavel Schmidt - Denis Schneider - Kurt Sigrist - Laura Solari et Stéphane Robert - Henri Spaeti - Ludwig Stocker - Paul Suter - Pascal Suter et Christiane Bult - Matteo Terzaghi et Marco Zurcher - Hans Thomann - Niele Toroni - Urs Twellmann - Tamara de Wehr - Gillian White - Nikola Zaric - Pierre-Alain Zuber.

 
   

BEX & ART 2008
Parc Szillassy
1880 BEX
Switzerland
P +41 24 4631009 / 4632275
info@bexarts.ch

www.bexarts.ch

 Press release: Pdf
   

Plug-in
 Contemporary art services
 www.plug-in.ch
   
subscribe | up-date                                                to unsubscribe click / here  

 

]]> -1 2/21/2012 3:53:55 AM Opening: Raymundo Sesma Causa y efecto Recent paintings
 

Plug-in contemporary art news
English   Italian                                                                                       Back

 

Opening Friday, April 7, 2006, at 6 p.m.

Raymundo Sesma

Causa y efecto
Recent paintings


April 8 to June 6, 2006

Galleria Palladio
via Nassa 30
6900 Lugano – Switzerland

On Friday, April 7, 2006, at 6 p.m., a personal exhibition by Raymundo Sesma will open at the Palladio Art Gallery, the second dedicated to this Mexican artist, after the one held in the year 2000, by the Luganese gallery.

As we would like to recall, Sesma shares his time between Mexico City and Milan, he regularly exhibits his works in museums and galleries throughout the world, and he expresses himself both through traditional (painting, sculpture, drawing, engraving) and contemporary media (video, installation).

With this exhibition, Sesma presents a new cycle of paintings, called Causa y efecto [Cause and effect], centered on the everlasting conflict between nature and culture, between the unrestrainable force of nature and the human attempt to limit its expansion, to modify and subjugate it to his will.

Whatever the employed means is, Sesma’s art always tries to give an answer to the traumatic situations that fill our reality.

R. Sesma Causa y efecto XVII 2005 natural pigments and resin on canvas cm 120x150
   

Galleria Palladio
Galleria Palladio
Via Nassa 30
6900 Lugano-Switzerland
P +41 (0)91 923 48 61
f +41 (0)91 923 48 57
Opening hours Mo - Sat: 3 - 7 pm
www.galleriapalladio.com

 Press release: Pdf
   

Catalogue publisher
Galleria Palladio/Studio Lattuada Milano
Catalogue text
An interview with the artist by Francesca Alfano Miglietti

  
   
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Opening Friday, April 7, 2006, at 6 p.m.

Raymundo Sesma

Causa y efecto
Recent paintings


April 8 to June 6, 2006

Galleria Palladio
via Nassa 30
6900 Lugano – Switzerland

On Friday, April 7, 2006, at 6 p.m., a personal exhibition by Raymundo Sesma will open at the Palladio Art Gallery, the second dedicated to this Mexican artist, after the one held in the year 2000, by the Luganese gallery.

As we would like to recall, Sesma shares his time between Mexico City and Milan, he regularly exhibits his works in museums and galleries throughout the world, and he expresses himself both through traditional (painting, sculpture, drawing, engraving) and contemporary media (video, installation).

With this exhibition, Sesma presents a new cycle of paintings, called Causa y efecto [Cause and effect], centered on the everlasting conflict between nature and culture, between the unrestrainable force of nature and the human attempt to limit its expansion, to modify and subjugate it to his will.

Whatever the employed means is, Sesma’s art always tries to give an answer to the traumatic situations that fill our reality.

R. Sesma Causa y efecto XVII 2005 natural pigments and resin on canvas cm 120x150
   

Galleria Palladio
Galleria Palladio
Via Nassa 30
6900 Lugano-Switzerland
P +41 (0)91 923 48 61
f +41 (0)91 923 48 57
Opening hours Mo - Sat: 3 - 7 pm
www.galleriapalladio.com

 Press release: Pdf
   

Catalogue publisher
Galleria Palladio/Studio Lattuada Milano
Catalogue text
An interview with the artist by Francesca Alfano Miglietti

  
   
Plug-in
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www.plug-in.ch
   
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]]> -1 2/20/2012 3:28:54 AM PLAY_gallery for still and motion pictures / ARCO 2007

 


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English                                                                                           Back

 

PLAY_gallery for still and motion pictures
partecipates to ARCO 2007 in the curated section "Projects" with an installation of the Swiss artists Frédéric Moser & Philippe Schwinger.
Please, come and visit us at the stand PR01.
We would be delighted to have you around!

February 15-19, 2007
ARCO 2007
"Projects" section, stand PR01
Feria de Madrid - Madrid Fair Ground

Central to Moser and Schwinger’s statement for ARCO is a puppet theatre version of their film-installation ‘Unexpected Rules’. The script is based on the ‘Clinton-Lewinsky affair’, whose mixture of power, sex, and globalised media serves them as an example to take the conflicting interests of personal and public positions ad absurdum. ‘Amanda’ is the name given by the artist duo to Monika Lewinsky’s fictional counterpart. Because of her delusion strategies, Amanda is the game’s driving force. For this very reason, the audience will find the same actress playing in the new films presented by the artists.

As America’s premier blowjob queen of the nineties, I was such a
brave girl. I shared detail that I wouldn’t have shared with anybody.

Because I thought I had to. Like now, when the reporters ask me : Is
your goal to get married and have children ?

Does the man of your dreams have to be competitive, due to the fact
that you and the president... ? Could it be just a schoolteacher or a
carpenter ? (...)

[From Time Flies, Frédéric Moser and Philippe Schwinger, 2006]


 
 
   

PLAY_gallery for still and motion pictures
hannoversche strasse 1 d-10115 Berlin
p +49-30-2345 5753 f +49-30-2345 5754
www.pushthebuttonplay.com
opening hours: wed-sat 2 -7pm

 Press release: Pdf
   
Plug-in
C ontemporary art news
 www.plug-in.ch
   
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]]>

 


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English                                                                                           Back

 

PLAY_gallery for still and motion pictures
partecipates to ARCO 2007 in the curated section "Projects" with an installation of the Swiss artists Frédéric Moser & Philippe Schwinger.
Please, come and visit us at the stand PR01.
We would be delighted to have you around!

February 15-19, 2007
ARCO 2007
"Projects" section, stand PR01
Feria de Madrid - Madrid Fair Ground

Central to Moser and Schwinger’s statement for ARCO is a puppet theatre version of their film-installation ‘Unexpected Rules’. The script is based on the ‘Clinton-Lewinsky affair’, whose mixture of power, sex, and globalised media serves them as an example to take the conflicting interests of personal and public positions ad absurdum. ‘Amanda’ is the name given by the artist duo to Monika Lewinsky’s fictional counterpart. Because of her delusion strategies, Amanda is the game’s driving force. For this very reason, the audience will find the same actress playing in the new films presented by the artists.

As America’s premier blowjob queen of the nineties, I was such a
brave girl. I shared detail that I wouldn’t have shared with anybody.

Because I thought I had to. Like now, when the reporters ask me : Is
your goal to get married and have children ?

Does the man of your dreams have to be competitive, due to the fact
that you and the president... ? Could it be just a schoolteacher or a
carpenter ? (...)

[From Time Flies, Frédéric Moser and Philippe Schwinger, 2006]


 
 
   

PLAY_gallery for still and motion pictures
hannoversche strasse 1 d-10115 Berlin
p +49-30-2345 5753 f +49-30-2345 5754
www.pushthebuttonplay.com
opening hours: wed-sat 2 -7pm

 Press release: Pdf
   
Plug-in
C ontemporary art news
 www.plug-in.ch
   
subscribe | up-date                                                   to unsubscribe click / here  
]]> -1 9/5/2011 10:03:37 AM Sage comme une Image Arte Svizzera-Oltre l’enigma

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Italian                                                                                        Back

 

Inaugurazione
venerdì 13 giugno ore 18.00
14.06 - 30.09.2008


 Sage comme une Image
Arte Svizzera-Oltre l’enigma

 A cura di Esther Maria Jungo

Artisti:
Peter Aerschmann, Emanuelle Antille, Laurence Bonvin, Andrea Gabutti, Fabrice Gygi, Ulrich Meister, Josef Felix Müller, Amy O'neill, Loredana Sperini, Alexia Turlin, Judith Albert, Ian Anüll, Marcel Dupertuis, Fabrizio Giannini, Isabelle Krieg, Claudia & Julia Müller, Guido Nussbaum, Christoph Rütimann, Steiner & Lenzlinger, Francesco Vella.
 

Peter Ärschmann, Emanuelle Antille, Laurence Bonvin, Andrea Gabutti, Fabrice Gygi, Ulrich Meister, Josef Felix Müller, Amy O'neill, Loredana Sperini, Alexia Turlin, Judith Albert, Ian Anüll, Marcel Dupertuis, Fabrizio Giannini, Isabelle Krieg, Claudia & Julia Müller, Guido Nussbaum, Christoph Rütimann, Steiner & Lenzlinger, Francesco Vella.
 
Catalogo apparirà in agosto
 		  

Galleria Palladio
Galleria Palladio
Via Nassa 30
6900 Lugano-Svizzera
t +41 (0)91 923 48 61
f +41 (0)91 923 48 57
Orari apertura   Lu - Sa: 15 - 19
www.galleriapalladio.com

 Press release: Pdf
   
Plug-in
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 www.plug-in.ch
   
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]]>

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Italian                                                                                        Back

 

Inaugurazione
venerdì 13 giugno ore 18.00
14.06 - 30.09.2008


 Sage comme une Image
Arte Svizzera-Oltre l’enigma

 A cura di Esther Maria Jungo

Artisti:
Peter Aerschmann, Emanuelle Antille, Laurence Bonvin, Andrea Gabutti, Fabrice Gygi, Ulrich Meister, Josef Felix Müller, Amy O'neill, Loredana Sperini, Alexia Turlin, Judith Albert, Ian Anüll, Marcel Dupertuis, Fabrizio Giannini, Isabelle Krieg, Claudia & Julia Müller, Guido Nussbaum, Christoph Rütimann, Steiner & Lenzlinger, Francesco Vella.
 

Peter Ärschmann, Emanuelle Antille, Laurence Bonvin, Andrea Gabutti, Fabrice Gygi, Ulrich Meister, Josef Felix Müller, Amy O'neill, Loredana Sperini, Alexia Turlin, Judith Albert, Ian Anüll, Marcel Dupertuis, Fabrizio Giannini, Isabelle Krieg, Claudia & Julia Müller, Guido Nussbaum, Christoph Rütimann, Steiner & Lenzlinger, Francesco Vella.
 
Catalogo apparirà in agosto
 		  

Galleria Palladio
Galleria Palladio
Via Nassa 30
6900 Lugano-Svizzera
t +41 (0)91 923 48 61
f +41 (0)91 923 48 57
Orari apertura   Lu - Sa: 15 - 19
www.galleriapalladio.com

 Press release: Pdf
   
Plug-in
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 www.plug-in.ch
   
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]]> -1 6/13/2008 6:01:14 AM Galleria Barbara Mahler presents - new works- by Fosco

  English          Italian                                                                               Back

 

Galleria Barbara Mahler presents

“new works” by Fosco

Curated by Igor Zanti

Texts by Igor Zanti and Elio Schenini.  

29th May – 9th September 2008

Vernissage : Wednesday 28th May 2008, 18.30 - 20.30

The Galleria Barbara Mahler is proud to present a personal exhibition of the artist Fosco at the Galleria Barbara Mahler inside the UBS bank in Lugano.

Recent works, using Indian ink and water colours on linen paper, will be on view.

A return to poetics, where the pleasure of art for art’s sake with pencils, paint brushes, paper, colour, lines, drawings and silent thoughts, predominates.

An active witness of the Roman avantgarde artistic scene during the seventies and eighties, Fosco has lived in Lugano since 1989, and here he chose to return to the mute, solitary art of painting, a pause beyond the deafening noise made by the production of media or extra-artistic images. Fosco’s painting, albeit in its recovery of simple figurative accents on a formal level, presents a quest into the line and casual, abstract aspects of certain art forms; an alliance between patches of colour and drawing, beyond the historical abstractionism- figuration conflict.

A catalogue will be compiled to mark the exhibition with an introduction by Fabio Sargentini.
The historical and critical texts are by Igor Zanti and Elio Schenini.

 
   

Galleria Barbara Mahler
 in the UBS  bank, Piazzetta della Posta
CH - 6900 Lugano
Monday - Friday 9.00 - 16.30, excluding public holidays
info + 41.76.586.05.55
galleriabmahler@bluewin.ch
www.galleriabmahler.com

 Press release: Pdf
 
   

Plug-in
 Contemporary art services
 www.plug-in.ch
   
subscribe | up-date                                                 to unsubscribe click / here  

 

]]>

  English          Italian                                                                               Back

 

Galleria Barbara Mahler presents

“new works” by Fosco

Curated by Igor Zanti

Texts by Igor Zanti and Elio Schenini.  

29th May – 9th September 2008

Vernissage : Wednesday 28th May 2008, 18.30 - 20.30

The Galleria Barbara Mahler is proud to present a personal exhibition of the artist Fosco at the Galleria Barbara Mahler inside the UBS bank in Lugano.

Recent works, using Indian ink and water colours on linen paper, will be on view.

A return to poetics, where the pleasure of art for art’s sake with pencils, paint brushes, paper, colour, lines, drawings and silent thoughts, predominates.

An active witness of the Roman avantgarde artistic scene during the seventies and eighties, Fosco has lived in Lugano since 1989, and here he chose to return to the mute, solitary art of painting, a pause beyond the deafening noise made by the production of media or extra-artistic images. Fosco’s painting, albeit in its recovery of simple figurative accents on a formal level, presents a quest into the line and casual, abstract aspects of certain art forms; an alliance between patches of colour and drawing, beyond the historical abstractionism- figuration conflict.

A catalogue will be compiled to mark the exhibition with an introduction by Fabio Sargentini.
The historical and critical texts are by Igor Zanti and Elio Schenini.

 
   

Galleria Barbara Mahler
 in the UBS  bank, Piazzetta della Posta
CH - 6900 Lugano
Monday - Friday 9.00 - 16.30, excluding public holidays
info + 41.76.586.05.55
galleriabmahler@bluewin.ch
www.galleriabmahler.com

 Press release: Pdf
 
   

Plug-in
 Contemporary art services
 www.plug-in.ch
   
subscribe | up-date                                                 to unsubscribe click / here  

 

]]> -1 5/24/2008 3:35:10 AM FAIR_PLAY - FILM VIDEO award LUGANO 2008

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English    Italian                                                                                        Back

 

Finally it's time for FairPlay Film & Video Award!

From Thursday the 24th to Sunday the 27th, the event will take place in Lugano, Switzerland at Cinema LUX and Atelier K10.

Cinema LUX – Via Motta Massagno-Lugano

Atelier K10 – Via Lavizzari 10 Lugano

Every day from 10 am to at 11 pm the public is invited to attend the screenings of the works participating in the international award. The Jury will be present. Among the members of the committee are Hans D.Christ, co-director of Württembergische Kunstverein Stuttgart, Mirjam Varadinis, curator at Kunsthaus Zürich, and Andrei Ujica, film-maker and director of ZKM Filminstitut Karlsruhe.

Besides the competition, FairPlay Film & Video Award offers a FOCUS programme, which includes the screenings of films by Mario Rizzi, Francesco Jodice, and Ghazel and the presentation of OVNI Archives.

A consistent OFF programme curated by Noah Stolz, Marco Scotini, and Andrea Lissoni integrate the programme of the award. The OFF programme is hosted at Atelier K10 and offers everyday screenings, conferences and special events. Among others the presentation of the latest film by Rossella Biscotti produced by Fine Arts Unternehmen AG and three video programmes focusing on themes such as the re-enactment of documents in video and film production, the cross-over of sound and image culture, and the aesthetic of video clips

Artists selected to the international competition Award:

Nevin Aladag, Qiu Anxiong, Ana Maria Bresciani Arenas, Manon De Boer, Jan De Bruin, Eléonore De Montesquiou, Gianluca & Massimiliano De Serio, Chen Chieh-Jen, Anita Di Bianco, Niklas Goldbach, Janek Bastian Jonas, Anja Kirschner, Jannicke Låker, Cristóbal León, Niles Atallah, Joaquin Cociña, Gintaras Makarevicius, Angelika Markul, Vincent Meessen, Wagner Morales, Anu Pennanen, Ben Pointeker, Sara Rajaei, Marco Raparelli, Reynold Reynolds, Larissa Sansour, Gao Shiqiang, Alina Skrzeszewska, Jaan Toomik, Barbara Visser, Alexia Walther, Emily Wardill, Maya Schweizer & Clemens Von Wedemayer, Aksel Zeydan Göz
 

For further information on the programme, please visit website and blog

 www.fairplay-lugano.com
www.fairplay-lugano.com/blog
   

Contact:
FairPlay Lugano
c/o Franco Marinotti
Via San Giorgio 14
CH 6979 Castagnola
Ph. +41 91 9722714
management@fairplay-lugano.com

Press release: Pdf
   

Plug-in
Contemporary art news
 www.plug-in.ch
   

subscribe | up-date                                                   to unsubscribe click / here

  
]]>

Plug-in contemporary art news
English    Italian                                                                                        Back

 

Finally it's time for FairPlay Film & Video Award!

From Thursday the 24th to Sunday the 27th, the event will take place in Lugano, Switzerland at Cinema LUX and Atelier K10.

Cinema LUX – Via Motta Massagno-Lugano

Atelier K10 – Via Lavizzari 10 Lugano

Every day from 10 am to at 11 pm the public is invited to attend the screenings of the works participating in the international award. The Jury will be present. Among the members of the committee are Hans D.Christ, co-director of Württembergische Kunstverein Stuttgart, Mirjam Varadinis, curator at Kunsthaus Zürich, and Andrei Ujica, film-maker and director of ZKM Filminstitut Karlsruhe.

Besides the competition, FairPlay Film & Video Award offers a FOCUS programme, which includes the screenings of films by Mario Rizzi, Francesco Jodice, and Ghazel and the presentation of OVNI Archives.

A consistent OFF programme curated by Noah Stolz, Marco Scotini, and Andrea Lissoni integrate the programme of the award. The OFF programme is hosted at Atelier K10 and offers everyday screenings, conferences and special events. Among others the presentation of the latest film by Rossella Biscotti produced by Fine Arts Unternehmen AG and three video programmes focusing on themes such as the re-enactment of documents in video and film production, the cross-over of sound and image culture, and the aesthetic of video clips

Artists selected to the international competition Award:

Nevin Aladag, Qiu Anxiong, Ana Maria Bresciani Arenas, Manon De Boer, Jan De Bruin, Eléonore De Montesquiou, Gianluca & Massimiliano De Serio, Chen Chieh-Jen, Anita Di Bianco, Niklas Goldbach, Janek Bastian Jonas, Anja Kirschner, Jannicke Låker, Cristóbal León, Niles Atallah, Joaquin Cociña, Gintaras Makarevicius, Angelika Markul, Vincent Meessen, Wagner Morales, Anu Pennanen, Ben Pointeker, Sara Rajaei, Marco Raparelli, Reynold Reynolds, Larissa Sansour, Gao Shiqiang, Alina Skrzeszewska, Jaan Toomik, Barbara Visser, Alexia Walther, Emily Wardill, Maya Schweizer & Clemens Von Wedemayer, Aksel Zeydan Göz
 

For further information on the programme, please visit website and blog

 www.fairplay-lugano.com
www.fairplay-lugano.com/blog
   

Contact:
FairPlay Lugano
c/o Franco Marinotti
Via San Giorgio 14
CH 6979 Castagnola
Ph. +41 91 9722714
management@fairplay-lugano.com

Press release: Pdf
   

Plug-in
Contemporary art news
 www.plug-in.ch
   

subscribe | up-date                                                   to unsubscribe click / here

  
]]> -1 4/22/2008 8:06:26 AM PLAY_platform for video film Berlin and Regards Productions Paris presentano:

 


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                                                                                                 Back
PLAY platform for Film & Video Berlin

'PLAY_platform
Prima venerdì 22 febbraio alle 20.30 in presenza del regista.
   

PLAY_platform for film & video berlin
Torstr. 218, D-10115 Berlin
P +49 30 23 45 57 53, f +49 30 23 45 57 54
www.twoogroup.com

 Press release: Pdf
   
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]]>

 


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                                                                                                 Back
PLAY platform for Film & Video Berlin

'PLAY_platform
Prima venerdì 22 febbraio alle 20.30 in presenza del regista.
   

PLAY_platform for film & video berlin
Torstr. 218, D-10115 Berlin
P +49 30 23 45 57 53, f +49 30 23 45 57 54
www.twoogroup.com

 Press release: Pdf
   
Plug-in
C ontemporary art news
 www.plug-in.ch
   
subscribe | up-date                                                 to unsubscribe click / here  
]]> -1 2/21/2008 11:49:43 AM L'espace Piano Nobile , le Pachinko , Executive Nothing S.A. et les éditions Dasein vous proposent

                                                                                           Back

 

L'espace Piano Nobile , le Pachinko , Executive Nothing S.A. et les éditions Dasein  vous proposent une soirée multi-sensorielle.

Vendredi 18 janvier à 18h


 Dasein – présentation des nouvelles éditions chez:

Piano Nobile
10, rue Lissignol
1211 Genève 1

Sujet :… 
N°13
Auteur : Fabrizio Giannini

BD
N° SPÉCIAL 4 - collectif
Artistes :
Aline Seigne
Pascale Favre
Philippe Eliopoulos
Fabrizio Giannini
Jérôme Leuba
Christophe Blanchard
Elia Buletti
Joëlle Flumet
Laura Solari
Jonathan Frigeri
Katia Bassanini
Sandra Hebler
aiPotu
Min-Ji Cho

Mass Murderer Mugs
HORS SÉRIE N° 3
Auteur : Plinio-Natale Cemento-Müller

Port Radium
N°14
Auteur : Paul New (Daniel Foucard)
Compositeur : Port Radium (Ludovic Poulet)

http://editions.dasein.fr

Suite de la soirée dès 21h au Pachinko
(9 rue des Amis, Grottes, Genève):

PORTRADIUM-live
BRIAN-live
DROGA-live
BULB-live
LE CLUB DES FILLES-djset
GIORGIO GABBER-djset

Organisation: Executive Nothing S.A.

Avec l’appui de la Ville de Genève – Département des affaires culturelles


Les éditions dasein diffusées à Piano Nobile

 
   

Espace Piano Nobile
 10, rue Lissignol
CP 1963
1211 Genève 1
P/F: +41 22 731 04 41
www.pianonobile.ch

 Press release: Pdf
   

Plug-in
C ontemporary art services
 www.plug-in.ch
   
subscribe | up-date                                                   to unsubscribe click / here  

 

]]>

                                                                                           Back

 

L'espace Piano Nobile , le Pachinko , Executive Nothing S.A. et les éditions Dasein  vous proposent une soirée multi-sensorielle.

Vendredi 18 janvier à 18h


 Dasein – présentation des nouvelles éditions chez:

Piano Nobile
10, rue Lissignol
1211 Genève 1

Sujet :… 
N°13
Auteur : Fabrizio Giannini

BD
N° SPÉCIAL 4 - collectif
Artistes :
Aline Seigne
Pascale Favre
Philippe Eliopoulos
Fabrizio Giannini
Jérôme Leuba
Christophe Blanchard
Elia Buletti
Joëlle Flumet
Laura Solari
Jonathan Frigeri
Katia Bassanini
Sandra Hebler
aiPotu
Min-Ji Cho

Mass Murderer Mugs
HORS SÉRIE N° 3
Auteur : Plinio-Natale Cemento-Müller

Port Radium
N°14
Auteur : Paul New (Daniel Foucard)
Compositeur : Port Radium (Ludovic Poulet)

http://editions.dasein.fr

Suite de la soirée dès 21h au Pachinko
(9 rue des Amis, Grottes, Genève):

PORTRADIUM-live
BRIAN-live
DROGA-live
BULB-live
LE CLUB DES FILLES-djset
GIORGIO GABBER-djset

Organisation: Executive Nothing S.A.

Avec l’appui de la Ville de Genève – Département des affaires culturelles


Les éditions dasein diffusées à Piano Nobile

 
   

Espace Piano Nobile
 10, rue Lissignol
CP 1963
1211 Genève 1
P/F: +41 22 731 04 41
www.pianonobile.ch

 Press release: Pdf
   

Plug-in
C ontemporary art services
 www.plug-in.ch
   
subscribe | up-date                                                   to unsubscribe click / here  

 

]]> -1 1/17/2008 10:37:37 AM Davide Cascio - Manor Ticino Cultural Award - Museo Cantonale d’Arte, Lugano
 

English   Italian                                                                             Back

 

Davide Cascio
Rooms, Roses, Polyhedrons

Manor Ticino Cultural Award
Museo Cantonale d'Arte, Lugano
 23 November 2007– 6 January 2008

Opening: Thursday 22 November, 6.30 p.m.

Starting from the 23rd of November the second floor of the Museo Cantonale d'Arte will house a one-man exhibition by Davide Cascio, the artist who has won this year's Manor Ticino Cultural Award.

The exhibition entitled Rooms, Roses, Polyhedrons presents the public with a series of recent works by this young artist. Born in Lugano in 1976, over recent years he has established his position as one of the most interesting personalities of the artistic scene of Ticino.

The work by Davide Cascio is complex. Rich in references to the past, his work interweaves motifs taken not only from the world of the visual arts but also from architecture, literature, philosophy and the cinema. Guiding the artist inside the archives of history there is a process of association which in the planning of his works allows him to recompose and once again elaborate elements from very different historical and cultural sources. A work of research in which one finds the need - shared by many artists of the recent generations - to go back to reflect about and confront the theme of modernity.

The geometrical rigour of the "architectures" elaborated by the artist, in which one sees the influence of the radical Architecture of the 1960s, does not exclude figurative elements. In his collages, a technique which the artist often employs, the 'coupling' of photographic fragments taken from diverse sources serves to delineate utopian landscapes or else to furnish fragments of reality in abstract compositions in which one sees his interest for the ornamental schemes of the Islamic tradition.

The five installations presented in this exhibition make up an equal number of spaces which represent the concrete realizations of paths of thought, of the architectural models that define the "mental space within which it is possible to construct utopias".

The Manor Award which has for years been given in numerous Swiss regions and cities is one of the most important prizes in the Swiss contemporary art scene. Adjudicated to artists who are under 40, its intention is to both promote young talented artists who are still not known to the general public and provide them with concrete support. In fact, the Award comprises the organization of an exhibition, the publication of a catalogue and a financial grant. In Ticino the Manor Award, founded in 2005, is given every two years.

Exhibition curated by Elio Schenini

Catalogue with texts by
 Elio Schenini, Mounira Khemir, Christa-Maria Lerm Hayes
Italian, english and french, pp. 96
Museo Cantonale d’arte, Lugano/ edition fink, Zurigo 

Information and Press Release:
Museo Cantonale d'Arte (Benedetta Giorgi Pompilio), Lugano tel. 0041.(0)91. 9104780 fax 0041.(0)91.9104789  e-mail: benedetta.giorgi@ti.ch
 
Davide Cascio, Polyhedra (stanza per leggere L'Ulisse di Joyce), 2004
 
   

Museo Cantonale d'Arte
Via Canova 10
6900 Lugano (Switzerland)
p +41 (0)91 910 47 80
f +41 (0)91 910 47 89
e-mail  decs-mca@ti.ch
Opening hours: Tuesday 2 p.m. -5 p.m.
Wednesday to Sunday 10 a.m. to 5 p.m.
Monday closed
www.museo-cantonale-arte.ch

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Davide Cascio
Rooms, Roses, Polyhedrons

Manor Ticino Cultural Award
Museo Cantonale d'Arte, Lugano
 23 November 2007– 6 January 2008

Opening: Thursday 22 November, 6.30 p.m.

Starting from the 23rd of November the second floor of the Museo Cantonale d'Arte will house a one-man exhibition by Davide Cascio, the artist who has won this year's Manor Ticino Cultural Award.

The exhibition entitled Rooms, Roses, Polyhedrons presents the public with a series of recent works by this young artist. Born in Lugano in 1976, over recent years he has established his position as one of the most interesting personalities of the artistic scene of Ticino.

The work by Davide Cascio is complex. Rich in references to the past, his work interweaves motifs taken not only from the world of the visual arts but also from architecture, literature, philosophy and the cinema. Guiding the artist inside the archives of history there is a process of association which in the planning of his works allows him to recompose and once again elaborate elements from very different historical and cultural sources. A work of research in which one finds the need - shared by many artists of the recent generations - to go back to reflect about and confront the theme of modernity.

The geometrical rigour of the "architectures" elaborated by the artist, in which one sees the influence of the radical Architecture of the 1960s, does not exclude figurative elements. In his collages, a technique which the artist often employs, the 'coupling' of photographic fragments taken from diverse sources serves to delineate utopian landscapes or else to furnish fragments of reality in abstract compositions in which one sees his interest for the ornamental schemes of the Islamic tradition.

The five installations presented in this exhibition make up an equal number of spaces which represent the concrete realizations of paths of thought, of the architectural models that define the "mental space within which it is possible to construct utopias".

The Manor Award which has for years been given in numerous Swiss regions and cities is one of the most important prizes in the Swiss contemporary art scene. Adjudicated to artists who are under 40, its intention is to both promote young talented artists who are still not known to the general public and provide them with concrete support. In fact, the Award comprises the organization of an exhibition, the publication of a catalogue and a financial grant. In Ticino the Manor Award, founded in 2005, is given every two years.

Exhibition curated by Elio Schenini

Catalogue with texts by
 Elio Schenini, Mounira Khemir, Christa-Maria Lerm Hayes
Italian, english and french, pp. 96
Museo Cantonale d’arte, Lugano/ edition fink, Zurigo 

Information and Press Release:
Museo Cantonale d'Arte (Benedetta Giorgi Pompilio), Lugano tel. 0041.(0)91. 9104780 fax 0041.(0)91.9104789  e-mail: benedetta.giorgi@ti.ch
 
Davide Cascio, Polyhedra (stanza per leggere L'Ulisse di Joyce), 2004
 
   

Museo Cantonale d'Arte
Via Canova 10
6900 Lugano (Switzerland)
p +41 (0)91 910 47 80
f +41 (0)91 910 47 89
e-mail  decs-mca@ti.ch
Opening hours: Tuesday 2 p.m. -5 p.m.
Wednesday to Sunday 10 a.m. to 5 p.m.
Monday closed
www.museo-cantonale-arte.ch

 Comunicato stampa: Pdf
 Press release: Pdf

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]]> -1 11/18/2007 10:08:20 AM Opening: Mutamenti Global cultural and territorial evolutions

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Mutamenti
 Global cultural and territorial evolutions

Mutamenti is the title of a major multidisciplinary cultural event planned for 24 and 25 August 2007 in the setting of Bellinzona's three castles (Castelgrande-Montebello-Sasso Corbaro ). For the very first time, they are simultaneously hosting exhibitions and productions dedicated to Swiss artistic creation and, in particular, to contemporary art. Mutamenti is theconcluding project of the Gallerie 57/34.6 km programme of the Swiss Arts Council, Pro Helvetia, built around the theme of the new St. Gotthard and Lötschberg Tunnels. Taking a historical perspective, the programme has shed light on the relationship between mobility and cultural identity.

A packed programme

Mutamenti's packed programme, which is also going to be opening a window in Zurich on 4 July 2007, encompasses theoretical ideas, visual arts, literature and video films. In addition to Pro Helvetia, the event's official partner is the City of Bellinzona along with the tourist board for Bellinzona and district. Mutamenti is to appeal not only to those with an active role on the cultural scene, but also to the public at large and to young people.

Opening and official inauguration:

Friday, 24 August at 18.00 in the Castelgrande

  


 

Mutamenti-Visioni
 Exhibition

24 August – 4 November
Artists, who often adopt provocative and less conventional forms of language, are the interpreters and promoters of new trends in contemporary creativity. The artists whose work is to be exhibited in Bellinzona have been selected on account of their capacity, through their works, to prompt us to think about the phenomenon of globalisation and the evolutions induced by it. The exhibition, curated by Boris Magrini, is being staged on the premises of the three castles (Castelgrande, Montebello and Sasso Corbaro). It is to be inaugurated on 25 August at 16.00 and will remain open to the public until 4 November. The chosen artists are Valentin Carron, Al Fadhil, Ivana Falconi, Fabrizio Giannini, Bob Gramsma, Andreas Helbling, Yves Mettler, Aldo Mozzini, Sladjan Nedeljkovic, Hinrich Sachs, Nika Spalinger, Jules Spinatsch, Supersober - Bohdan Stehlik / Una Szeemann, Olga Titus and Costa Vece.

Opening:
 Saturday, 25 August, 16.00
 Castelgrande / Montebello / Sasso Corbaro, Bellinzona

The exhibition lasts until 4 November 2007

  

 

Mutamenti-Segni
First-hand records

The active participants in the “Segnidiversisegnatiinversi” project, which has been developed in the course of the “Gallerie 57/34.6 km” programme, are primarily the construction workers in the Alptransit tunnelling project in all their various functions. Labourers and managers, as well as occasional visitors, have produced artistic works, without being subject to any sort of constraint at all, and these works now constitute an extraordinary collection of first-hand records.

The social situation prevalent in each of the workplaces and the environmental and regional impressions made on their creators are recounted through drawings, texts, shapes and colours. This exhibition is supervised by the artist Nando Snozzi – with Gianni Hoffmann, Anna Schmid, Anna-Rita Stoffel, Claudio Tettamanti, Simona Viviani - and is on display in the exhibition rooms of the Sasso Corbaro castle. 

Opening:
Saturday, 25 August, 11.00
Castello Sasso Corbaro, Bellinzona

The exhibition lasts until 4 November 

  
   

PRO HELVETIA
Fondazione svizzera per la cultura
Hirschengraben 22
CH - 8024 Zürich
T +41 44 267 71 71
F +41 44 267 71 06
www.prohelvetia.ch

 Press release: Pdf

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Mutamenti
 Global cultural and territorial evolutions

Mutamenti is the title of a major multidisciplinary cultural event planned for 24 and 25 August 2007 in the setting of Bellinzona's three castles (Castelgrande-Montebello-Sasso Corbaro ). For the very first time, they are simultaneously hosting exhibitions and productions dedicated to Swiss artistic creation and, in particular, to contemporary art. Mutamenti is theconcluding project of the Gallerie 57/34.6 km programme of the Swiss Arts Council, Pro Helvetia, built around the theme of the new St. Gotthard and Lötschberg Tunnels. Taking a historical perspective, the programme has shed light on the relationship between mobility and cultural identity.

A packed programme

Mutamenti's packed programme, which is also going to be opening a window in Zurich on 4 July 2007, encompasses theoretical ideas, visual arts, literature and video films. In addition to Pro Helvetia, the event's official partner is the City of Bellinzona along with the tourist board for Bellinzona and district. Mutamenti is to appeal not only to those with an active role on the cultural scene, but also to the public at large and to young people.

Opening and official inauguration:

Friday, 24 August at 18.00 in the Castelgrande

  


 

Mutamenti-Visioni
 Exhibition

24 August – 4 November
Artists, who often adopt provocative and less conventional forms of language, are the interpreters and promoters of new trends in contemporary creativity. The artists whose work is to be exhibited in Bellinzona have been selected on account of their capacity, through their works, to prompt us to think about the phenomenon of globalisation and the evolutions induced by it. The exhibition, curated by Boris Magrini, is being staged on the premises of the three castles (Castelgrande, Montebello and Sasso Corbaro). It is to be inaugurated on 25 August at 16.00 and will remain open to the public until 4 November. The chosen artists are Valentin Carron, Al Fadhil, Ivana Falconi, Fabrizio Giannini, Bob Gramsma, Andreas Helbling, Yves Mettler, Aldo Mozzini, Sladjan Nedeljkovic, Hinrich Sachs, Nika Spalinger, Jules Spinatsch, Supersober - Bohdan Stehlik / Una Szeemann, Olga Titus and Costa Vece.

Opening:
 Saturday, 25 August, 16.00
 Castelgrande / Montebello / Sasso Corbaro, Bellinzona

The exhibition lasts until 4 November 2007

  

 

Mutamenti-Segni
First-hand records

The active participants in the “Segnidiversisegnatiinversi” project, which has been developed in the course of the “Gallerie 57/34.6 km” programme, are primarily the construction workers in the Alptransit tunnelling project in all their various functions. Labourers and managers, as well as occasional visitors, have produced artistic works, without being subject to any sort of constraint at all, and these works now constitute an extraordinary collection of first-hand records.

The social situation prevalent in each of the workplaces and the environmental and regional impressions made on their creators are recounted through drawings, texts, shapes and colours. This exhibition is supervised by the artist Nando Snozzi – with Gianni Hoffmann, Anna Schmid, Anna-Rita Stoffel, Claudio Tettamanti, Simona Viviani - and is on display in the exhibition rooms of the Sasso Corbaro castle. 

Opening:
Saturday, 25 August, 11.00
Castello Sasso Corbaro, Bellinzona

The exhibition lasts until 4 November 

  
   

PRO HELVETIA
Fondazione svizzera per la cultura
Hirschengraben 22
CH - 8024 Zürich
T +41 44 267 71 71
F +41 44 267 71 06
www.prohelvetia.ch

 Press release: Pdf

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]]> -1 8/16/2007 6:46:38 PM Opening: Môtiers 2007-Art in the Open Air

 
English                                                                                           Back

 

This summer come and experience an art exhibit unlike any others!
 
In the French-speaking part of Switzerland:
 
Môtiers 2007 - Art in the Open Air
 
23 June - 23 September
 
What is Môtiers?
A pictoresque Swiss village in the Neuchâtel Jura, 15 minutes from the city of Pontarlier in the Franche-Comté region of neighbouring France.
Môtiers has been known for its open and curious spirit since the stay here of Jean-Jacques Rousseau (1762-1765).
 
Why Môtiers 2007?
Because up to now there have been previous versions: a Môtiers '83, a Môtiers '89, a Môtiers '95 and a Môtiers 2003.
 
Art in the Open Air?
75 works of contemporary art created by the best Swiss artists for a site chosen for its natural beauty. The poster alone is signed by Günther Förg.
 
And for the visitors?
After a visit to the Biennale in Venise or the Documenta in Kassel, and before the FIAC in Paris, come for a fresh breath of art here in Môtiers.


 

Affiche de Günther Förg
 
   

Môtiers 2007 - Art in the Open Air

For further information, media contact:
Marie Delachaux / Clos du Terreau, 6 / 2112 Môtiers / CH

www.artmotiers.ch

Curator: Pierre-André Delachaux

  

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This summer come and experience an art exhibit unlike any others!
 
In the French-speaking part of Switzerland:
 
Môtiers 2007 - Art in the Open Air
 
23 June - 23 September
 
What is Môtiers?
A pictoresque Swiss village in the Neuchâtel Jura, 15 minutes from the city of Pontarlier in the Franche-Comté region of neighbouring France.
Môtiers has been known for its open and curious spirit since the stay here of Jean-Jacques Rousseau (1762-1765).
 
Why Môtiers 2007?
Because up to now there have been previous versions: a Môtiers '83, a Môtiers '89, a Môtiers '95 and a Môtiers 2003.
 
Art in the Open Air?
75 works of contemporary art created by the best Swiss artists for a site chosen for its natural beauty. The poster alone is signed by Günther Förg.
 
And for the visitors?
After a visit to the Biennale in Venise or the Documenta in Kassel, and before the FIAC in Paris, come for a fresh breath of art here in Môtiers.


 

Affiche de Günther Förg
 
   

Môtiers 2007 - Art in the Open Air

For further information, media contact:
Marie Delachaux / Clos du Terreau, 6 / 2112 Môtiers / CH

www.artmotiers.ch

Curator: Pierre-André Delachaux

  

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]]> -1 6/6/2007 2:15:29 PM Opening: AFFINITIES AND COMPLEMENTS, Museo Cantonale d’Arte, Lugano

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The Museo Cantonale d’Arte is 20 years old

7 June – 9 September, 2007
 
AFFINITIES AND COMPLEMENTS
 
Works from Swiss Museums in dialog with the Collection of the Museo Cantonale d'Arte Lugano

Opening:

Wednesday 6 June, 6.30 pm

The Museo Cantonale d’Arte, inaugurated in the fall of 1997, celebrates twenty years of activity this year. In honour of the occasion, the museum presents an exhibition entitled Affinities and Complements, a tribute to Swiss Museums with regard to the principal museum institution in Ticino.

The exhibition is composed of a journey through the art of the 1900’s, starting with a selection of works from the museum’s collection, and is accompanied by important works from public collections throughout the Swiss Confederation thanks to the involvement of museums such as the Kunsthaus of Zurich and Argovia, the Kunstmuseums of Basel, Berne, Lucerne, Winterthur, Soletta and Chur, the Musée d’art et d’histoire, the Musée d’art moderne et contemporain and the Cabinet des estampes in Geneva, the Musée cantonal des Beaux-Arts in Lausanne, the Zentrum Paul Klee of Berne and the Musée Jenisch in Vevey.

Launching the exhibit, which is built around a sequence of significant small units centred each time upon a single artist or a thematic group, is the section dedicated to Swiss Expressionism by the Gruppo Rot-Blau, followed up by small “monographic” sections illustrating the works of some of the important figures of the avant-garde from the first half of the 1900’s such as Paul Klee, Jean Arp and Sophie Taeuber-Arp, Hans Richter, Oskar Shlemmer, César Domela, and Amédée Ozenfant. A separate section will be reserved for Swiss Concrete Art, with works by Max Bill, Richard Paul Lohse, and Camille Graeser. With regard to more recent artistic experiences, a close look is given to Italian art after the Second World War represented by some of the exponents of Arte Povera (Mario Merz, Giulio Paolini, Gilberto Zorio), by artists working in photography, and by Swiss and Ticinese artists Markus Raetz, Urs Lüthi, Niele Toroni, Flavio Paolucci and Gianfredo Camesi.

Artists in the exhibition :

Jean Arp, Max Bill, Julius Bissier, Gustave Buchet, Balthasar Burkhard, Antonio Calderara, Paul Camenisch, Gianfredo Camesi, Theo van Doesburg, César Domela, Ignaz Epper, Conrad Felixmüller, Fillia (Luigi Colombo), Lucio Fontana, Hamish Fulton, Fritz Glarner, Camille Graeser, Walter Helbig, Roni Horn, Alexj von Jawlensky, Paul Klee, Richard Paul Lohse, Urs Lüthi, Mario Merz, Giorgio Morandi, Albert Müller, Otto Nebel, Werner Neuhaus, Ben Nicholson, Meret Oppenheim, Amédée Ozenfant, Giulio Paolini, Flavio Paolucci, Markus Raetz, Hans Richter, Christian Rohlfs, Hermann Scherer, Oskar Schlemmer, Wilhelm Schmid, Thomas Struth, Max Sulzbachner, Sophie Taeuber-Arp, Niele Toroni, Marianne von Werefkin, Michele Zaza, Gilberto Zorio.

A catalogue in Italian, with texts by Rainer Michael Mason, Manuela Kahn-Rossi and Marco Franciolli, accompanies the exhibition.  

The exhibition will be on display through 9 September, 2007.
Paul Klee, Tänzerpaar, 1923 Kunstmuseum St. Gallen
Donazione Erna e Curt Burgauer, Küsnacht
 
 
   

Museo Cantonale d'Arte
Via Canova 10
6900 Lugano (Switzerland)
p +41 (0)91 910 47 80
f +41 (0)91 910 47 89
e-mail  decs-mca@ti.ch
Opening hours: Tuesday 2 p.m. -5 p.m.
Wednesday to Saturday 10 to 5 p.m., Sunday 10-18 p.m. Monday closed
 www.museo-cantonale-arte.ch

 Comunicato stampa: Pdf
Press release: Pdf

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The Museo Cantonale d’Arte is 20 years old

7 June – 9 September, 2007
 
AFFINITIES AND COMPLEMENTS
 
Works from Swiss Museums in dialog with the Collection of the Museo Cantonale d'Arte Lugano

Opening:

Wednesday 6 June, 6.30 pm

The Museo Cantonale d’Arte, inaugurated in the fall of 1997, celebrates twenty years of activity this year. In honour of the occasion, the museum presents an exhibition entitled Affinities and Complements, a tribute to Swiss Museums with regard to the principal museum institution in Ticino.

The exhibition is composed of a journey through the art of the 1900’s, starting with a selection of works from the museum’s collection, and is accompanied by important works from public collections throughout the Swiss Confederation thanks to the involvement of museums such as the Kunsthaus of Zurich and Argovia, the Kunstmuseums of Basel, Berne, Lucerne, Winterthur, Soletta and Chur, the Musée d’art et d’histoire, the Musée d’art moderne et contemporain and the Cabinet des estampes in Geneva, the Musée cantonal des Beaux-Arts in Lausanne, the Zentrum Paul Klee of Berne and the Musée Jenisch in Vevey.

Launching the exhibit, which is built around a sequence of significant small units centred each time upon a single artist or a thematic group, is the section dedicated to Swiss Expressionism by the Gruppo Rot-Blau, followed up by small “monographic” sections illustrating the works of some of the important figures of the avant-garde from the first half of the 1900’s such as Paul Klee, Jean Arp and Sophie Taeuber-Arp, Hans Richter, Oskar Shlemmer, César Domela, and Amédée Ozenfant. A separate section will be reserved for Swiss Concrete Art, with works by Max Bill, Richard Paul Lohse, and Camille Graeser. With regard to more recent artistic experiences, a close look is given to Italian art after the Second World War represented by some of the exponents of Arte Povera (Mario Merz, Giulio Paolini, Gilberto Zorio), by artists working in photography, and by Swiss and Ticinese artists Markus Raetz, Urs Lüthi, Niele Toroni, Flavio Paolucci and Gianfredo Camesi.

Artists in the exhibition :

Jean Arp, Max Bill, Julius Bissier, Gustave Buchet, Balthasar Burkhard, Antonio Calderara, Paul Camenisch, Gianfredo Camesi, Theo van Doesburg, César Domela, Ignaz Epper, Conrad Felixmüller, Fillia (Luigi Colombo), Lucio Fontana, Hamish Fulton, Fritz Glarner, Camille Graeser, Walter Helbig, Roni Horn, Alexj von Jawlensky, Paul Klee, Richard Paul Lohse, Urs Lüthi, Mario Merz, Giorgio Morandi, Albert Müller, Otto Nebel, Werner Neuhaus, Ben Nicholson, Meret Oppenheim, Amédée Ozenfant, Giulio Paolini, Flavio Paolucci, Markus Raetz, Hans Richter, Christian Rohlfs, Hermann Scherer, Oskar Schlemmer, Wilhelm Schmid, Thomas Struth, Max Sulzbachner, Sophie Taeuber-Arp, Niele Toroni, Marianne von Werefkin, Michele Zaza, Gilberto Zorio.

A catalogue in Italian, with texts by Rainer Michael Mason, Manuela Kahn-Rossi and Marco Franciolli, accompanies the exhibition.  

The exhibition will be on display through 9 September, 2007.
Paul Klee, Tänzerpaar, 1923 Kunstmuseum St. Gallen
Donazione Erna e Curt Burgauer, Küsnacht
 
 
   

Museo Cantonale d'Arte
Via Canova 10
6900 Lugano (Switzerland)
p +41 (0)91 910 47 80
f +41 (0)91 910 47 89
e-mail  decs-mca@ti.ch
Opening hours: Tuesday 2 p.m. -5 p.m.
Wednesday to Saturday 10 to 5 p.m., Sunday 10-18 p.m. Monday closed
 www.museo-cantonale-arte.ch

 Comunicato stampa: Pdf
Press release: Pdf

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]]> -1 6/2/2007 4:25:13 AM L'ART ET SES AMANTS Schweizerischer Kunstverein

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L'ART ET SES AMANTS

La fête
Schweizerischer Kunstverein

Das Fest
Société Suisse des Beaux-Arts

Samedi 9 septembre 2006

Ancienne usine de harpes
rue de la Sagne
Sainte-Croix VD
11h–17h30

Le programme
 

 
   

Ancienne usine de harpes
rue de la Sagne
Sainte-Croix VD
11h–17h30
 

Société Suisse des Beaux-Arts / Schweizerischer
Kunstverein, Marianne Reusser, T 044 241 63 01

http://www.kunstverein.ch/

 PROGRAMME: Pdf
   
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L'ART ET SES AMANTS

La fête
Schweizerischer Kunstverein

Das Fest
Société Suisse des Beaux-Arts

Samedi 9 septembre 2006

Ancienne usine de harpes
rue de la Sagne
Sainte-Croix VD
11h–17h30

Le programme
 

 
   

Ancienne usine de harpes
rue de la Sagne
Sainte-Croix VD
11h–17h30
 

Société Suisse des Beaux-Arts / Schweizerischer
Kunstverein, Marianne Reusser, T 044 241 63 01

http://www.kunstverein.ch/

 PROGRAMME: Pdf
   
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]]> -1 1/4/2007 3:52:37 AM CACT Centro d’Arte Contemporanea Ticino Emotional man. Insighths into beauty and the beast

English   Italian                                                                             Back

 

EMOTIONAL MAN. INSIGHTS INTO BEAUTY AND THE BEAST

Nniet Brovdi, Marcus Coates, Andrea Crosa, Mauro Ghiglione, Anthony Howard, Supersober Bohdan Stehlik/Una Szeemann, Marco Villani

CACT Centro d’Arte Contemporanea Ticino, Bellinzona
Vernissage Saturday 25th November 2006, ore 17:30
25th November 2006 ¬ 25th February 2007
Fri-Sat-Sun 14:00-18:00 or by appointment

Emotional Man. Insights into Beauty and the Beast is the ruddle of an art exhibition which the CACT Contemporary Art Centre of Ticino will set out in 2007 around – as well – the identification code numbers, with a particular reference to the historic movement of Body Art, Performance and – more recently – of visual Punk , bringing all those attitudes and visionary behaviours within the resistance, counter-culture and artistic and/or political militancy. Therefore a particular consideration has to be made not only on the contents, but also on the mean of production, a linguistic instrument of no less importance, and on its use.

In the age of subjectivization as likely and maybe also inevitable consequence that derives from a materialistic, television and technologized society, the themes of human personal and inner universe, several times already developed by CACT, are able to push up to the line that is the boundary between reality and nihilism, between delight and grief. That line over which our private and political involvement makes us feel like having gone across a hard, but necessary threshold. An apocalyptical vision or a revelation?

The title of the exhibition is inspired by the film work of the American artist Anthony Howard (USA 1976), Emotional Man carried out in 2004, by which he describes the obstacles that the hypersensitive person meets within his/her own interaction with the surrounding world and the socio-cultural structure. In the in the behavioural universe, that are by now globalised too, the tendency to captivity’s attitudes, considered unusual, takes us to react marginally and cut ourselves off the group. What is interesting is the experimental use, linked to television consumerism vaguely “trash”, of the mean of video in Emotional Man side by side with its meaning.

He’s already been protagonist in the British Art Show 6 exhibition at the Baltic in Newcastle, re-set in a second stage in London, the English artist Marcus Coates (England 1968) explains by his video Finfolk carried out in 2003 the aspects deeply anthropological of human nature. Finfolk is about a human identity – as many among his videos – that hides in itself its own animal self-evident origins. The work upsets the preconstituted order of things, bringing back spiritual and natural identity on a more ontological level. What is important for the interpretation purposes is the coming apart caused by his work within the inner and the individual identity of the human being and the social structure that embraces him.

The author Nniet Brovdi (Italia) goes through the birth and the growth, from the Seventies, of the Punk movement, generating works of art which are highly performing and perpetually changing. Composer, performer and professionally involved with video art, Brovdi sums up in his work also the development of the historic movement with a particular reference to Body Art and to all performative aspects in progress. His production is included in the reflection focused on past times and future ones, fully falling into line with the international current of the synthesis of physical art, like that of Punk and all the culture of behaviour related to the humiliation and glorification of the body, like a pleasant sublimation of oneself existential life.

Paris is burning (2006) is the video of the multimedia duo Supersober Bohdan Stehlik / Una Szeeman (Svizzera 1973 / Switzerland 1975) that opens the exhibition. It is in a clip form, as to emulate almost the television rendering in a very close relationship of space and time, the work freely draws its inspiration from the events of protest of the young rebels from the Parisian suburbs that took place last year. It is interesting to take notice of how the artists have associated the terrible account of behaviours of the dissatisfied youth, mostly Maghrebian and Muslim, badly integrated within the television communication criteria that turn every information in a pure process of show-like posing facts on an aesthetic level.

Mauro Ghiglione (Italy 1959), he is multimedia too, always sensibly careful observer of History and of its evolutionary concepts, brings us back, on the other hand, to awareness and to our own ethical and moral identity.

On one hand Andrea Crosa (Italy / Argentina 1949), also drawing from a literary nineteenth-century and fantastic root [Lewis Carroll in particular], works with painting and sculpture on the topic of the imminence of a catastrophe not announced, through a clever use of the concept of suspension in time, bewilderments in perspective and invisible as much as disquieting human presence; on the other hand Marco Villani (Italy 1973) surely backs him with his work entitled Hiroshima 1945 (2006). The video is a re-examination of a historic film of the American bombing over Japan during the Second World War, which the artist mounts reproposing the theme of historic revisiting through the modern mass media.

Next exhibition

ANDREA CROSA
Time out of joint (Suburban Gulliver)
24th March – 20th May 2007


[translation Silvia Porcedda] 

 
SUPERSOBER Bohdan Stehlik-Una Szeemann, Paris is burning, video still 2006.
   

CACTicino
CENTRO D'ARTE CONTEMPORANEA TICINO
 Via Tamaro 3 - 6500 Bellinzona (Switzerland)
 Phone +41 (0)91 825 40 72 Fax +41 (0)91 825 40 85
www.cacticino.net

 Comunicato stampa: Pdf
Press release: Pdf

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EMOTIONAL MAN. INSIGHTS INTO BEAUTY AND THE BEAST

Nniet Brovdi, Marcus Coates, Andrea Crosa, Mauro Ghiglione, Anthony Howard, Supersober Bohdan Stehlik/Una Szeemann, Marco Villani

CACT Centro d’Arte Contemporanea Ticino, Bellinzona
Vernissage Saturday 25th November 2006, ore 17:30
25th November 2006 ¬ 25th February 2007
Fri-Sat-Sun 14:00-18:00 or by appointment

Emotional Man. Insights into Beauty and the Beast is the ruddle of an art exhibition which the CACT Contemporary Art Centre of Ticino will set out in 2007 around – as well – the identification code numbers, with a particular reference to the historic movement of Body Art, Performance and – more recently – of visual Punk , bringing all those attitudes and visionary behaviours within the resistance, counter-culture and artistic and/or political militancy. Therefore a particular consideration has to be made not only on the contents, but also on the mean of production, a linguistic instrument of no less importance, and on its use.

In the age of subjectivization as likely and maybe also inevitable consequence that derives from a materialistic, television and technologized society, the themes of human personal and inner universe, several times already developed by CACT, are able to push up to the line that is the boundary between reality and nihilism, between delight and grief. That line over which our private and political involvement makes us feel like having gone across a hard, but necessary threshold. An apocalyptical vision or a revelation?

The title of the exhibition is inspired by the film work of the American artist Anthony Howard (USA 1976), Emotional Man carried out in 2004, by which he describes the obstacles that the hypersensitive person meets within his/her own interaction with the surrounding world and the socio-cultural structure. In the in the behavioural universe, that are by now globalised too, the tendency to captivity’s attitudes, considered unusual, takes us to react marginally and cut ourselves off the group. What is interesting is the experimental use, linked to television consumerism vaguely “trash”, of the mean of video in Emotional Man side by side with its meaning.

He’s already been protagonist in the British Art Show 6 exhibition at the Baltic in Newcastle, re-set in a second stage in London, the English artist Marcus Coates (England 1968) explains by his video Finfolk carried out in 2003 the aspects deeply anthropological of human nature. Finfolk is about a human identity – as many among his videos – that hides in itself its own animal self-evident origins. The work upsets the preconstituted order of things, bringing back spiritual and natural identity on a more ontological level. What is important for the interpretation purposes is the coming apart caused by his work within the inner and the individual identity of the human being and the social structure that embraces him.

The author Nniet Brovdi (Italia) goes through the birth and the growth, from the Seventies, of the Punk movement, generating works of art which are highly performing and perpetually changing. Composer, performer and professionally involved with video art, Brovdi sums up in his work also the development of the historic movement with a particular reference to Body Art and to all performative aspects in progress. His production is included in the reflection focused on past times and future ones, fully falling into line with the international current of the synthesis of physical art, like that of Punk and all the culture of behaviour related to the humiliation and glorification of the body, like a pleasant sublimation of oneself existential life.

Paris is burning (2006) is the video of the multimedia duo Supersober Bohdan Stehlik / Una Szeeman (Svizzera 1973 / Switzerland 1975) that opens the exhibition. It is in a clip form, as to emulate almost the television rendering in a very close relationship of space and time, the work freely draws its inspiration from the events of protest of the young rebels from the Parisian suburbs that took place last year. It is interesting to take notice of how the artists have associated the terrible account of behaviours of the dissatisfied youth, mostly Maghrebian and Muslim, badly integrated within the television communication criteria that turn every information in a pure process of show-like posing facts on an aesthetic level.

Mauro Ghiglione (Italy 1959), he is multimedia too, always sensibly careful observer of History and of its evolutionary concepts, brings us back, on the other hand, to awareness and to our own ethical and moral identity.

On one hand Andrea Crosa (Italy / Argentina 1949), also drawing from a literary nineteenth-century and fantastic root [Lewis Carroll in particular], works with painting and sculpture on the topic of the imminence of a catastrophe not announced, through a clever use of the concept of suspension in time, bewilderments in perspective and invisible as much as disquieting human presence; on the other hand Marco Villani (Italy 1973) surely backs him with his work entitled Hiroshima 1945 (2006). The video is a re-examination of a historic film of the American bombing over Japan during the Second World War, which the artist mounts reproposing the theme of historic revisiting through the modern mass media.

Next exhibition

ANDREA CROSA
Time out of joint (Suburban Gulliver)
24th March – 20th May 2007


[translation Silvia Porcedda] 

 
SUPERSOBER Bohdan Stehlik-Una Szeemann, Paris is burning, video still 2006.
   

CACTicino
CENTRO D'ARTE CONTEMPORANEA TICINO
 Via Tamaro 3 - 6500 Bellinzona (Switzerland)
 Phone +41 (0)91 825 40 72 Fax +41 (0)91 825 40 85
www.cacticino.net

 Comunicato stampa: Pdf
Press release: Pdf

Supported By:
 		  

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]]> -1 12/18/2006 11:31:44 AM The Image of the Void An Investigation on Italian Art 1958-2006

English   Italian                                                                             Back

 

The Image of the Void
 An Investigation on Italian Art 1958-2006

Museo Cantonale d'Arte, Lugano

7 October 2006 – 7 January 2007

Press conference: Friday 6th October, 11.00 a.m.

Opening: Friday 6th October, 6.30 p.m.

The exhibition The Image of the Void. An Investigation on Italian Art 1958-2006 focuses on the many aspects of the linguistic revolution triggered in Italian art in the late 1950s. To do this, we must explore the affinities, contaminations and contrasts between the Italian experimental context – at the time dominated by Fontana, Manzoni and Castellani – and Yves Klein, then a major presence in Milan both in exhibitions and in the intense dialectic exchanges.

We will focus on the research of artists such as Lucio Fontana, Yves Klein, Piero Manzoni, Enrico Castellani, Agostino Bonalumi, Francesco Lo Savio, Gianni Colombo, Dadamaino, Giulio Paolini, Alighiero Boetti, Giovanni Anselmo, Gino De Dominicis and Ettore Spalletti to highlight a specifically Italian quality, a hidden, underground approach - an inconsistency almost - that ran subtly through the course of research on the European scene in the second half of the 20th century.

The exhibition will illustrate the approach that countered the more frequently adopted and diffuse “expressive” component with an “evocative” metaphysical matrix. It shows these artists’ common need to leave their psychological and subjective identities to one side and make the creator of the work impersonal and absolute.

After the Art Informel period, centred on the Self, the new generation moved away from a pre-eminent subject, striving to venture beyond the confines of the immaterial and make the exquisitely pictorial space of the void, the dimension of infinity, absolute colour and the codes of artistic practice essential elements in the shaping of a new vision of the status of the work and of the very identity of art. We intend to analyse a course of research that, despite its innovatory portent, seems in its radical annulment to have conserved an awareness of the inalienable need for the image. An image that appears “bodiless” and that escaped the stalemate of the British form of analytical and declaredly conceptual art, which rejects the image a priori. This course never relied on purely theoretical-speculative stances but chose to remain true to the pre-eminence of the image

Finally, the exhibition explores the legacy that these major players of the second half of the 20th century left to the newest generation, identifying the aspects of that period that live on in today’s Italian art vocabulary. To this end, there will be works by artists such as Mario Airò, Francesco Barocco, Gianni Caravaggio, Martino Coppes, Daniela De Lorenzo, Chiara Dynys, Francesco Gennari, Eva Marisaldi, Amedeo Martegani, Sabrina Mezzaqui, Diego Perrone, Luca Trevisani, Francesco Vella e Italo Zuffi.

Artists in the exhibition : Mario Airó, Francesco Barocco, Giovanni Anselmo, Alighiero Boetti, Agostino Bonalumi, Gianni Caravaggio, Enrico Castellani, Gianni Colombo, Martino Coppes,  Dadamaino, Gino De Dominicis, Daniela De Lorenzo, Chiara Dynys, Luciano Fabro, Lucio Fontana, Francesco Gennari, Yves Klein, Francesco Lo Savio, Piero Manzoni, Eva Marisaldi, Amedeo Martegani, Sabrina Mezzaqui, Giulio Paolini, Diego Perrone, Michelangelo Pistoletto, Ettore Spalletti, Luca Trevisani, Francesco Vella e Italo Zuffi.

Exhibition curated by Marco Franciolli, Director, and Bettina Della Casa, Curator, Museo Cantonale d’Arte, Lugano. Video section by Elena Volpato.

Catalogue: Italian/English, Skira Publishing House, Milan. 120 colour pages. Introduction by Marco Franciolli. Texts by Bruno Corà, Bettina Della Casa, Marcello Ghilardi, Tony Godfrey, Ada Masoero, Giulio Paolini, Annemarie Sauzeau, Dieter Schwarz and Elena Volpato. Artists' profiles by Simone Menegoi.

Informazioni e richiesta di materiali stampa:

Italia : uessearte - Como   tel. (0039)031.269393  fax (0039)031.267265  e-mail: info@uessearte.it

Svizzera : Museo Cantonale d'Arte (Benedetta Giorgi Pompilio), Lugano:  tel. 091. 9104787  fax 091.9104789  

e-mail: benedetta.giorgi@ti.ch

 
Giovanni Anselmo, Particolare, 1972
Proiettori e diapositive con la parola “Particolare” veduta parziale dell'installazione.
Collezione dell’artista, Torino
Foto Paolo Mussat Sartor, Torino
 
   

Museo Cantonale d'Arte
Via Canova 10
6900 Lugano (Switzerland)
p +41 (0)91 910 47 80
f +41 (0)91 910 47 89
 Opening hours: Tuesday 2 p.m. -5 p.m.
Wednesday to Saturday 10 to 5 p.m., Sunday 10-18 p.m. Monday closed
Entrance fee: Fr. 10.-, € 7.-; AVS, students, groups Fr. 7.-, € 5.-.
www.museo-cantonale-arte.ch

 Comunicato stampa: Pdf
Press release: Pdf

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]]>

English   Italian                                                                             Back

 

The Image of the Void
 An Investigation on Italian Art 1958-2006

Museo Cantonale d'Arte, Lugano

7 October 2006 – 7 January 2007

Press conference: Friday 6th October, 11.00 a.m.

Opening: Friday 6th October, 6.30 p.m.

The exhibition The Image of the Void. An Investigation on Italian Art 1958-2006 focuses on the many aspects of the linguistic revolution triggered in Italian art in the late 1950s. To do this, we must explore the affinities, contaminations and contrasts between the Italian experimental context – at the time dominated by Fontana, Manzoni and Castellani – and Yves Klein, then a major presence in Milan both in exhibitions and in the intense dialectic exchanges.

We will focus on the research of artists such as Lucio Fontana, Yves Klein, Piero Manzoni, Enrico Castellani, Agostino Bonalumi, Francesco Lo Savio, Gianni Colombo, Dadamaino, Giulio Paolini, Alighiero Boetti, Giovanni Anselmo, Gino De Dominicis and Ettore Spalletti to highlight a specifically Italian quality, a hidden, underground approach - an inconsistency almost - that ran subtly through the course of research on the European scene in the second half of the 20th century.

The exhibition will illustrate the approach that countered the more frequently adopted and diffuse “expressive” component with an “evocative” metaphysical matrix. It shows these artists’ common need to leave their psychological and subjective identities to one side and make the creator of the work impersonal and absolute.

After the Art Informel period, centred on the Self, the new generation moved away from a pre-eminent subject, striving to venture beyond the confines of the immaterial and make the exquisitely pictorial space of the void, the dimension of infinity, absolute colour and the codes of artistic practice essential elements in the shaping of a new vision of the status of the work and of the very identity of art. We intend to analyse a course of research that, despite its innovatory portent, seems in its radical annulment to have conserved an awareness of the inalienable need for the image. An image that appears “bodiless” and that escaped the stalemate of the British form of analytical and declaredly conceptual art, which rejects the image a priori. This course never relied on purely theoretical-speculative stances but chose to remain true to the pre-eminence of the image

Finally, the exhibition explores the legacy that these major players of the second half of the 20th century left to the newest generation, identifying the aspects of that period that live on in today’s Italian art vocabulary. To this end, there will be works by artists such as Mario Airò, Francesco Barocco, Gianni Caravaggio, Martino Coppes, Daniela De Lorenzo, Chiara Dynys, Francesco Gennari, Eva Marisaldi, Amedeo Martegani, Sabrina Mezzaqui, Diego Perrone, Luca Trevisani, Francesco Vella e Italo Zuffi.

Artists in the exhibition : Mario Airó, Francesco Barocco, Giovanni Anselmo, Alighiero Boetti, Agostino Bonalumi, Gianni Caravaggio, Enrico Castellani, Gianni Colombo, Martino Coppes,  Dadamaino, Gino De Dominicis, Daniela De Lorenzo, Chiara Dynys, Luciano Fabro, Lucio Fontana, Francesco Gennari, Yves Klein, Francesco Lo Savio, Piero Manzoni, Eva Marisaldi, Amedeo Martegani, Sabrina Mezzaqui, Giulio Paolini, Diego Perrone, Michelangelo Pistoletto, Ettore Spalletti, Luca Trevisani, Francesco Vella e Italo Zuffi.

Exhibition curated by Marco Franciolli, Director, and Bettina Della Casa, Curator, Museo Cantonale d’Arte, Lugano. Video section by Elena Volpato.

Catalogue: Italian/English, Skira Publishing House, Milan. 120 colour pages. Introduction by Marco Franciolli. Texts by Bruno Corà, Bettina Della Casa, Marcello Ghilardi, Tony Godfrey, Ada Masoero, Giulio Paolini, Annemarie Sauzeau, Dieter Schwarz and Elena Volpato. Artists' profiles by Simone Menegoi.

Informazioni e richiesta di materiali stampa:

Italia : uessearte - Como   tel. (0039)031.269393  fax (0039)031.267265  e-mail: info@uessearte.it

Svizzera : Museo Cantonale d'Arte (Benedetta Giorgi Pompilio), Lugano:  tel. 091. 9104787  fax 091.9104789  

e-mail: benedetta.giorgi@ti.ch

 
Giovanni Anselmo, Particolare, 1972
Proiettori e diapositive con la parola “Particolare” veduta parziale dell'installazione.
Collezione dell’artista, Torino
Foto Paolo Mussat Sartor, Torino
 
   

Museo Cantonale d'Arte
Via Canova 10
6900 Lugano (Switzerland)
p +41 (0)91 910 47 80
f +41 (0)91 910 47 89
 Opening hours: Tuesday 2 p.m. -5 p.m.
Wednesday to Saturday 10 to 5 p.m., Sunday 10-18 p.m. Monday closed
Entrance fee: Fr. 10.-, € 7.-; AVS, students, groups Fr. 7.-, € 5.-.
www.museo-cantonale-arte.ch

 Comunicato stampa: Pdf
Press release: Pdf

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 www.plug-in.ch
   
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]]> -1 9/27/2006 9:16:17 AM PLAY_gallery for still and motion pictures presents: “Love Neutral” by Pierre Coulibeuf

Plug-in contemporary art news
English                                                                                          Back

 

PLAY_gallery for still and motion pictures presents:

“Love Neutral”
by Pierre Coulibeuf

Opening: Saturday, 25th March 2006, 7pm
25th March - 30th April 2006
The gallery is open Wed – Sat, 2 – 7pm
 

Artist’s statement :

1) The installations (still and moving images)

« Lost Paradise » and « Love Neutral» are part of a cross-disciplinary project which brings together various artistic disciplines : cinema, photography, sculpture, architecture, literature and painting.

These installations are both drawn from my films « Lost Paradise » and « Love Neutral », inspired by the worlds of visual-artist photographers, namely Jean-Marc Bustamante and Suzanne Lafont. The first installation deals primarily with an artwork by
J.-M. Bustamante (the sculpture-structure La Maison Close, situated in the public space), the second deals with subjects pertaining to the work of S. Lafont (portrait and landscape). These artists’ worlds are transformed by a vision, materialised here in installations composed of still and moving images. There is a transition to another imaginary universe. The relation between the works displayed in the exhibition and those of J.-M. Bustamante, S. Lafont and, of course, those of the writer Maurice Blanchot, brings to my mind a verse by Mallarmé : « I appear to myself in you like a far-off shadow. » (Herodiade). The still image gives rise to movement and in turn, the moving image generates still images which simulate the conventions of visual-artistic photography. The photographs are printed directly from the negatives of the original film, more precisely from the rushes (doubles of edited scenes), and are presented as small “photographic paintings”. Between these two traditional categories, the exhibition presents projections of “cinematic paintings”, frozen scenes which push back the frontiers, in this case of artistic categories: the still photographic image, and the moving cinematic image overlay one another in such a way that the limits between them become indiscernible. Subject (portrait/close-up or landscape), fixedness (photo/shot with characters or landscapes), and length (photo/unique shot) are put into a relationship of reciprocal tension.

The installation « Who’s Marina Abramovic ? » is drawn from my film « Balkan Baroque », inspired by the world of Marina Abramovic. This installation plays a segment from the original film within two visual contexts: video and photography. The fixedness of the camera, its frontal position in relation the subject and the décor, the reference to video-performance art, the close-up and the narrative effect, all bring out the multiplicity of relationships between cinema and these two visual objects. The presentation of photos (in the form of “photographic paintings”) printed directly from the original film fulfils the photographic potentialities of the film, above and beyond that which we call in cinema “the photography of film”. In addition, the spatial disposition of objects (videos and photos) should bring into play a vertiginous, and oscillatory relationship between the still and the moving image, and so show the spectator the interval, the in between-images, where the Unknown is fleetingly revealed.
 

2) The Concepts

« Lost Paradise »

Man’s fall from paradise marks the beginning of a space of dislocation, the fractured space of multiple, changing locations, tending towards singularity. The dislocation of space leads to the questioning of the limits of place. Man, left to his own devices, is disorientated within his own off-centre, relativised universe, indifferent to his presence. He is indecisive, fickle, the plaything of chance and encounters. A melancholic feeling accompanies the scant reality of the world, and its silent, enigmatic presence.
« Lost Paradise » makes reference to this distance between Man and the world, this state of ill-defined melancholy provoked by a desire for infinity, for the abolition of limits - desire doomed to remain forever unsatisfied.

« Love Neutral »

A circular and off-centre construction, with an underlying principle of repetition-variation encompassing all of its audiovisual components. This movement displaces little by little the rules of representation. Figures, rather than characters. The figure is this form which draws near to and liberates itself from the notion of the character, which reduces presence to a borderline state, which destroys representation. The figure as nothing more than appearance, a mental projection. Faces, as strange apparitions, detached from the décor. Faces, as landscapes, are the realm of sensation. Voices, like separated spirits, are liberated from all psychological expression. « Love Neutral » : proposing of a world which is not the representation of reality, but rather its reflection.

« Who’s Marina Abramovic ? »

A fictional process. In the video, Marina Abramovic is a character with a continuously self-inventing and multiple identity. The video does not recreate performances, but produces new images of the artist. In this way all the images are original, whether inspired by actual performances or purely imaginary. Video creates its own reality. The character stands on the frontier, between the real and the imaginary. In this gap, this interval, Marina Abramovic appears in multiple guises. The video plays with representation, blurs both cinematic and artistic codes.

At the opening, the new book by Pierre Coulibeuf published by fine arts unternehmen books
and Ambassade de France, Bureau du Cinéma, Bureau des Arts Plastiques, AFAA, will be officially presented.

 

Pierre Coulibeuf, cinematographer and visual artist. He is elaborating a cross-disciplinary project with cinema, photography, video and installation art. He lives in Paris.
Selected exhibitions/festivals : 2006 - Deichtorhallen-Haus der Photographie, Hamburg (Germany) ; 2005 - 5th Bienniale of contemporary art of Mercosul (International Pavillion) Porto Alegre (Brazil) ; Itau Cultural, Sao Paulo (Brazil) ; Museo Nacional de Artes Visuales, Montevideo (Uruguay) ; Locarno International Film Festival (Switzerland) ; Printemps de septembre, Toulouse (France) ; 11th Bienniale of Moving Image, Genève (Switzerland); Centre d’art du Domaine de Chamarande (France) ; Image Forum-Experimental Film & Video of Tokyo, Kyoto, Fukuoka, Nagoya, Kanazawa (Japan).

 

 
   

PLAY_gallery for still and motion pictures
hannoversche strasse 1 d-10115 Berlin
p +49-30-2345 5753 f +49-30-2345 5754
www.pushthebuttonplay.com
opening hours: wed-sat 2 -7pm

 Press release: Pdf
   
Plug-in
Contemporary art news
www.plug-in.ch
   
subscribe | up-date                                                  to unsubscribe click / here  
]]>

Plug-in contemporary art news
English                                                                                          Back

 

PLAY_gallery for still and motion pictures presents:

“Love Neutral”
by Pierre Coulibeuf

Opening: Saturday, 25th March 2006, 7pm
25th March - 30th April 2006
The gallery is open Wed – Sat, 2 – 7pm
 

Artist’s statement :

1) The installations (still and moving images)

« Lost Paradise » and « Love Neutral» are part of a cross-disciplinary project which brings together various artistic disciplines : cinema, photography, sculpture, architecture, literature and painting.

These installations are both drawn from my films « Lost Paradise » and « Love Neutral », inspired by the worlds of visual-artist photographers, namely Jean-Marc Bustamante and Suzanne Lafont. The first installation deals primarily with an artwork by
J.-M. Bustamante (the sculpture-structure La Maison Close, situated in the public space), the second deals with subjects pertaining to the work of S. Lafont (portrait and landscape). These artists’ worlds are transformed by a vision, materialised here in installations composed of still and moving images. There is a transition to another imaginary universe. The relation between the works displayed in the exhibition and those of J.-M. Bustamante, S. Lafont and, of course, those of the writer Maurice Blanchot, brings to my mind a verse by Mallarmé : « I appear to myself in you like a far-off shadow. » (Herodiade). The still image gives rise to movement and in turn, the moving image generates still images which simulate the conventions of visual-artistic photography. The photographs are printed directly from the negatives of the original film, more precisely from the rushes (doubles of edited scenes), and are presented as small “photographic paintings”. Between these two traditional categories, the exhibition presents projections of “cinematic paintings”, frozen scenes which push back the frontiers, in this case of artistic categories: the still photographic image, and the moving cinematic image overlay one another in such a way that the limits between them become indiscernible. Subject (portrait/close-up or landscape), fixedness (photo/shot with characters or landscapes), and length (photo/unique shot) are put into a relationship of reciprocal tension.

The installation « Who’s Marina Abramovic ? » is drawn from my film « Balkan Baroque », inspired by the world of Marina Abramovic. This installation plays a segment from the original film within two visual contexts: video and photography. The fixedness of the camera, its frontal position in relation the subject and the décor, the reference to video-performance art, the close-up and the narrative effect, all bring out the multiplicity of relationships between cinema and these two visual objects. The presentation of photos (in the form of “photographic paintings”) printed directly from the original film fulfils the photographic potentialities of the film, above and beyond that which we call in cinema “the photography of film”. In addition, the spatial disposition of objects (videos and photos) should bring into play a vertiginous, and oscillatory relationship between the still and the moving image, and so show the spectator the interval, the in between-images, where the Unknown is fleetingly revealed.
 

2) The Concepts

« Lost Paradise »

Man’s fall from paradise marks the beginning of a space of dislocation, the fractured space of multiple, changing locations, tending towards singularity. The dislocation of space leads to the questioning of the limits of place. Man, left to his own devices, is disorientated within his own off-centre, relativised universe, indifferent to his presence. He is indecisive, fickle, the plaything of chance and encounters. A melancholic feeling accompanies the scant reality of the world, and its silent, enigmatic presence.
« Lost Paradise » makes reference to this distance between Man and the world, this state of ill-defined melancholy provoked by a desire for infinity, for the abolition of limits - desire doomed to remain forever unsatisfied.

« Love Neutral »

A circular and off-centre construction, with an underlying principle of repetition-variation encompassing all of its audiovisual components. This movement displaces little by little the rules of representation. Figures, rather than characters. The figure is this form which draws near to and liberates itself from the notion of the character, which reduces presence to a borderline state, which destroys representation. The figure as nothing more than appearance, a mental projection. Faces, as strange apparitions, detached from the décor. Faces, as landscapes, are the realm of sensation. Voices, like separated spirits, are liberated from all psychological expression. « Love Neutral » : proposing of a world which is not the representation of reality, but rather its reflection.

« Who’s Marina Abramovic ? »

A fictional process. In the video, Marina Abramovic is a character with a continuously self-inventing and multiple identity. The video does not recreate performances, but produces new images of the artist. In this way all the images are original, whether inspired by actual performances or purely imaginary. Video creates its own reality. The character stands on the frontier, between the real and the imaginary. In this gap, this interval, Marina Abramovic appears in multiple guises. The video plays with representation, blurs both cinematic and artistic codes.

At the opening, the new book by Pierre Coulibeuf published by fine arts unternehmen books
and Ambassade de France, Bureau du Cinéma, Bureau des Arts Plastiques, AFAA, will be officially presented.

 

Pierre Coulibeuf, cinematographer and visual artist. He is elaborating a cross-disciplinary project with cinema, photography, video and installation art. He lives in Paris.
Selected exhibitions/festivals : 2006 - Deichtorhallen-Haus der Photographie, Hamburg (Germany) ; 2005 - 5th Bienniale of contemporary art of Mercosul (International Pavillion) Porto Alegre (Brazil) ; Itau Cultural, Sao Paulo (Brazil) ; Museo Nacional de Artes Visuales, Montevideo (Uruguay) ; Locarno International Film Festival (Switzerland) ; Printemps de septembre, Toulouse (France) ; 11th Bienniale of Moving Image, Genève (Switzerland); Centre d’art du Domaine de Chamarande (France) ; Image Forum-Experimental Film & Video of Tokyo, Kyoto, Fukuoka, Nagoya, Kanazawa (Japan).

 

 
   

PLAY_gallery for still and motion pictures
hannoversche strasse 1 d-10115 Berlin
p +49-30-2345 5753 f +49-30-2345 5754
www.pushthebuttonplay.com
opening hours: wed-sat 2 -7pm

 Press release: Pdf
   
Plug-in
Contemporary art news
www.plug-in.ch
   
subscribe | up-date                                                  to unsubscribe click / here  
]]> -1 9/7/2006 8:16:03 AM Che c'è di nuovo?, Museo Cantonale d'Arte, Lugano

English  Italian                                                                            Back

 

CHE C’È DI NUOVO?
Uno sguardo sulla scena artistica emergente in Ticino
(What's New? A look at the emerging art scene in Ticino)

Museo Cantonale d'Arte, Lugano

21 May – 2 July 2006

Opening: Saturday 20 May, 6.30 pm

Press conference: Friday 19 May, 11 am

From 21 May to 2 July 2006 the Museo Cantonale d’Arte is hosting the second edition of What's New? A look at the emerging art scene in Ticino. Instituted in 2003 to bring greater visibility to contemporary art in Canton Ticino, the exhibition is held every three years and seeks primarily to keep the public regularly and directly up to date with what is happening on the ever changing, new art scene. It also gives artists an opportunity to make their work known outside the canton.

The 14 artists present this time are Al Fadhil, Davide Cascio, Umberto De Martino, Donato Di Blasi, Ivana Falconi, Luca Frei, Fabrizio Giannini, Prisca Groh,  Andreas Gysin and Sidi Vanetti,  Piritta Martikainen, Gian Paolo Minelli, Laura Solari, Una Szeemann, Matteo Terzaghi and Marco Zürcher. They were chosen by a select committee from 40 or so names highlighted by critics, curators and art historians working in the region. This choice is by no means a comprehensive overview of what is happening in up and coming artistic creation in Ticino but, as the subtitle says, aims to offer wide-ranging recognition of the trends, languages and themes distinguishing today’s art.

The exhibition project is backed by Percento Culturale Migros Ticino, which as well as contributing to the initiative has set up a ‘prize to encourage artistic creation’ worth CHF 10,000. It will be awarded to one of the artists by a jury of experts from the rest of Switzerland and Italy.

The jury awarding the prize comprises Monica De Cardenas, gallery owner, Luigi Di Corato, art historian and lecturer at the Università Cattolica in Milan, Jean-Paul Felley, art historian and co-director of the Attitudes contemporary art centre in Geneva, Yvonne Pesenti, director of Percento Culturale Migros Ticino and Madeleine Schuppli, director of the Kunstmuseum in Thun.

The prize will be awarded on Saturday 20 May at 6.30 pm, during the inauguration of the exhibition.

Artists:
Al Fadhil, Davide Cascio, Umberto De Martino, Donato Di Blasi, Ivana Falconi, Luca Frei, Fabrizio Giannini, Prisca Groh, Andreas Gysin e Sidi Vanetti, Piritta Martikainen, Gian Paolo Minelli, Laura Solari, Una Szeemann, Matteo Terzaghi e Marco Zürcher.

A 64-page colour catalogue is being published to coincide with the exhibition. Price: CHF 20.00
   

Museo Cantonale d'Arte
Via Canova 10
6900 Lugano (Switzerland)
p +41 (0)91 910 47 80
f +4191 910 47 89
Opening hours: Tues. 2-5pm
Wed.-Sun. 10am-5pm, closed Mondays
www.museo-cantonale-arte.ch

 Comunicato stampa: Pdf
Press release: Pdf

Supported By:
Percento culturale di Migros Ticino
 		  

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CHE C’È DI NUOVO?
Uno sguardo sulla scena artistica emergente in Ticino
(What's New? A look at the emerging art scene in Ticino)

Museo Cantonale d'Arte, Lugano

21 May – 2 July 2006

Opening: Saturday 20 May, 6.30 pm

Press conference: Friday 19 May, 11 am

From 21 May to 2 July 2006 the Museo Cantonale d’Arte is hosting the second edition of What's New? A look at the emerging art scene in Ticino. Instituted in 2003 to bring greater visibility to contemporary art in Canton Ticino, the exhibition is held every three years and seeks primarily to keep the public regularly and directly up to date with what is happening on the ever changing, new art scene. It also gives artists an opportunity to make their work known outside the canton.

The 14 artists present this time are Al Fadhil, Davide Cascio, Umberto De Martino, Donato Di Blasi, Ivana Falconi, Luca Frei, Fabrizio Giannini, Prisca Groh,  Andreas Gysin and Sidi Vanetti,  Piritta Martikainen, Gian Paolo Minelli, Laura Solari, Una Szeemann, Matteo Terzaghi and Marco Zürcher. They were chosen by a select committee from 40 or so names highlighted by critics, curators and art historians working in the region. This choice is by no means a comprehensive overview of what is happening in up and coming artistic creation in Ticino but, as the subtitle says, aims to offer wide-ranging recognition of the trends, languages and themes distinguishing today’s art.

The exhibition project is backed by Percento Culturale Migros Ticino, which as well as contributing to the initiative has set up a ‘prize to encourage artistic creation’ worth CHF 10,000. It will be awarded to one of the artists by a jury of experts from the rest of Switzerland and Italy.

The jury awarding the prize comprises Monica De Cardenas, gallery owner, Luigi Di Corato, art historian and lecturer at the Università Cattolica in Milan, Jean-Paul Felley, art historian and co-director of the Attitudes contemporary art centre in Geneva, Yvonne Pesenti, director of Percento Culturale Migros Ticino and Madeleine Schuppli, director of the Kunstmuseum in Thun.

The prize will be awarded on Saturday 20 May at 6.30 pm, during the inauguration of the exhibition.

Artists:
Al Fadhil, Davide Cascio, Umberto De Martino, Donato Di Blasi, Ivana Falconi, Luca Frei, Fabrizio Giannini, Prisca Groh, Andreas Gysin e Sidi Vanetti, Piritta Martikainen, Gian Paolo Minelli, Laura Solari, Una Szeemann, Matteo Terzaghi e Marco Zürcher.

A 64-page colour catalogue is being published to coincide with the exhibition. Price: CHF 20.00
   

Museo Cantonale d'Arte
Via Canova 10
6900 Lugano (Switzerland)
p +41 (0)91 910 47 80
f +4191 910 47 89
Opening hours: Tues. 2-5pm
Wed.-Sun. 10am-5pm, closed Mondays
www.museo-cantonale-arte.ch

 Comunicato stampa: Pdf
Press release: Pdf

Supported By:
Percento culturale di Migros Ticino
 		  

Plug-in
Contemporary art services
www.plug-in.ch
   
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]]> -1 5/15/2006 CACT Centro d’Arte Contemporanea Ticino The gentle giant, artists from Latin America

English  Italian                                                                            Back

 

The CACT Centro d’Arte Contemporanea Ticino in Bellinzona announces the opening on Saturday 29 April 2006 at 17:30 of the exhibition entitled

IL GIGANTE BUONO. ARTISTI DELL’AMERICA LATINA

THE GENTLE GIANT. ARTISTS FROM LATIN AMERICA

Teresa Margolles, Nils Nova, Tomàs Ochoa

The exhibition seeks to offer a small-scale cross-section of Latin-American artistic production and thought as developed in unusual languages, though the primary medium is video. Its main themes are human existence – its centrality, its resistance to death – and dissipation and dissolution.

For some time Teresa Margolles (Mexico, 1963) has been addressing universal themes using – among other things – an element that is indissolubly connected to life, namely, water. Margolles deploys this element of existence and survival in another way, however, calling into play our responsibilities as human and political beings and showing a different face of civilisation; this is an obscure reality but one we are all familiar with. Working with installations, performance and film, Margolles often uses water as the substance with which dead bodies are washed. In her colour video Baño (Bath), 2004, Margolles represents the beauty of man in his entirety, posed and nude. The contrasts of light she uses create an atmosphere that is reminiscent of Caravaggio, just as the beauty reflected by the actor involves the public in his hedonistic gesture and posture. Here next to the double identity of the element – both pure and contaminated – is the life/death duality of water. Suddenly from “off screen” a bucket of water is thrown at the body – three times in succession and at regular intervals. The violence of this gesture transcends the term bath or the concept of “having a wash”. The elements necessary to an interpretation of this first work are also suggested by the second video work on show in the neighbouring room: a back-projection onto transparent paper entitled El agua en la ciudad (Water in the city), 2004. In this silent work in black and white, the size of the image does not correspond to the standard format of a video. It is a section that extends – vertically pressed down – in a very horizontal way. One thinks one is in a morgue and one has a vision of two arms with rubber gloves washing the body of a man who has died and been placed on a gurney. The relationship pure water/dead body immediately links back with the relationship, illustrated in the previous video, between contaminated water/living body. Other important dichotomies such as black-and-white/colour, sound/silence immediately summon up images of a Memento Mori, where the naked body also suggests the fragility of the human being in the face of life and life’s randomness – and refers not least to the political implications that run through Margolles’ entire work.

The life and artistic career of Nils Nova (El Salvador, 1968) is special. Son of a Salvadoran “dissident”, an “intellectual” unpopular with the regime, and a Swiss mother, Nova – born in Central America – has been forced to live with the hybrid nature of his double origin. Resident in Switzerland, his work is influenced by western aesthetic criteria. The work Over Your Head, 2002, starts the exhibition by proposing a dry, minimal and frightening vision of technologies as symbolism of death of humanity and loss of the concept of reality. The artificial light of several electric bulbs and the amplification of the sound produced by the electric current, that makes them function, create an sidereal, terrifying and inhuman. With the video entitled
2 Elvis 4 you, 2006, Nova seeks to reflect on the criteria of western artistic representation. Working within the tradition of quotationism, N.N. starts from Andy Warhol’s 1970s interviews and takes inspiration from Warhol’s work-icon: the portrait-silkscreen-duplicate of Elvis Presley. The artist intervenes in history: he takes on the role of Presley – the icon of a generation – being interviewed, and even replaces Warhol, again on the occasion of a historic interview. Nova – in the video he showed this year at the Kunstmuseum in Lucerne – engages with the history of art and the art market over the last 40 years, seeking to define the paradoxes of present-day artistic production, where imitation and rejection of the previous generation co-exist. The work is a sophisticated video clip that does not draw attention to its sophistication and with which the artist impudently seeks to transcend the medium and its historical principles in order to give back his vision of the official world of art through his own language.

For Tomàs Ochoa (Ecuador, 1965), already present at the Venice Biennale in 2003, narration – as an element of interpretive involvement – is important. Here he  presents the work The Darkroom – 6m m3, made in 2004. Chronicle of a real event, this filmic work tells of the arrogance of political power, which – for purely macroeconomic reasons – plans and starts to carry out the disappearance of the entire village of Villa Potrerillos in the Andes in order to construct a hydro-electric power station. The building of a dam forces the exodus of a community and a micro-economic system. As often happens in T.O.’s contextual works, his militant political criticism places the spectator before the arrogance of political power and before the cultural roots which it is supposed to safeguard. More than a video this work (31’) is the documentary version of an important historical event, namely the violent uprooting and annihilation of a culture, and the traumatic effect of interaction with reality. Technically sophisticated and cleverly edited, the work highlights the qualities and the communicative peculiarities of an artist who calls into the question the status of the artist inside a sociological culture.

The exhibition is open to the public until 25 June 2006 (Friday to Sunday from 2 pm to 6 pm or by appointment).

[translation Ian Harvey]

Teresa Margolles, bano, video still, 2004 (courtesy galerie peter kilchmann, zürich).
   

CACTicino
CENTRO D'ARTE CONTEMPORANEA TICINO
Via Tamaro 3 - 6500 Bellinzona (Switzerland)
Phone +41 (0)91 825 40 72 Fax +41 (0)91 825 40 85
www.cacticino.net

 Comunicato stampa: Pdf
Press release: Pdf

Supported By:
Supported by Repubblica e Cantone Ticino/Swisslos, Federal Office of Culture, City of Bellinzona, Ernst Göhner Stiftung Zug, Alfred Richterich Stiftung Kastanienbaum, Farmacia Nuova Gordola, Friends of CACT		  

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The CACT Centro d’Arte Contemporanea Ticino in Bellinzona announces the opening on Saturday 29 April 2006 at 17:30 of the exhibition entitled

IL GIGANTE BUONO. ARTISTI DELL’AMERICA LATINA

THE GENTLE GIANT. ARTISTS FROM LATIN AMERICA

Teresa Margolles, Nils Nova, Tomàs Ochoa

The exhibition seeks to offer a small-scale cross-section of Latin-American artistic production and thought as developed in unusual languages, though the primary medium is video. Its main themes are human existence – its centrality, its resistance to death – and dissipation and dissolution.

For some time Teresa Margolles (Mexico, 1963) has been addressing universal themes using – among other things – an element that is indissolubly connected to life, namely, water. Margolles deploys this element of existence and survival in another way, however, calling into play our responsibilities as human and political beings and showing a different face of civilisation; this is an obscure reality but one we are all familiar with. Working with installations, performance and film, Margolles often uses water as the substance with which dead bodies are washed. In her colour video Baño (Bath), 2004, Margolles represents the beauty of man in his entirety, posed and nude. The contrasts of light she uses create an atmosphere that is reminiscent of Caravaggio, just as the beauty reflected by the actor involves the public in his hedonistic gesture and posture. Here next to the double identity of the element – both pure and contaminated – is the life/death duality of water. Suddenly from “off screen” a bucket of water is thrown at the body – three times in succession and at regular intervals. The violence of this gesture transcends the term bath or the concept of “having a wash”. The elements necessary to an interpretation of this first work are also suggested by the second video work on show in the neighbouring room: a back-projection onto transparent paper entitled El agua en la ciudad (Water in the city), 2004. In this silent work in black and white, the size of the image does not correspond to the standard format of a video. It is a section that extends – vertically pressed down – in a very horizontal way. One thinks one is in a morgue and one has a vision of two arms with rubber gloves washing the body of a man who has died and been placed on a gurney. The relationship pure water/dead body immediately links back with the relationship, illustrated in the previous video, between contaminated water/living body. Other important dichotomies such as black-and-white/colour, sound/silence immediately summon up images of a Memento Mori, where the naked body also suggests the fragility of the human being in the face of life and life’s randomness – and refers not least to the political implications that run through Margolles’ entire work.

The life and artistic career of Nils Nova (El Salvador, 1968) is special. Son of a Salvadoran “dissident”, an “intellectual” unpopular with the regime, and a Swiss mother, Nova – born in Central America – has been forced to live with the hybrid nature of his double origin. Resident in Switzerland, his work is influenced by western aesthetic criteria. The work Over Your Head, 2002, starts the exhibition by proposing a dry, minimal and frightening vision of technologies as symbolism of death of humanity and loss of the concept of reality. The artificial light of several electric bulbs and the amplification of the sound produced by the electric current, that makes them function, create an sidereal, terrifying and inhuman. With the video entitled
2 Elvis 4 you, 2006, Nova seeks to reflect on the criteria of western artistic representation. Working within the tradition of quotationism, N.N. starts from Andy Warhol’s 1970s interviews and takes inspiration from Warhol’s work-icon: the portrait-silkscreen-duplicate of Elvis Presley. The artist intervenes in history: he takes on the role of Presley – the icon of a generation – being interviewed, and even replaces Warhol, again on the occasion of a historic interview. Nova – in the video he showed this year at the Kunstmuseum in Lucerne – engages with the history of art and the art market over the last 40 years, seeking to define the paradoxes of present-day artistic production, where imitation and rejection of the previous generation co-exist. The work is a sophisticated video clip that does not draw attention to its sophistication and with which the artist impudently seeks to transcend the medium and its historical principles in order to give back his vision of the official world of art through his own language.

For Tomàs Ochoa (Ecuador, 1965), already present at the Venice Biennale in 2003, narration – as an element of interpretive involvement – is important. Here he  presents the work The Darkroom – 6m m3, made in 2004. Chronicle of a real event, this filmic work tells of the arrogance of political power, which – for purely macroeconomic reasons – plans and starts to carry out the disappearance of the entire village of Villa Potrerillos in the Andes in order to construct a hydro-electric power station. The building of a dam forces the exodus of a community and a micro-economic system. As often happens in T.O.’s contextual works, his militant political criticism places the spectator before the arrogance of political power and before the cultural roots which it is supposed to safeguard. More than a video this work (31’) is the documentary version of an important historical event, namely the violent uprooting and annihilation of a culture, and the traumatic effect of interaction with reality. Technically sophisticated and cleverly edited, the work highlights the qualities and the communicative peculiarities of an artist who calls into the question the status of the artist inside a sociological culture.

The exhibition is open to the public until 25 June 2006 (Friday to Sunday from 2 pm to 6 pm or by appointment).

[translation Ian Harvey]

Teresa Margolles, bano, video still, 2004 (courtesy galerie peter kilchmann, zürich).
   

CACTicino
CENTRO D'ARTE CONTEMPORANEA TICINO
Via Tamaro 3 - 6500 Bellinzona (Switzerland)
Phone +41 (0)91 825 40 72 Fax +41 (0)91 825 40 85
www.cacticino.net

 Comunicato stampa: Pdf
Press release: Pdf

Supported By:
Supported by Repubblica e Cantone Ticino/Swisslos, Federal Office of Culture, City of Bellinzona, Ernst Göhner Stiftung Zug, Alfred Richterich Stiftung Kastanienbaum, Farmacia Nuova Gordola, Friends of CACT		  

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www.plug-in.ch
   
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]]> -1 4/26/2006 "Radio" Oeuvres sonores diffusées en direct sur internet

Plug-in contemporary art news
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Radio
Oeuvres sonores diffusées en direct sur internet

Jeudi 27 / Dimanche 30 Avril 2006

Quatre jours durant, 70 artistes internationaux proposent une centaine de pièces sonores diffusées sur la "Radio", radio web conçue spécifiquement pour l’occasion.

Le générique de Star Wars joué par des cloches d’église, une interprétation a cappella de chansons sur l’art (de «Cézanne peint» à «Video Killed The Radio Star»), une voix informatique qui décline des noms de virus, une musique aléatoire composée sur la base de 8 notes, des fantômes déjantés qui se produisent sur scène… voici un aperçu des pièces sonores diffusées par RADIO du 27 au 30 avril, 24h sur 24, via une radio web conçue spécifiquement pour l’occasion.
Soit, des pièces sonores hétérogènes et insolites d’artistes plasticiens, d’écrivains ou de musiciens, toutes générations confondues. Ainsi l’artiste suisse Francis BAUDEVIN connu pour sa peinture abstraite révèle ses talents de DJ tandis que le français Olivier BOSSON nous raconte l’histoire du Granpoucé et que le collectif norvégien AIPOTU part en expédition dans les bas-fond parisiens.

RADIO, organisé par trois artistes (Joëlle FLUMET, Jérôme LEUBA, et Laura SOLARI), ainsi que par la maison d’édition DASEIN et le musicien Ludovic POULET, ne ressemble ni à une simple exposition ni à une série de performances. Sans règles ni restrictions, si ce n’est le médium et le goût de ses programmateurs, RADIO est parvenu, avec pourtant très peu de moyens et faisant appel aux bonnes volontés de chacun, à séduire un grand nombre d’artistes, venus progressivement grossir la liste d’origine et faire du projet un mélange détonant du son et de l’image réparti en plusieurs volets:

- une diffusion sur Internet (www.surinternet.org) en temps réel des pièces préenregistrées ou réalisées sur place par les artistes invités et où viendront se glisser, à intervalle régulier, quelques pièces historiques, de dada à nos jours;

- une diffusion hertzienne d´une sélection de pièces assurée quotidiennement par la radio FRÉQUENCE PARIS PLURIELLE (106.3) de 14h à 15h;

- un espace d’écoute, ouvert au public pendant toute la durée de la programmation, aménagé pour incarner physiquement l’exposition radiophonique et donner à voir ce qu’on écoute en assistant en direct à une trentaine de performances, de lectures et de concerts. Pièce maîtresse et visuelle qui accueillera le tout, une immense grotte précaire sera plantée au milieu de l’atelier (en réalité les bureaux de la maison d’édition DASEIN www.dasein.fr/editions) par le collectif d’artistes danois PARFYME DELUXE (www.parfyme.dk);

- l’édition d’un livre, SURPAPIER, qui accompagne le projet RADIO.
Pensé comme le pendant visuel du projet, l’ouvrage offre aux artistes la possibilité d´articuler encore autrement leur travail, de prolonger leur pièce sonore ou de produire une œuvre nouvelle et autonome. Plus qu’un simple catalogue, SURPAPIER a été conçu à la fois comme un outil de présentation, et la trace concrète de l´événement.
Disponible dès le lancement de RADIO, il sera plus tard accompagné d’un DVD comprenant les pièces diffusées pendant ces quatre jours.

 
   

Toutes les infos sur le site
www.surinternet.org

 Communiqué de presse: Pdf
   

Projet soutenu par
Le Fonds d’art contemporain de la Ville de Genève (Fmac)
Le département de l’instruction publique de l’État de Genève

Pro Helvetia
Fondation suisse pour La Culture

  
   
Plug-in
Contemporary art news
www.plug-in.ch
   
subscribe | up-date                                                  to unsubscribe click / here  
]]>

Plug-in contemporary art news
English  French                                                                                       Back

 

Radio
Oeuvres sonores diffusées en direct sur internet

Jeudi 27 / Dimanche 30 Avril 2006

Quatre jours durant, 70 artistes internationaux proposent une centaine de pièces sonores diffusées sur la "Radio", radio web conçue spécifiquement pour l’occasion.

Le générique de Star Wars joué par des cloches d’église, une interprétation a cappella de chansons sur l’art (de «Cézanne peint» à «Video Killed The Radio Star»), une voix informatique qui décline des noms de virus, une musique aléatoire composée sur la base de 8 notes, des fantômes déjantés qui se produisent sur scène… voici un aperçu des pièces sonores diffusées par RADIO du 27 au 30 avril, 24h sur 24, via une radio web conçue spécifiquement pour l’occasion.
Soit, des pièces sonores hétérogènes et insolites d’artistes plasticiens, d’écrivains ou de musiciens, toutes générations confondues. Ainsi l’artiste suisse Francis BAUDEVIN connu pour sa peinture abstraite révèle ses talents de DJ tandis que le français Olivier BOSSON nous raconte l’histoire du Granpoucé et que le collectif norvégien AIPOTU part en expédition dans les bas-fond parisiens.

RADIO, organisé par trois artistes (Joëlle FLUMET, Jérôme LEUBA, et Laura SOLARI), ainsi que par la maison d’édition DASEIN et le musicien Ludovic POULET, ne ressemble ni à une simple exposition ni à une série de performances. Sans règles ni restrictions, si ce n’est le médium et le goût de ses programmateurs, RADIO est parvenu, avec pourtant très peu de moyens et faisant appel aux bonnes volontés de chacun, à séduire un grand nombre d’artistes, venus progressivement grossir la liste d’origine et faire du projet un mélange détonant du son et de l’image réparti en plusieurs volets:

- une diffusion sur Internet (www.surinternet.org) en temps réel des pièces préenregistrées ou réalisées sur place par les artistes invités et où viendront se glisser, à intervalle régulier, quelques pièces historiques, de dada à nos jours;

- une diffusion hertzienne d´une sélection de pièces assurée quotidiennement par la radio FRÉQUENCE PARIS PLURIELLE (106.3) de 14h à 15h;

- un espace d’écoute, ouvert au public pendant toute la durée de la programmation, aménagé pour incarner physiquement l’exposition radiophonique et donner à voir ce qu’on écoute en assistant en direct à une trentaine de performances, de lectures et de concerts. Pièce maîtresse et visuelle qui accueillera le tout, une immense grotte précaire sera plantée au milieu de l’atelier (en réalité les bureaux de la maison d’édition DASEIN www.dasein.fr/editions) par le collectif d’artistes danois PARFYME DELUXE (www.parfyme.dk);

- l’édition d’un livre, SURPAPIER, qui accompagne le projet RADIO.
Pensé comme le pendant visuel du projet, l’ouvrage offre aux artistes la possibilité d´articuler encore autrement leur travail, de prolonger leur pièce sonore ou de produire une œuvre nouvelle et autonome. Plus qu’un simple catalogue, SURPAPIER a été conçu à la fois comme un outil de présentation, et la trace concrète de l´événement.
Disponible dès le lancement de RADIO, il sera plus tard accompagné d’un DVD comprenant les pièces diffusées pendant ces quatre jours.

 
   

Toutes les infos sur le site
www.surinternet.org

 Communiqué de presse: Pdf
   

Projet soutenu par
Le Fonds d’art contemporain de la Ville de Genève (Fmac)
Le département de l’instruction publique de l’État de Genève

Pro Helvetia
Fondation suisse pour La Culture

  
   
Plug-in
Contemporary art news
www.plug-in.ch
   
subscribe | up-date                                                  to unsubscribe click / here  
]]> -1 4/25/2006 Galerie une SHINING STARS UNDER SHINING SUN

  Back

 

La galerie une a le plaisir de vous inviter, le vendredi 24 juin, au vernissage de son exposition d'été.

SHINING STARS UNDER SHINING SUN

Francisco Da Mata - Hadrien Dussoix - Thierry Feuz - Fabrizio Giannini - Lori Hersberger - Gauthier Huber - Olivier Mosset - Sebastian Muniz - Till Rabus - Didier Rittener - Daniele Ruggiero - Christian Schoch - Morgane Tschiember - Jo Vanni - Verena Vanoli -Jean-Thomas Vannotti - Carrie Yamaoka - Philippe Zumstein
 

Vernissage: vendredi 24.06.05 dès 18h30

 

 
 
Galerie Une
1 rue des Epancheurs CP-81
CH-2012 Auvernier-Neuchâtel
Phone +41 (0)32 724 61 60
Fax +41 (0)32 724 62 60
www.galerieune.ch		 Exposition: 25.06 - 05.08.05

Horaire d'été:
du mercredi au vendredi
15h00 - 19h30
samedi 15h00 - 18h30
dimanche 15h00 - 18h00
 

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]]>

  Back

 

La galerie une a le plaisir de vous inviter, le vendredi 24 juin, au vernissage de son exposition d'été.

SHINING STARS UNDER SHINING SUN

Francisco Da Mata - Hadrien Dussoix - Thierry Feuz - Fabrizio Giannini - Lori Hersberger - Gauthier Huber - Olivier Mosset - Sebastian Muniz - Till Rabus - Didier Rittener - Daniele Ruggiero - Christian Schoch - Morgane Tschiember - Jo Vanni - Verena Vanoli -Jean-Thomas Vannotti - Carrie Yamaoka - Philippe Zumstein
 

Vernissage: vendredi 24.06.05 dès 18h30

 

 
 
Galerie Une
1 rue des Epancheurs CP-81
CH-2012 Auvernier-Neuchâtel
Phone +41 (0)32 724 61 60
Fax +41 (0)32 724 62 60
www.galerieune.ch		 Exposition: 25.06 - 05.08.05

Horaire d'été:
du mercredi au vendredi
15h00 - 19h30
samedi 15h00 - 18h30
dimanche 15h00 - 18h00
 

Plug-in
Contemporary art news
www.plug-in.ch
 
subscribe | up-date to unsubscribe click / here

 

]]> -1 4/24/2006 Play_gallery for still and motion pictures

English version                                                                                Back

 

Alejandro Vidal
A thousand Lonely Suicides

curated by Marco Scotini
Private view: Thursday, 15th September 2005, 7pm
15th September - 15th October 2005
Opening hours: Wed – Sat, 14 – 7pm


Play_gallery for still and motion pictures is proud to present "A Thousand Lonely Suicides", the first Berlin solo exhibition of Alejandro Vidal, an appointment with an exponent of the last Spanish artistic generation.

Inquiring about the state of security or the power of fear, Vidal’s work is concerned with the mise-en-scène of violence and politics. Ski masks, urban tribes, hang-outs, punk music and DJ culture, martial arts manuals, performative rituals such as hara kiri, rave and techno scenes are all elements of the video works and photographs of Alejandro Vidal. However, Vidal’s research is not about the representation of violence, it is rather on its deconstruction: a kind of “anatomy” of its representation. In the works of the Spanish artist the image of violence takes possession of the codes that can be found in the mass media, advertisement and films (i.e. icons such as Bruce Lee and Robert De Niro in “The Deer Hunter” are sometimes present). The image in itself is not important, the importance lies in the ideological context and its interpretation.

For this exhibition, curated by Marco Scotini, Alejandro Vidal will transform the entire space of Play_gallery: he will move an empty rock stage into the gallery space; a spot-light will be pointing at a trash metal drums, a place where something has already taken place or is about to happen. In the completely black-painted space, Vidal’s installation “A Thousand Lonely Suicides” (2005) recovers the tensions generated by the combination of youth audiences, counter-cultural social conflicts and suicide as a form of release. “In it, the amassed image of the rock concert is re-politicised from an anti-nostalgic perspective, by taking counter-cultural fanaticism towards the sphere of collective resistance and urban guerrilla “ [J.Barriendos]

Two big video projections, photographs and light boxes will also be on display. The video, “Conflict, modern pathologies and tactics of disappearance”, will be presented for the first time on this occasion. If in “You can scratch that way without the record falling off” (2004) the punches of an old boxer are alternated with that of a young drummer, in the new video the hand-to-hand combat between two men alternates with one destroying a guitar and one with a jump rope in permanent training.

The rhythm of techno music as a soundtrack increases the psychological mechanism of Vidal’s works constantly questioning the narrative of our fears and our capacities to resist


Alejandro Vidal
Born 1972 in Palma de Mallorca, lives and works in Barcelona.
Recent solo exhibitions: Galerie Adler, Frankfurt; MOT, London; Artra Galleria, Milan; Insurgent Space, Tirana; Museum of Contemporary Art, Belgrade. He has recently been showing in group exhibitions at Harto_Espacio, Montevideo; Le Confort Moderne, Poitiers; Contested Space’ Stazione Leopolda, Florence.
In 2006, he will be included in the group exhibition ‘Youth of Today’ (curated by Max Hollein and Matthias Ulrich) at the Schirn Kunsthalle, Frankfurt.

 
   

PLAY_gallery for still and motion pictures
hannoversche strasse 1 d-10115 berlin
t+49-30-2345 5753 f+49-30-2345 5754
www.pushthebuttonplay.com
opening hours: wed-sat 14-7pm

 Press release: Pdf
   

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Alejandro Vidal
A thousand Lonely Suicides

curated by Marco Scotini
Private view: Thursday, 15th September 2005, 7pm
15th September - 15th October 2005
Opening hours: Wed – Sat, 14 – 7pm


Play_gallery for still and motion pictures is proud to present "A Thousand Lonely Suicides", the first Berlin solo exhibition of Alejandro Vidal, an appointment with an exponent of the last Spanish artistic generation.

Inquiring about the state of security or the power of fear, Vidal’s work is concerned with the mise-en-scène of violence and politics. Ski masks, urban tribes, hang-outs, punk music and DJ culture, martial arts manuals, performative rituals such as hara kiri, rave and techno scenes are all elements of the video works and photographs of Alejandro Vidal. However, Vidal’s research is not about the representation of violence, it is rather on its deconstruction: a kind of “anatomy” of its representation. In the works of the Spanish artist the image of violence takes possession of the codes that can be found in the mass media, advertisement and films (i.e. icons such as Bruce Lee and Robert De Niro in “The Deer Hunter” are sometimes present). The image in itself is not important, the importance lies in the ideological context and its interpretation.

For this exhibition, curated by Marco Scotini, Alejandro Vidal will transform the entire space of Play_gallery: he will move an empty rock stage into the gallery space; a spot-light will be pointing at a trash metal drums, a place where something has already taken place or is about to happen. In the completely black-painted space, Vidal’s installation “A Thousand Lonely Suicides” (2005) recovers the tensions generated by the combination of youth audiences, counter-cultural social conflicts and suicide as a form of release. “In it, the amassed image of the rock concert is re-politicised from an anti-nostalgic perspective, by taking counter-cultural fanaticism towards the sphere of collective resistance and urban guerrilla “ [J.Barriendos]

Two big video projections, photographs and light boxes will also be on display. The video, “Conflict, modern pathologies and tactics of disappearance”, will be presented for the first time on this occasion. If in “You can scratch that way without the record falling off” (2004) the punches of an old boxer are alternated with that of a young drummer, in the new video the hand-to-hand combat between two men alternates with one destroying a guitar and one with a jump rope in permanent training.

The rhythm of techno music as a soundtrack increases the psychological mechanism of Vidal’s works constantly questioning the narrative of our fears and our capacities to resist


Alejandro Vidal
Born 1972 in Palma de Mallorca, lives and works in Barcelona.
Recent solo exhibitions: Galerie Adler, Frankfurt; MOT, London; Artra Galleria, Milan; Insurgent Space, Tirana; Museum of Contemporary Art, Belgrade. He has recently been showing in group exhibitions at Harto_Espacio, Montevideo; Le Confort Moderne, Poitiers; Contested Space’ Stazione Leopolda, Florence.
In 2006, he will be included in the group exhibition ‘Youth of Today’ (curated by Max Hollein and Matthias Ulrich) at the Schirn Kunsthalle, Frankfurt.

 
   

PLAY_gallery for still and motion pictures
hannoversche strasse 1 d-10115 berlin
t+49-30-2345 5753 f+49-30-2345 5754
www.pushthebuttonplay.com
opening hours: wed-sat 14-7pm

 Press release: Pdf
   

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]]> -1 4/24/2006 CACT Centro d'Arte Contemporanea Ticino

English version Italian version                                                      Back

 

On Saturday 18 June 2005, at 5:30 p.m., the CACT Centre of contemporary Art in Canton Ticino in Bellinzona will host the inauguration of a thematic exhibition entitled

LE VANIT à DELL’ UCCELLO IN GABBIA / THE VANITIES OF THE CAGED BIRD

Alex Hanimann, Federica Marangoni, Damir Nikšić, Scott Treleaven

The title was inspired by an installation created by Alex Hanimann in 2004 for the Kunsthalle in St. Gallen, comprising an enormous birdcage (made of wooden walls and netting) assembled inside the museum and divided into four communicating sections, each in a colour of its own. The cage contained canaries and other birds that were free to move around as they chose between the various sections, probably encouraged by the visual pleasure they took in the colours. Despite this apparent freedom of movement, though, the birds were unfortunately caged.

It was this description that spawned some interesting thinking about society, not just in the present day, and about the freedoms conceded to man in relation to his visions and his own individual identity. Utopias – the hope that our dreams will come true – are included in the universe of the things we can describe as “vanities”. But we are – unfortunately – incapable of going beyond the netting.

The work by Alex Hanimann (Switzerland, 1955) presented here is one of the videos (2003_2004) shot in the St. Gallen installation.

Federica Marangoni (Italy, 1940) is presenting installation works whose outlines can be traced back to the special relationship between art and architecture, summarised here as a sign in a space. F.M.’s works belong to a larger project on a larger scale with the evocative and/or polemic title of TOLERANCE-IN-TOLERANCE (2002-2005), which derives from the assembly of a hundred images taken from everyday journalist reports and completed by a series of object works with a particularly participatory pertinence to the narrative, such as barbed wire, neon writing, sharp materials like glass and other media that underscore the thematic meaning of the work. By appropriating the more performance-oriented aspects of art, F.M.’s work reflects the artist’s considerable personal expressiveness, advancing in parallel with it.

Anatomy of Exodus (2005) is a recent video work by the Chicago-based artist Damir Nikšić (Bosnia and Herzegovina, 1970). Presented on a flat screen, this video is a reflection on the interpretation of the concept of Orient by the Occident and an evident critique of the false but widespread idea of “Orientalism”. Working against a black cross-hatched background intended to refer to the first attempts made by Eadweard Muybridge to approximate movement, using pioneering photography, D.N. has filmed himself dressed as a nineteenth century Moslem. The author/actor tackles an exodus, a departure from a reality hostile to him and, despite walking long and continuously, his wanderings are in vain.

Still very young, yet expressively and iconographically highly talented, Scott Treleaven (Canada, 1972) is showing two video works THE SALiVATION ARMY (2002) and Beastboy (2002). Already presented previously at Art/35/Basel, in the Film section, THE SALiVATION ARMY is a video narrative projected onto the screen that summarises brilliantly – with skilled, coherent editing – the Queer Punk culture, which it interprets intelligently and militantly.

Beastboy , in addition, is a work that turns out to be an almost silent icon of a video; it represents man’s metamorphic fusion with the animal universe of the passions.

Psychedelic in approach and related to video clips, but also to the practice of historical quotations, S.T. manages poetically to illustrate some sometimes thorny topics with such poetry as to make the act of watching extremely pleasant. Concealed behind an apparently cold, hard hermeticism, S.T. expresses those mystical, visionary and counter-culture aspects, attitudes of resistance and anarchy, that are necessary for the world to be transformed into Utopia.

The exhibition is open to the public from Friday to Sunday, from 2:00 to 6:00 p.m. and will remain open until 14 August 2005.

(Translation: Pete Kercher)

 

Scott Treleaven, THE SALiVATION ARMY, Video Still, 2002
CACTicino
CENTRO D'ARTE CONTEMPORANEA TICINO
Via Tamaro 3 - 6500 Bellinzona (Switzerland)
Phone +41 (0)91 825 40 72
www.cacticino.net		 Comunicato stampa: Pdf
Press release: Pdf

Supported By:
federal office for culture, repubblica e cantone ticino/swisslos, migros percento culturale, city of bellinzona, ernst göhner stiftung zug, farmacia nuova gordola, friends of cacticino

Plug-in
C ontemporary art news
www.plug-in.ch
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]]>

English version Italian version                                                      Back

 

On Saturday 18 June 2005, at 5:30 p.m., the CACT Centre of contemporary Art in Canton Ticino in Bellinzona will host the inauguration of a thematic exhibition entitled

LE VANIT à DELL’ UCCELLO IN GABBIA / THE VANITIES OF THE CAGED BIRD

Alex Hanimann, Federica Marangoni, Damir Nikšić, Scott Treleaven

The title was inspired by an installation created by Alex Hanimann in 2004 for the Kunsthalle in St. Gallen, comprising an enormous birdcage (made of wooden walls and netting) assembled inside the museum and divided into four communicating sections, each in a colour of its own. The cage contained canaries and other birds that were free to move around as they chose between the various sections, probably encouraged by the visual pleasure they took in the colours. Despite this apparent freedom of movement, though, the birds were unfortunately caged.

It was this description that spawned some interesting thinking about society, not just in the present day, and about the freedoms conceded to man in relation to his visions and his own individual identity. Utopias – the hope that our dreams will come true – are included in the universe of the things we can describe as “vanities”. But we are – unfortunately – incapable of going beyond the netting.

The work by Alex Hanimann (Switzerland, 1955) presented here is one of the videos (2003_2004) shot in the St. Gallen installation.

Federica Marangoni (Italy, 1940) is presenting installation works whose outlines can be traced back to the special relationship between art and architecture, summarised here as a sign in a space. F.M.’s works belong to a larger project on a larger scale with the evocative and/or polemic title of TOLERANCE-IN-TOLERANCE (2002-2005), which derives from the assembly of a hundred images taken from everyday journalist reports and completed by a series of object works with a particularly participatory pertinence to the narrative, such as barbed wire, neon writing, sharp materials like glass and other media that underscore the thematic meaning of the work. By appropriating the more performance-oriented aspects of art, F.M.’s work reflects the artist’s considerable personal expressiveness, advancing in parallel with it.

Anatomy of Exodus (2005) is a recent video work by the Chicago-based artist Damir Nikšić (Bosnia and Herzegovina, 1970). Presented on a flat screen, this video is a reflection on the interpretation of the concept of Orient by the Occident and an evident critique of the false but widespread idea of “Orientalism”. Working against a black cross-hatched background intended to refer to the first attempts made by Eadweard Muybridge to approximate movement, using pioneering photography, D.N. has filmed himself dressed as a nineteenth century Moslem. The author/actor tackles an exodus, a departure from a reality hostile to him and, despite walking long and continuously, his wanderings are in vain.

Still very young, yet expressively and iconographically highly talented, Scott Treleaven (Canada, 1972) is showing two video works THE SALiVATION ARMY (2002) and Beastboy (2002). Already presented previously at Art/35/Basel, in the Film section, THE SALiVATION ARMY is a video narrative projected onto the screen that summarises brilliantly – with skilled, coherent editing – the Queer Punk culture, which it interprets intelligently and militantly.

Beastboy , in addition, is a work that turns out to be an almost silent icon of a video; it represents man’s metamorphic fusion with the animal universe of the passions.

Psychedelic in approach and related to video clips, but also to the practice of historical quotations, S.T. manages poetically to illustrate some sometimes thorny topics with such poetry as to make the act of watching extremely pleasant. Concealed behind an apparently cold, hard hermeticism, S.T. expresses those mystical, visionary and counter-culture aspects, attitudes of resistance and anarchy, that are necessary for the world to be transformed into Utopia.

The exhibition is open to the public from Friday to Sunday, from 2:00 to 6:00 p.m. and will remain open until 14 August 2005.

(Translation: Pete Kercher)

 

Scott Treleaven, THE SALiVATION ARMY, Video Still, 2002
CACTicino
CENTRO D'ARTE CONTEMPORANEA TICINO
Via Tamaro 3 - 6500 Bellinzona (Switzerland)
Phone +41 (0)91 825 40 72
www.cacticino.net		 Comunicato stampa: Pdf
Press release: Pdf

Supported By:
federal office for culture, repubblica e cantone ticino/swisslos, migros percento culturale, city of bellinzona, ernst göhner stiftung zug, farmacia nuova gordola, friends of cacticino

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www.plug-in.ch
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]]> -1 4/24/2006 Alberto Sughi "The Drawing and the Image" Arezzo, Galleria Comunale d’Arte Moderna e Contemporanea

 


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Alberto Sughi
The Drawing and the Image
 
organised by Giovanni Faccenda

Arezzo
Galleria Comunale d’Arte
Moderna e Contemporanea
14 April - 21 May 2006
 

The Gallery of Modern and Contemporary Art in Arezzo, patronised by the Ministry of Culture and Heritage, will be holding a large retrospective exhibition of works by Alberto Sughi, one of the greatest Italian artists from the second half the twentieth century, from April 14 to May 21, 2006. From his first exhibition, with Corrado Cagli and Marcello Muccini at the Il Pincio Gallery in 1954, Rome, to his contributions to the Biennale exhibition in Venice and the Quadriennale in Rome (of which he has also been Chairman), to the large retrospective exhibitions held in various Museums in Italy, Europe and America, his artistic development has always been sustained by public acclaim and by support from the most qualified art critics. 

"Alberto Sughi: The Drawing and the Image” gathers together 50 works (all on paper over canvas) deriving from private collections as well as the artist’s own collection.  

The exhibition has been organised by the art historian Giovanni Faccenda and sponsored by the Spagnoli Gallery in Florence under the patronage of the Cultural Heritage Office of the city of Arezzo. 

The exhibition catalogue (from which the following extracts have been taken) 

contains reviews by Giovanni Faccenda, Luigi Cavallo and an interview with the artist by Sergio Zavoli. 

Luigi Cavallo: "The artist’s world is dense in hidden plots. In this recent group of works, the canvas is crossed by tremblings and insistences, his brushstrokes emptying and refilling the climate of tension that develops between the figures: the faces of whom are part human, part theatrical mask, in an interpretation that is both classical expression and modern icon. The subjects both offer and hide themselves, withdrawing into their own valves of mystery." 

Giovanni Faccenda: "Curiosity makes us wonder how much autobiographical material there is in these works, expressing the texture of reality as the verse of existence. This aspect is marginalised by scenes that are themselves enigmatic, as if sealed in a glass cruet, whose veiled transparency recognizes an implicit refusal of every artifice or substitute. The regular recurrence of the portrayal of symbolic elements (mirror, mask, dog, phone call…) is more obviously intriguing, expressing a dense allegory of intuitions and mysterious premonitions, in which you can just distinguish weary strains of jazz music, the refined fragrances of citrus fruit and lavender, the unmistakable smell of burnt tobacco on the surface of whiskey or brandy glasses. Rooms containing figures like sand, an hour glass. The effect is remarkable. Sughi’s creative commitment during these months has, in fact, given us aristocratic, significant and exhaustive results." 

Sergio Zavoli: "Although your pictures generally have a strong figurative basis, they have also been praised for their assonances, connections, atmospheres recalling other forms of expression, deriving from other art forms such as the cinema. The world of Antonioni, for example - founded upon the bourgeois, uneasy and mutual inaccessibility of relationships between people - or of Scola, almost a socio-analyst, who transforms facial expressions into introspection, between psychology and reality, poetry and document, or of Fellini, who was the first to call your work "the art of image, in the sense of both the single frame and the story". 

Translation by Joelle Mary Crowle

 

Alberto Sughi Figure of a girl, Painting on paper over canvas, 75x100 cm, 2005
   

Galleria Comunale d’Arte Moderna e Contemporanea
piazza San Francesco 4
52100 Arezzo
P +39 0575 299255
Opening hours: Tuesday - Friday 10-13/15-18
Saturday - Sunday 10-18 (closed Mondays).
Entrance fee: € 6, reduced € 3.
Info: +39 0575 377506-509.

Press office: Catola & Partners
via degli Artisti 15B
50132 Firenze
p +39 055 5522867-892

 Press release: Pdf
   
The exhibition has been sponsored by the Spagnoli Gallery in Florence
www.galleriaspagnoli.it

You can find more information on Alberto Sughi at:
www.albertosughi.com		  
   
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English  Italian                                                                               Back

 

Alberto Sughi
The Drawing and the Image
 
organised by Giovanni Faccenda

Arezzo
Galleria Comunale d’Arte
Moderna e Contemporanea
14 April - 21 May 2006
 

The Gallery of Modern and Contemporary Art in Arezzo, patronised by the Ministry of Culture and Heritage, will be holding a large retrospective exhibition of works by Alberto Sughi, one of the greatest Italian artists from the second half the twentieth century, from April 14 to May 21, 2006. From his first exhibition, with Corrado Cagli and Marcello Muccini at the Il Pincio Gallery in 1954, Rome, to his contributions to the Biennale exhibition in Venice and the Quadriennale in Rome (of which he has also been Chairman), to the large retrospective exhibitions held in various Museums in Italy, Europe and America, his artistic development has always been sustained by public acclaim and by support from the most qualified art critics. 

"Alberto Sughi: The Drawing and the Image” gathers together 50 works (all on paper over canvas) deriving from private collections as well as the artist’s own collection.  

The exhibition has been organised by the art historian Giovanni Faccenda and sponsored by the Spagnoli Gallery in Florence under the patronage of the Cultural Heritage Office of the city of Arezzo. 

The exhibition catalogue (from which the following extracts have been taken) 

contains reviews by Giovanni Faccenda, Luigi Cavallo and an interview with the artist by Sergio Zavoli. 

Luigi Cavallo: "The artist’s world is dense in hidden plots. In this recent group of works, the canvas is crossed by tremblings and insistences, his brushstrokes emptying and refilling the climate of tension that develops between the figures: the faces of whom are part human, part theatrical mask, in an interpretation that is both classical expression and modern icon. The subjects both offer and hide themselves, withdrawing into their own valves of mystery." 

Giovanni Faccenda: "Curiosity makes us wonder how much autobiographical material there is in these works, expressing the texture of reality as the verse of existence. This aspect is marginalised by scenes that are themselves enigmatic, as if sealed in a glass cruet, whose veiled transparency recognizes an implicit refusal of every artifice or substitute. The regular recurrence of the portrayal of symbolic elements (mirror, mask, dog, phone call…) is more obviously intriguing, expressing a dense allegory of intuitions and mysterious premonitions, in which you can just distinguish weary strains of jazz music, the refined fragrances of citrus fruit and lavender, the unmistakable smell of burnt tobacco on the surface of whiskey or brandy glasses. Rooms containing figures like sand, an hour glass. The effect is remarkable. Sughi’s creative commitment during these months has, in fact, given us aristocratic, significant and exhaustive results." 

Sergio Zavoli: "Although your pictures generally have a strong figurative basis, they have also been praised for their assonances, connections, atmospheres recalling other forms of expression, deriving from other art forms such as the cinema. The world of Antonioni, for example - founded upon the bourgeois, uneasy and mutual inaccessibility of relationships between people - or of Scola, almost a socio-analyst, who transforms facial expressions into introspection, between psychology and reality, poetry and document, or of Fellini, who was the first to call your work "the art of image, in the sense of both the single frame and the story". 

Translation by Joelle Mary Crowle

 

Alberto Sughi Figure of a girl, Painting on paper over canvas, 75x100 cm, 2005
   

Galleria Comunale d’Arte Moderna e Contemporanea
piazza San Francesco 4
52100 Arezzo
P +39 0575 299255
Opening hours: Tuesday - Friday 10-13/15-18
Saturday - Sunday 10-18 (closed Mondays).
Entrance fee: € 6, reduced € 3.
Info: +39 0575 377506-509.

Press office: Catola & Partners
via degli Artisti 15B
50132 Firenze
p +39 055 5522867-892

 Press release: Pdf
   
The exhibition has been sponsored by the Spagnoli Gallery in Florence
www.galleriaspagnoli.it

You can find more information on Alberto Sughi at:
www.albertosughi.com		  
   
Plug-in
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]]> -1 4/6/2006 Opening: “UMWANDLUNG-Transformation as a creation process”

Plug-in contemporary art news
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We are very pleased to invite you to the opening of the exhibition:

“UMWANDLUNG-Transformation as a creation process”


Opening:
Sunday 26th March – 6 pm

Glogauer Str. 16
10999 - Berlin

On occasion of the 4th Berlin Biennale
From 23th March until  2nd April  2006

Exhibition hours:
10 am – 6 pm
After the 26th March by appointment only

Getting to Glogauer Str. 16:
U-Bahn: Görlitzer Bahnhof - Bus: M29

Contact:
Erika Babatz p +49 17 0755 3422 - babatz@glogauer.net

Between 23rd March and 2nd April, a collective exhibition will be shown in the new rooms at Glogauer Str. 16, in Berlin. The exhibition will show 16 works by 16 different artists whose connection is the city of Berlin. Berlin as a city in constant transformation is a reflection of the changes that have taken place in this building. The works on show give different points of view on this idea, on the changes experienced by the artist during the process of creation and the variations shown in the works as a result of this creative process.The exhibition will coincide with the first week-end of the 4th Berlin Biennale. The show will be open all week-end and after the 26th March, visits will be able to be made by appointment only. The purpose of this exhibition is to make an initial presentation of the installations and rooms in the workshops at Glogauer Str. 16, a new space for artistic creation and debate.

Around "Umwandlung"
O God, I could be bounded in a nutshell and count myself a King of infinite space.
Hamlet, II, 2.

The work
To understand creation as a process of transformation and to interpret
metamorphosis in its most varied forms are some of the basic ideas behind the works of these artists.
The works being exhibited examine these ideas from different perspectives, from irony to intimacy, from the everyday to the social and public world, including the influence of the mass media. The forms of expression are also varied, art being understood as being a form of expression which has no limits. Metamorphosis can be seen through video, sculpture, installation art, photography and painting. The diversity of these different interpretations and aesthetics come together in vertigo and the illusion of movement.
The path towards creation as a personal adventure forces the artist, at the end of each process, to overcome the change itself and to recognise the finality of the work produced. Each inner path that the artist has to discover in a work of art is always a journey towards the unknown. The work is a footprint in this journey of transformation. A footprint that can become a bridge towards the next journey.

The rooms
The rooms for the exhibition form a part of this constant mutation: the unceasing metamorphosis of Berlin. The school at Glogauer Str. 16 was the first public work of the architect Ludwig Hoffmann as the Building Counsellor of Berlin (Baustadtrat), a post he held from 1896 to 1924, a period during which he designed and built more than 400 public works. Berlin was then experiencing its first great transformation, dissected by Walter Ruttmann in his Symphony of the great city, in 1927. The main building of the school was practically destroyed during the bombings of 1945 and had to be demolished. From Hoffmann’s project, the gymnasium (Turnhalle) remains standing, which currently houses a children’s library, as does the rectory building (Rektorenhaus), which, having been used as an infant school, will, from now on –preserving the educational spirit with which it was designed- be home to exhibitions and workshops for artistic creation and debate, and for now, will house these 16 works that go to make up the Umwandlung project..

ARTISTS:
Sergio Belinchón - Rui Calçada Bastos - Nuno Cera - Paul Ekaitz - Thomas Engelbert
Al Fadhil - Anna Konik - Antonio Mesones - Chema Alvargonzález - Trine Lise Nedreaas
Lucy Powell - Carlos Schwartz - Patricia Sevilla Ciordia - Andrea Stappert
Tere Recarens - Mariana Vassileva - Santiago Ydáñez
 

 
   

Glogauer Str. 16
10999 - Berlin
Contact:
Erika Babatz
p +49 17 0755 3422
 

 Press release: Pdf
   

Generously supported by:

www.pushthebuttonplay.com

Plug-in
Contemporary art news
www.plug-in.ch
   
subscribe | up-date                                                  to unsubscribe click / here  
]]>

Plug-in contemporary art news
English                                                                                         Back

 

We are very pleased to invite you to the opening of the exhibition:

“UMWANDLUNG-Transformation as a creation process”


Opening:
Sunday 26th March – 6 pm

Glogauer Str. 16
10999 - Berlin

On occasion of the 4th Berlin Biennale
From 23th March until  2nd April  2006

Exhibition hours:
10 am – 6 pm
After the 26th March by appointment only

Getting to Glogauer Str. 16:
U-Bahn: Görlitzer Bahnhof - Bus: M29

Contact:
Erika Babatz p +49 17 0755 3422 - babatz@glogauer.net

Between 23rd March and 2nd April, a collective exhibition will be shown in the new rooms at Glogauer Str. 16, in Berlin. The exhibition will show 16 works by 16 different artists whose connection is the city of Berlin. Berlin as a city in constant transformation is a reflection of the changes that have taken place in this building. The works on show give different points of view on this idea, on the changes experienced by the artist during the process of creation and the variations shown in the works as a result of this creative process.The exhibition will coincide with the first week-end of the 4th Berlin Biennale. The show will be open all week-end and after the 26th March, visits will be able to be made by appointment only. The purpose of this exhibition is to make an initial presentation of the installations and rooms in the workshops at Glogauer Str. 16, a new space for artistic creation and debate.

Around "Umwandlung"
O God, I could be bounded in a nutshell and count myself a King of infinite space.
Hamlet, II, 2.

The work
To understand creation as a process of transformation and to interpret
metamorphosis in its most varied forms are some of the basic ideas behind the works of these artists.
The works being exhibited examine these ideas from different perspectives, from irony to intimacy, from the everyday to the social and public world, including the influence of the mass media. The forms of expression are also varied, art being understood as being a form of expression which has no limits. Metamorphosis can be seen through video, sculpture, installation art, photography and painting. The diversity of these different interpretations and aesthetics come together in vertigo and the illusion of movement.
The path towards creation as a personal adventure forces the artist, at the end of each process, to overcome the change itself and to recognise the finality of the work produced. Each inner path that the artist has to discover in a work of art is always a journey towards the unknown. The work is a footprint in this journey of transformation. A footprint that can become a bridge towards the next journey.

The rooms
The rooms for the exhibition form a part of this constant mutation: the unceasing metamorphosis of Berlin. The school at Glogauer Str. 16 was the first public work of the architect Ludwig Hoffmann as the Building Counsellor of Berlin (Baustadtrat), a post he held from 1896 to 1924, a period during which he designed and built more than 400 public works. Berlin was then experiencing its first great transformation, dissected by Walter Ruttmann in his Symphony of the great city, in 1927. The main building of the school was practically destroyed during the bombings of 1945 and had to be demolished. From Hoffmann’s project, the gymnasium (Turnhalle) remains standing, which currently houses a children’s library, as does the rectory building (Rektorenhaus), which, having been used as an infant school, will, from now on –preserving the educational spirit with which it was designed- be home to exhibitions and workshops for artistic creation and debate, and for now, will house these 16 works that go to make up the Umwandlung project..

ARTISTS:
Sergio Belinchón - Rui Calçada Bastos - Nuno Cera - Paul Ekaitz - Thomas Engelbert
Al Fadhil - Anna Konik - Antonio Mesones - Chema Alvargonzález - Trine Lise Nedreaas
Lucy Powell - Carlos Schwartz - Patricia Sevilla Ciordia - Andrea Stappert
Tere Recarens - Mariana Vassileva - Santiago Ydáñez
 

 
   

Glogauer Str. 16
10999 - Berlin
Contact:
Erika Babatz
p +49 17 0755 3422
 

 Press release: Pdf
   

Generously supported by:

www.pushthebuttonplay.com

Plug-in
Contemporary art news
www.plug-in.ch
   
subscribe | up-date                                                  to unsubscribe click / here  
]]> -1 3/22/2006 PLAY_gallery for still and motion pictures presents: “Os acasos convenientes” by Javier Peñafiel

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English                                                                                          Back

 

PLAY_gallery for still and motion pictures presents:

“Os acasos convenientes”
by Javier Peñafiel

Private view: Friday, 17th February 2006, 7pm
17th February - 13th March 2006
Opening hours: Wed – Sat, 2 – 7pm

Di que no es verdad

There is a multitude of references informing the work of Javier Peñafiel. A work marked by two interrelated moments to be though differentiated: video and drawing.
I have been thinking of thousands of ways to explain what causes the apparent crypticism (irritating for some, unfairly personal for others) of the whole of his artistic practice. The first thing that comes up in my mind is a musical experiment between the American Eydie Gorme and the trio Los Panchos. The lyrics of one of their stylistic remakes between cha-cha-cha and bolero start with the velvety voice and an accent difficult to categorize of a woman who addresses us with ease:

Con el alma llena de amargura y sin saber qué hacer,
He venido aquí con esta duda a escuchar tu voz.
Di que no es verdad, lo que murmuran por ahí
Di que no es verdad, que es envidia o maldad

Bolero always addresses the audience’s personal experience, the frustration of knowing one’s love is not returned. And this is the reason why I have chosen this example to reflect upon the relation Javier Peñafiel’s work sets up with the exterior world. The many characters populating his work constitute a peculiar way of examining the whole spectrum of personal fears. No matter if in his videos or drawings, every single one of them is given rise to –as in Goya episodes - by the need of investigating the possibilities and limits of fantasy. The fantastic element must not be mistaken for a synonym of wonder, though. It is instead a new mental compartment reaching out to what is alien, strange or surprising, as an aim in itself.
In his videos, instead of using different alter egos willing to remain in the limbo of the powerful feeling of loneliness they seem possessed by, the artist puts himself in front of the camera. The camera allows him to open a window on the world, even though the world itself hardly appears in the image, perceived as it is as something alien, a threshold that we never saw him cross. The whole of his work is based on the policy of solipsism.
The seduction of fiction is a way of drawing attention to the conservative counter-illustration characterising the contemporary intellectual panorama, as well as leaving each one of us dealing with a severe feeling of being exposed to a gloomy relapse we do not really know how to get out of. The swiftness with which matters of major importance are solved reinforces the need felt by artists such as Peñafiel to create moments of undeniable ambiguity, which are expression of the necessity to appeal to the world of all those who feel themselves wasting away in oblivion and unable to establish bonds with any community whatsoever.

Chus Martínez
[curator Frankfurter Kunstverein]

  

Javier Peñafiel was born in Saragossa, 1964.
Exhibitions and interventions (a selection)
2005 Orphans of the void. Rekalde. Bilbao*; Miami Basel Art Fair, Joan Prats Gallery; Tiempos de vídeo. 1965-2005. Caixaforum, Barcelona*; Arco 05, Madrid.; Ulrich Fiedler gallery, Colonia; Festival de vídeo. Fundacion Biacs; Bienal de Arte Contemporaneo de Sevilla. / 2004 Palabra Natal (Native Word). Museo Pablo Serrano, Saragossa *; Habla. Galería Joan Prats, Barcelona; Ausencia pública (Public Absence), temporary installation at CaixaForum, Barcelona; Arte portugués y español de los noventa. CaixaForum, Barcelona; Arte termita contra elefante blanco. Fundación ICO, Madrid * / 2003 Conquista básica te vuelvo a pedir que te definas (Basic Conquest, I Ask you Once Again to Define Yourself). Galería Spectrum Sotos, Saragossa and Galeria ProjecteSD, Barcelona. Multimedia presentation and staging with actor of the publications *; Figuraciones. Sala de la Comunidad de Madrid *; Stand by, listos para actuar. Laboratorio de Arte Alameda, Ciudad de México *; Figuraciones. Caja Madrid, travelling to various cities *
* book or catalogue

 
   

PLAY_gallery for still and motion pictures
hannoversche strasse 1 d-10115 Berlin
p +49-30-2345 5753 f +49-30-2345 5754
www.pushthebuttonplay.com
opening hours: wed-sat 2 -7pm

 Press release: Pdf
   
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PLAY_gallery for still and motion pictures presents:

“Os acasos convenientes”
by Javier Peñafiel

Private view: Friday, 17th February 2006, 7pm
17th February - 13th March 2006
Opening hours: Wed – Sat, 2 – 7pm

Di que no es verdad

There is a multitude of references informing the work of Javier Peñafiel. A work marked by two interrelated moments to be though differentiated: video and drawing.
I have been thinking of thousands of ways to explain what causes the apparent crypticism (irritating for some, unfairly personal for others) of the whole of his artistic practice. The first thing that comes up in my mind is a musical experiment between the American Eydie Gorme and the trio Los Panchos. The lyrics of one of their stylistic remakes between cha-cha-cha and bolero start with the velvety voice and an accent difficult to categorize of a woman who addresses us with ease:

Con el alma llena de amargura y sin saber qué hacer,
He venido aquí con esta duda a escuchar tu voz.
Di que no es verdad, lo que murmuran por ahí
Di que no es verdad, que es envidia o maldad

Bolero always addresses the audience’s personal experience, the frustration of knowing one’s love is not returned. And this is the reason why I have chosen this example to reflect upon the relation Javier Peñafiel’s work sets up with the exterior world. The many characters populating his work constitute a peculiar way of examining the whole spectrum of personal fears. No matter if in his videos or drawings, every single one of them is given rise to –as in Goya episodes - by the need of investigating the possibilities and limits of fantasy. The fantastic element must not be mistaken for a synonym of wonder, though. It is instead a new mental compartment reaching out to what is alien, strange or surprising, as an aim in itself.
In his videos, instead of using different alter egos willing to remain in the limbo of the powerful feeling of loneliness they seem possessed by, the artist puts himself in front of the camera. The camera allows him to open a window on the world, even though the world itself hardly appears in the image, perceived as it is as something alien, a threshold that we never saw him cross. The whole of his work is based on the policy of solipsism.
The seduction of fiction is a way of drawing attention to the conservative counter-illustration characterising the contemporary intellectual panorama, as well as leaving each one of us dealing with a severe feeling of being exposed to a gloomy relapse we do not really know how to get out of. The swiftness with which matters of major importance are solved reinforces the need felt by artists such as Peñafiel to create moments of undeniable ambiguity, which are expression of the necessity to appeal to the world of all those who feel themselves wasting away in oblivion and unable to establish bonds with any community whatsoever.

Chus Martínez
[curator Frankfurter Kunstverein]

  

Javier Peñafiel was born in Saragossa, 1964.
Exhibitions and interventions (a selection)
2005 Orphans of the void. Rekalde. Bilbao*; Miami Basel Art Fair, Joan Prats Gallery; Tiempos de vídeo. 1965-2005. Caixaforum, Barcelona*; Arco 05, Madrid.; Ulrich Fiedler gallery, Colonia; Festival de vídeo. Fundacion Biacs; Bienal de Arte Contemporaneo de Sevilla. / 2004 Palabra Natal (Native Word). Museo Pablo Serrano, Saragossa *; Habla. Galería Joan Prats, Barcelona; Ausencia pública (Public Absence), temporary installation at CaixaForum, Barcelona; Arte portugués y español de los noventa. CaixaForum, Barcelona; Arte termita contra elefante blanco. Fundación ICO, Madrid * / 2003 Conquista básica te vuelvo a pedir que te definas (Basic Conquest, I Ask you Once Again to Define Yourself). Galería Spectrum Sotos, Saragossa and Galeria ProjecteSD, Barcelona. Multimedia presentation and staging with actor of the publications *; Figuraciones. Sala de la Comunidad de Madrid *; Stand by, listos para actuar. Laboratorio de Arte Alameda, Ciudad de México *; Figuraciones. Caja Madrid, travelling to various cities *
* book or catalogue

 
   

PLAY_gallery for still and motion pictures
hannoversche strasse 1 d-10115 Berlin
p +49-30-2345 5753 f +49-30-2345 5754
www.pushthebuttonplay.com
opening hours: wed-sat 2 -7pm

 Press release: Pdf
   
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www.plug-in.ch
   
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]]> -1 2/16/2006 PLAY_gallery for still and motion pictures presents: “Re-action” Radek Community

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PLAY_gallery for still and motion pictures presents:

“Re-action”
Radek Community

A project by Radek Community and Marco Scotini
17th January - 11th February 2006
Private view: Tuesday, 17th January 2006, 7 pm
Opening hours: Wednesday – Saturday, 2 – 7 pm

Re-action is the title of the exhibition with which the Moscow group Radek Community comes back to Germany, this time –though– with an extensive solo show at PLAY_gallery for still and motion pictures opening on Tuesday, January 17th. On the occasion, a new project –staging a plurality of visual strategies and intervention plans, both originating from a common field of subjects- will be presented.

Where can the socialisation processes be set up today? What remains of the experience of the community dissolution? What are the techniques of the current public sphere when all usual links of social belonging fail? Which forms of collective action can be staged after the decline of the belonging to class and people? Which are the mechanisms of inclusion, participation, consensus? How does the social agency work in a condition of generalised market? It is an ideological criticism on what is “common” and –at the same time- the quest for conditions of possibility of the “common” the core of the work of Radek group.

Direct descendant of the provocative and politically incorrect actionism of the Moscow art scene of the ‘90s that saw Alexander Brener, Oleg Kulik, Anatoly Osmolovsky and Avdej Ter-Oganyan as charismatic figures of an individualist and aggressive heroism, the group Radek Community has preferred representing its other face, still rebellious, still radical but definitely reversal. Since 1997, Radek Community has defined itself as a group of young artists, cultural activists and musicians that –taking the political activism as a model- develops a mimetic, rhizomatic, performative practice inside the society’s body itself.

Known for its participation to Manifesta 4, Prague Biennale 1 and 2, the 50th Venice Biennale or exhibitions such as “Privatisierungen”, “Disobedience”, and “Kollektive Kreativität”, the group has –since its beginnings- characterised itself for staging public forms of collectivity, making use of performative strategies of various kinds. A known action of theirs in 2000 consisted in a march with banners and red flags on the streets of Moscow with which they turned passers-by at crossing into unwitting demonstrators. For the whole of 2001 they proclaimed themselves “schotchers” (“sellotapers”), carrying out compulsive forms of collectivisation by wrapping up with colourful adhesive tapes groups of people in situations they would improvised anywhere. More over, they have carried out virtual sound communities (2002) and staged hunger strikes with no demands (2003).

Re-action –the project conceived for Berlin- apparently moves away from all these direct actions. The title might even hint at this. Through the use of photo and video, the artificial and improvised community stages are left aside. This time –and with a more analytical attitude- the showcase of the ambiguity of certain basic collective situations (such as a family group portrait, bands performing live, groups of friends, or the art audience itself) is preferred. The visitors will be asked to question the reality they gaze at. Still, the aim that hides behind this additional gap Radek stages is once more political: turning visible the usually invisible collective subjects. They will be handed in with no remedy, though, to their way of being. Exactly as they are.

(M.S.)

 

"Re-action"
   

PLAY_gallery for still and motion pictures
hannoversche strasse 1 d-10115 Berlin
p +49-30-2345 5753 f +49-30-2345 5754
www.pushthebuttonplay.com
opening hours: wed-sat 2 -7pm

 Press release: Pdf
   

part of transmediale.06 official programme / Externe Orte

www.transmediale.de

  
   
Plug-in
Contemporary art news
www.plug-in.ch
   
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English                                                                                          Back

 

PLAY_gallery for still and motion pictures presents:

“Re-action”
Radek Community

A project by Radek Community and Marco Scotini
17th January - 11th February 2006
Private view: Tuesday, 17th January 2006, 7 pm
Opening hours: Wednesday – Saturday, 2 – 7 pm

Re-action is the title of the exhibition with which the Moscow group Radek Community comes back to Germany, this time –though– with an extensive solo show at PLAY_gallery for still and motion pictures opening on Tuesday, January 17th. On the occasion, a new project –staging a plurality of visual strategies and intervention plans, both originating from a common field of subjects- will be presented.

Where can the socialisation processes be set up today? What remains of the experience of the community dissolution? What are the techniques of the current public sphere when all usual links of social belonging fail? Which forms of collective action can be staged after the decline of the belonging to class and people? Which are the mechanisms of inclusion, participation, consensus? How does the social agency work in a condition of generalised market? It is an ideological criticism on what is “common” and –at the same time- the quest for conditions of possibility of the “common” the core of the work of Radek group.

Direct descendant of the provocative and politically incorrect actionism of the Moscow art scene of the ‘90s that saw Alexander Brener, Oleg Kulik, Anatoly Osmolovsky and Avdej Ter-Oganyan as charismatic figures of an individualist and aggressive heroism, the group Radek Community has preferred representing its other face, still rebellious, still radical but definitely reversal. Since 1997, Radek Community has defined itself as a group of young artists, cultural activists and musicians that –taking the political activism as a model- develops a mimetic, rhizomatic, performative practice inside the society’s body itself.

Known for its participation to Manifesta 4, Prague Biennale 1 and 2, the 50th Venice Biennale or exhibitions such as “Privatisierungen”, “Disobedience”, and “Kollektive Kreativität”, the group has –since its beginnings- characterised itself for staging public forms of collectivity, making use of performative strategies of various kinds. A known action of theirs in 2000 consisted in a march with banners and red flags on the streets of Moscow with which they turned passers-by at crossing into unwitting demonstrators. For the whole of 2001 they proclaimed themselves “schotchers” (“sellotapers”), carrying out compulsive forms of collectivisation by wrapping up with colourful adhesive tapes groups of people in situations they would improvised anywhere. More over, they have carried out virtual sound communities (2002) and staged hunger strikes with no demands (2003).

Re-action –the project conceived for Berlin- apparently moves away from all these direct actions. The title might even hint at this. Through the use of photo and video, the artificial and improvised community stages are left aside. This time –and with a more analytical attitude- the showcase of the ambiguity of certain basic collective situations (such as a family group portrait, bands performing live, groups of friends, or the art audience itself) is preferred. The visitors will be asked to question the reality they gaze at. Still, the aim that hides behind this additional gap Radek stages is once more political: turning visible the usually invisible collective subjects. They will be handed in with no remedy, though, to their way of being. Exactly as they are.

(M.S.)

 

"Re-action"
   

PLAY_gallery for still and motion pictures
hannoversche strasse 1 d-10115 Berlin
p +49-30-2345 5753 f +49-30-2345 5754
www.pushthebuttonplay.com
opening hours: wed-sat 2 -7pm

 Press release: Pdf
   

part of transmediale.06 official programme / Externe Orte

www.transmediale.de

  
   
Plug-in
Contemporary art news
www.plug-in.ch
   
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]]> -1 2/1/2006 PLAY_gallery for still and motion pictures / Frédéric Moser and Philippe Schwinger

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PLAY_gallery for still and motion pictures is proud to announce that
Frédéric Moser and Philippe Schwinger will be taking part (along with Sylvie Fleury, Fabrice Gygi, Shahryar Nashat and Ugo Rondinone) to the exhibition "Talking about the Real World / Contemporary Swiss Art" at the Chiba City Museum of Art (Japan)

17 Dec. 2005 - 26 Feb. 2006.

They will present "Internment Area" (2002).

The installation Internment Area (2002) also separates the play from the stage. It examines staging as a means of psychotherapy. In the projected film sequence, a 'Therapist' tries to make a youth, Guillaume, recreate typical and problematic situations from his own life on stage in order to resolve conflicts with himself and his surroundings. Guillaume is supported by various characters that embody people from his life or even himself (auxiliary egos) according to his instructions. Internment Area offers insight into the therapeutic methods of Jacob L. Moreno, who recognized the healing potential of his patient's play-acting. They were meant to act their way out of their own dilemmas, to breakout of the routine of ingrained patterns of behavior and thought and, through theatre, experience possible new behaviors. The film by Moser / Schwinger tells the story of a therapy session that is not a one-to-one historical account but that certainly could be, when compared to the records of actual therapeutic sessions. As the sequence unfolds, an image of a boy emerges who lacks family support and has been thrown back on himself. He is forced to seek escape in a fantasized reality that is tailored entirely to his immediate needs so that the importance of his (real) environment fades into the background.

The film opens with Guillaume on stage, sitting on a mattress. We hear the 'Therapist' giving him advice from the wings on how he might develop a scene with the help of the stage. In the film, however, the location cannot immediately be identified as a stage, and Guillaume seems to be rather disinterested, so that the 'Therapist's' words appear to be directed not only at him but especially at the viewers of the film for whom the monumental stage is the dominant object in the exhibition space. The stage stands as a site outside of reality, where actions are no longer determined by conventional rules. Anything positioned on stage can become reality and new realities can be put to the test. Thus Guillaume acts out an extremely convincing dialogue with his 'Girlfriend' and gradually provides the audience with an image of his family situation, only to reveal later that both are products of his imagination and fantasy. The stage that is re-created in this installation goes back to the one Moreno used in the 1950s and 1960s. It meets all the requirements: it is immediately perceived as a theatre, the design is open and therefore open to interpretation and yet it is fully self-contained. It requires neither seating nor audience in order to perform its function. The steps all around are enough to set the stage off from its surroundings; the backdrop creates a variable space for performance and also establishes intimacy. As a theatre, it is amenable to any concept and in Guillaume's play, it first represents a dormitory and then a kitchen. In the exhibition, however, it figures prominently and exclusively as a stage: it remains empty and unused. Even when, in the film, Guillaume and his 'Mother' have their encounter in the kitchen, it is only the stage in the film that becomes the location of this emotional dialogue. Only through the play does the stage acquire meaning; it does not play a role by itself.
Moser / Schwinger's installations are neither theatre nor film nor installation. All three aspects must converge in order to generate the complex system of distinct levels of action and meaning, which also undergo constant redefinition through the changing positions of the viewers. It is an infinitely convoluted play. Its narrative plot serves as a foil against which the other levels pile up; it is also the thematic point of reference to the present day. This is overlaid with the play within the play, the subject of which is how theatre functions, and also with historicity as a device that creates perspective. In the resulting film, the two levels are analytically documented and condensed. In the gallery, an additional aspect comes into play: the sculptural installation of an element of the scenery, which allows for a further non-visual appropriation of the production. In their theatrical work. Frederic Moser and Philippe Schwinger do not target the staging of fictions or the mere representation of theatre; they are interested in decoding the potential and the processes of dramaturgy. Theatre is an especially intense means of transmitting information thanks to direct contact between audience and actors, and therefore ideally embodies the various methods of controlled communication. It is there that Moser / Schwinger produce their complex scenarios, which subvert habitual modes of perception, expose structures and successfully combine analysis and emotionality.

Axel Lapp
 

"Internment Area" (2002). Set and video-projection (Dvd, 28'18''), German speaking, English subtitled, loop.
   
Chiba City Museum of Art
3-10-8, Chuo, Chuo-ku, Chiba 260-8733, JAPAN
p +81-43-221-2311, f +81-43-221-2316
www.city.chiba.jp/art/
 		  
   

PLAY_gallery for still and motion pictures
hannoversche strasse 1 d-10115 Berlin
p +49-30-2345 5753 f +49-30-2345 5754
www.pushthebuttonplay.com
opening hours: wed-sat 2 -7pm

 Press release: Pdf
   

Plug-in
Contemporary art news
www.plug-in.ch
   
subscribe | up-date                                                  to unsubscribe click / here  
]]>

Plug-in contemporary art news
English                                                                                          Back

 

PLAY_gallery for still and motion pictures is proud to announce that
Frédéric Moser and Philippe Schwinger will be taking part (along with Sylvie Fleury, Fabrice Gygi, Shahryar Nashat and Ugo Rondinone) to the exhibition "Talking about the Real World / Contemporary Swiss Art" at the Chiba City Museum of Art (Japan)

17 Dec. 2005 - 26 Feb. 2006.

They will present "Internment Area" (2002).

The installation Internment Area (2002) also separates the play from the stage. It examines staging as a means of psychotherapy. In the projected film sequence, a 'Therapist' tries to make a youth, Guillaume, recreate typical and problematic situations from his own life on stage in order to resolve conflicts with himself and his surroundings. Guillaume is supported by various characters that embody people from his life or even himself (auxiliary egos) according to his instructions. Internment Area offers insight into the therapeutic methods of Jacob L. Moreno, who recognized the healing potential of his patient's play-acting. They were meant to act their way out of their own dilemmas, to breakout of the routine of ingrained patterns of behavior and thought and, through theatre, experience possible new behaviors. The film by Moser / Schwinger tells the story of a therapy session that is not a one-to-one historical account but that certainly could be, when compared to the records of actual therapeutic sessions. As the sequence unfolds, an image of a boy emerges who lacks family support and has been thrown back on himself. He is forced to seek escape in a fantasized reality that is tailored entirely to his immediate needs so that the importance of his (real) environment fades into the background.

The film opens with Guillaume on stage, sitting on a mattress. We hear the 'Therapist' giving him advice from the wings on how he might develop a scene with the help of the stage. In the film, however, the location cannot immediately be identified as a stage, and Guillaume seems to be rather disinterested, so that the 'Therapist's' words appear to be directed not only at him but especially at the viewers of the film for whom the monumental stage is the dominant object in the exhibition space. The stage stands as a site outside of reality, where actions are no longer determined by conventional rules. Anything positioned on stage can become reality and new realities can be put to the test. Thus Guillaume acts out an extremely convincing dialogue with his 'Girlfriend' and gradually provides the audience with an image of his family situation, only to reveal later that both are products of his imagination and fantasy. The stage that is re-created in this installation goes back to the one Moreno used in the 1950s and 1960s. It meets all the requirements: it is immediately perceived as a theatre, the design is open and therefore open to interpretation and yet it is fully self-contained. It requires neither seating nor audience in order to perform its function. The steps all around are enough to set the stage off from its surroundings; the backdrop creates a variable space for performance and also establishes intimacy. As a theatre, it is amenable to any concept and in Guillaume's play, it first represents a dormitory and then a kitchen. In the exhibition, however, it figures prominently and exclusively as a stage: it remains empty and unused. Even when, in the film, Guillaume and his 'Mother' have their encounter in the kitchen, it is only the stage in the film that becomes the location of this emotional dialogue. Only through the play does the stage acquire meaning; it does not play a role by itself.
Moser / Schwinger's installations are neither theatre nor film nor installation. All three aspects must converge in order to generate the complex system of distinct levels of action and meaning, which also undergo constant redefinition through the changing positions of the viewers. It is an infinitely convoluted play. Its narrative plot serves as a foil against which the other levels pile up; it is also the thematic point of reference to the present day. This is overlaid with the play within the play, the subject of which is how theatre functions, and also with historicity as a device that creates perspective. In the resulting film, the two levels are analytically documented and condensed. In the gallery, an additional aspect comes into play: the sculptural installation of an element of the scenery, which allows for a further non-visual appropriation of the production. In their theatrical work. Frederic Moser and Philippe Schwinger do not target the staging of fictions or the mere representation of theatre; they are interested in decoding the potential and the processes of dramaturgy. Theatre is an especially intense means of transmitting information thanks to direct contact between audience and actors, and therefore ideally embodies the various methods of controlled communication. It is there that Moser / Schwinger produce their complex scenarios, which subvert habitual modes of perception, expose structures and successfully combine analysis and emotionality.

Axel Lapp
 

"Internment Area" (2002). Set and video-projection (Dvd, 28'18''), German speaking, English subtitled, loop.
   
Chiba City Museum of Art
3-10-8, Chuo, Chuo-ku, Chiba 260-8733, JAPAN
p +81-43-221-2311, f +81-43-221-2316
www.city.chiba.jp/art/
 		  
   

PLAY_gallery for still and motion pictures
hannoversche strasse 1 d-10115 Berlin
p +49-30-2345 5753 f +49-30-2345 5754
www.pushthebuttonplay.com
opening hours: wed-sat 2 -7pm

 Press release: Pdf
   

Plug-in
Contemporary art news
www.plug-in.ch
   
subscribe | up-date                                                  to unsubscribe click / here  
]]> -1 12/13/2005 AP4-ART opening: Fabrizio Giannini and Julia Kälin exihibition.

English                                                                                    Back

 

AP4-ART is glad  to invite you  at the opening of Fabrizio Giannini and Julia Kälin exihibition.


Opening Saturday December 3, 2005, 17h-22h
3 December 2005 - 28 January 2006
 

Fabrizio Giannini (Lugano, 1964) known for his works on the logotypes of some  important  commercial companies, logotypes that he has recomposed by making use of the critical texts against the companies themselves, more recently is interested in  the hackers phenomenon and computer viruses. Through his pictures, he compares two distinct realities: the reality of the poor countries where viruses and wars  act pitilessly on the human body and the western reality where computer viruses and the war among rival hackers seem to be rather the whims of a privileged class, which however hold the power to affect the economical and social destiny of the world.
 
Julia Kälin (Aarau, 1977)  with her videos, drawings and oozing installations presents an exploded and tortured body in constant strength relation with  the nature, the food, the town and the others. A real permeable membrane, the body described by Kälin acts as a filter between the interior and the exterior, the individual and the world. The artist builds her works predominantly with organic perishable substance to evoke the roughness and temporariness of a body on which the spectator can show his or her own  personal experiences.
 

Julia Kälin

Julia Kälin, Drawing, Ink  on Paper, 200x150 cm , 2005

   

AP4-ART
Rue du Tir 1
CH-1204 Geneva
p +41 (0)22 3216741
M +41 (0)79 4098934
www.ap4-art.com

 Press release: Pdf
   

Plug-in
Contemporary art services
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]]>

English                                                                                    Back

 

AP4-ART is glad  to invite you  at the opening of Fabrizio Giannini and Julia Kälin exihibition.


Opening Saturday December 3, 2005, 17h-22h
3 December 2005 - 28 January 2006
 

Fabrizio Giannini (Lugano, 1964) known for his works on the logotypes of some  important  commercial companies, logotypes that he has recomposed by making use of the critical texts against the companies themselves, more recently is interested in  the hackers phenomenon and computer viruses. Through his pictures, he compares two distinct realities: the reality of the poor countries where viruses and wars  act pitilessly on the human body and the western reality where computer viruses and the war among rival hackers seem to be rather the whims of a privileged class, which however hold the power to affect the economical and social destiny of the world.
 
Julia Kälin (Aarau, 1977)  with her videos, drawings and oozing installations presents an exploded and tortured body in constant strength relation with  the nature, the food, the town and the others. A real permeable membrane, the body described by Kälin acts as a filter between the interior and the exterior, the individual and the world. The artist builds her works predominantly with organic perishable substance to evoke the roughness and temporariness of a body on which the spectator can show his or her own  personal experiences.
 

Julia Kälin

Julia Kälin, Drawing, Ink  on Paper, 200x150 cm , 2005

   

AP4-ART
Rue du Tir 1
CH-1204 Geneva
p +41 (0)22 3216741
M +41 (0)79 4098934
www.ap4-art.com

 Press release: Pdf
   

Plug-in
Contemporary art services
www.plug-in.ch
   
subscribe | up-date                                                  to unsubscribe click / here  

 

]]> -1 11/28/2005 CACT Centro d’Arte Contemporanea Ticino: The definitions of the invisible 1

English  Italian                                                                            Back

 

On Saturday 19 November 2005, at 5-30 pm, the CACT Centro d’Arte Contemporanea Ticino in Bellinzona will host the opening of the thematic show

LE DEFINIZIONI DELL’INVISIBILE 1 / THE DEFINITIONS OF THE INVISIBLE 1

Maurizio Anzeri, Daniel Bolliger, Andrea Crosa, Gianluca Monnier

The aim of the curator of the show is to investigate within the current artistic production certain themes in relation to the languages the authors use. During the 90s the main target was to create and strengthen the concept of international globalization very much supported by the art market. After the political changes occurred in the last few years, artist’s search tends to go back to more individual and intimate values leading to universal themes around the mankind.

Inside this universe of communicational excess, the authors point out the importance of the human being related to his paradoxes. Their political and social involvement about important themes had inspired the title of this exhibition, for which the artists try to make visible the invisible, inner and intimate visions through new languages. While the society is more and more concentrating around banality and escape, the exhibition tries to make us have an “other” vision of life that we forgot or completely removed from our consciousness.

To define the invisible is among the strongest ambitions of human being.

The works of British artist Maurizio Anzeri (1969) forms a sort of hybridization between certain media and languages; the use of specific materials like the hair for the realisation of the two exhibited works has to be strongly linked to the final result. Little Black Dress (2002) and Strait Jacket (2004) are two clothes sewed together with the dead part of our body (the hair). With this material M.A., acting sarcastically, invents an evening dress, a playful “seduction medium” with the concept of death suggested by the material he uses (a sort of useless social game), while the theme of the human identity – the dress – developed with Strait Jacket reminds us back to the idea of cerebral death.

For his video works Daniel Bolliger (1976) does not want to use real screen plays. With them the artist refers to intimate perceptions of the human being: his work clearly shows references to the tradition of painting, going from the more recent video clip, to documentary, as well as to the performing aspects of contemporary art. D.B. never features the medium he uses, but overcomes what seems to be the limit of a style. His work is meant to bring us back to ourselves and to flee from an artistic and iconographic imagery.

The approach of Andrea Crosa (1949) to the theme of the show is interesting. He thinks about painting, a style of which the artist born in Buenos Aires has a good knowledge. Of him the CACT shows two canvases representing two interior architectures going back up to the 70s. A.C. was deepening at that time the concept of meta-reality of his subjects, of suspension of time and of the connections between fiction and reality, micro and macro, objective and subjective. Similarly to the themes he developed within the solo show at the Museum of Contemporary Art Villa Croce in Genoa last July, the artist draws invisible, and at the same time anguished, presences behind an image completely independent from temporal criteria, but confirming the identification of his work as an art work. His third exhibited work is a video.

The 1 channel video entitled Scart (2005) and the video installation Timecodedeath (2005) of Gianluca Monnier (1971) are for the artist again a sort of desperate way out to get rid of a suffocating TV everyday life and of a productive society more and more dominated by anonymous powers and by communicators of nothing. The information replaces the communication and becomes along the years a pile of grotesque waste lacking in meaning.

 

The exhibition is open for the public Friday, Saturday an Sunday from 2 to 6 pm and by appointment and remains open throughout February 5th 2006.

Daniel Bolliger, tränenwechselrythmus, video still, 2005.
   

CACTicino
CENTRO D'ARTE CONTEMPORANEA TICINO
Via Tamaro 3 - 6500 Bellinzona (Switzerland)
Phone +41 (0)91 825 40 72 Fax +41 (0)91 825 40 85
www.cacticino.net

 Comunicato stampa: Pdf
Press release: Pdf

Supported By:
federal office for culture, repubblica e cantone ticino/swisslos, migros percento culturale, city of bellinzona, ernst göhner stiftung zug, farmacia nuova gordola, friends of cacticino, spirit of the lake, the artists		  

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English  Italian                                                                            Back

 

On Saturday 19 November 2005, at 5-30 pm, the CACT Centro d’Arte Contemporanea Ticino in Bellinzona will host the opening of the thematic show

LE DEFINIZIONI DELL’INVISIBILE 1 / THE DEFINITIONS OF THE INVISIBLE 1

Maurizio Anzeri, Daniel Bolliger, Andrea Crosa, Gianluca Monnier

The aim of the curator of the show is to investigate within the current artistic production certain themes in relation to the languages the authors use. During the 90s the main target was to create and strengthen the concept of international globalization very much supported by the art market. After the political changes occurred in the last few years, artist’s search tends to go back to more individual and intimate values leading to universal themes around the mankind.

Inside this universe of communicational excess, the authors point out the importance of the human being related to his paradoxes. Their political and social involvement about important themes had inspired the title of this exhibition, for which the artists try to make visible the invisible, inner and intimate visions through new languages. While the society is more and more concentrating around banality and escape, the exhibition tries to make us have an “other” vision of life that we forgot or completely removed from our consciousness.

To define the invisible is among the strongest ambitions of human being.

The works of British artist Maurizio Anzeri (1969) forms a sort of hybridization between certain media and languages; the use of specific materials like the hair for the realisation of the two exhibited works has to be strongly linked to the final result. Little Black Dress (2002) and Strait Jacket (2004) are two clothes sewed together with the dead part of our body (the hair). With this material M.A., acting sarcastically, invents an evening dress, a playful “seduction medium” with the concept of death suggested by the material he uses (a sort of useless social game), while the theme of the human identity – the dress – developed with Strait Jacket reminds us back to the idea of cerebral death.

For his video works Daniel Bolliger (1976) does not want to use real screen plays. With them the artist refers to intimate perceptions of the human being: his work clearly shows references to the tradition of painting, going from the more recent video clip, to documentary, as well as to the performing aspects of contemporary art. D.B. never features the medium he uses, but overcomes what seems to be the limit of a style. His work is meant to bring us back to ourselves and to flee from an artistic and iconographic imagery.

The approach of Andrea Crosa (1949) to the theme of the show is interesting. He thinks about painting, a style of which the artist born in Buenos Aires has a good knowledge. Of him the CACT shows two canvases representing two interior architectures going back up to the 70s. A.C. was deepening at that time the concept of meta-reality of his subjects, of suspension of time and of the connections between fiction and reality, micro and macro, objective and subjective. Similarly to the themes he developed within the solo show at the Museum of Contemporary Art Villa Croce in Genoa last July, the artist draws invisible, and at the same time anguished, presences behind an image completely independent from temporal criteria, but confirming the identification of his work as an art work. His third exhibited work is a video.

The 1 channel video entitled Scart (2005) and the video installation Timecodedeath (2005) of Gianluca Monnier (1971) are for the artist again a sort of desperate way out to get rid of a suffocating TV everyday life and of a productive society more and more dominated by anonymous powers and by communicators of nothing. The information replaces the communication and becomes along the years a pile of grotesque waste lacking in meaning.

 

The exhibition is open for the public Friday, Saturday an Sunday from 2 to 6 pm and by appointment and remains open throughout February 5th 2006.

Daniel Bolliger, tränenwechselrythmus, video still, 2005.
   

CACTicino
CENTRO D'ARTE CONTEMPORANEA TICINO
Via Tamaro 3 - 6500 Bellinzona (Switzerland)
Phone +41 (0)91 825 40 72 Fax +41 (0)91 825 40 85
www.cacticino.net

 Comunicato stampa: Pdf
Press release: Pdf

Supported By:
federal office for culture, repubblica e cantone ticino/swisslos, migros percento culturale, city of bellinzona, ernst göhner stiftung zug, farmacia nuova gordola, friends of cacticino, spirit of the lake, the artists		  

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]]> -1 11/14/2005 AP4-ART / a+mbookstore

English Italian                                                                                    Back

 

AP4-ART gallery is pleased to  invite you to:

Artissima 12
The international art fair of contemporary art in Turin.
11. - 13. November 2005

We will be presenting works by:

Maura Banfo
Donatella Bernardi
Agnieska Brzezanska
Silvia Buonvicini
Davide Cascio
Fabrizio Giannini
Swetlana Heger
Seamus Kealy
Donatella Spaziani
Attila Szucs
Etienne Zack

 

AP4-ART
Rue du Tir 1
CH-1204 Geneva
p +41 (0)22 3216741
M +41 (0)79 4098934
www.ap4-art.com

www.artissima.it
Lingotto Fiere
Via Nizza 280 - 10126 Turin

 

 

a+mbookstore
Contemporary Art
 

Opening thursday November 17 at 6:00 p.m
17.  -  29. November 2005

Fabrizio Giannini

 

a+mbookstore
Contemporary Art
Via Tadino, 30
20124 Milano
Italy
p +39 02 29527729
f +39 02 29526115
www.artecontemporanea.com

 

   

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]]>

English Italian                                                                                    Back

 

AP4-ART gallery is pleased to  invite you to:

Artissima 12
The international art fair of contemporary art in Turin.
11. - 13. November 2005

We will be presenting works by:

Maura Banfo
Donatella Bernardi
Agnieska Brzezanska
Silvia Buonvicini
Davide Cascio
Fabrizio Giannini
Swetlana Heger
Seamus Kealy
Donatella Spaziani
Attila Szucs
Etienne Zack

 

AP4-ART
Rue du Tir 1
CH-1204 Geneva
p +41 (0)22 3216741
M +41 (0)79 4098934
www.ap4-art.com

www.artissima.it
Lingotto Fiere
Via Nizza 280 - 10126 Turin

 

 

a+mbookstore
Contemporary Art
 

Opening thursday November 17 at 6:00 p.m
17.  -  29. November 2005

Fabrizio Giannini

 

a+mbookstore
Contemporary Art
Via Tadino, 30
20124 Milano
Italy
p +39 02 29527729
f +39 02 29526115
www.artecontemporanea.com

 

   

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]]> -1 11/9/2005 Opening: I Sotterranei dell'Arte - Involucro

English version Italian version                                                              Back

 

I  SOTTERRANEI  DELL’ARTE

ANTICO MONASTERO DELLE AGOSTINIANE  -  MONTE CARASSO

Involucro

Fabrizio Giannini
Julia Kälin
Jean-Luc Verna

Opening saturday september 10 at 6:00 p.m
11 september - 9 october 2005


Glorified, twisted, perfected and marketed, the human body has nowadays become a flexible and a malleable horizon. Considered for centuries and in various cultures as the simple biological shell capable of hosting living identities, the body can be optimized or corrupted. Although the present philosophical and scientific evolution, it  will remain, in the collective imaginary, as the perishable element of the pair, soul and body. From the anatomical studies performed in the Renaissance to the heroic deformations of the mannerism and the baroque up to the radical performance of the seventies, the artists have known how to explore the body beyond taboos and preconceptions.
Nowadays the advertising production and the Hollywood cinema praise the body without the obligation to return it the honour multiplying, at the same time, the references according to the trade rules. In this maze of portrayals Involucro explores three horizons of performance of the body trough the art works of two Swiss artists and a French one.
 
Fabrizio Giannini (Lugano, 1964) known for his works on the logotypes of some  important  commercial companies, logotypes that he has recomposed by making use of the critical texts against the companies themselves, more recently is interested in  the hackers phenomenon and computer viruses. Through his pictures, he compares two distinct realities: the reality of the poor countries where viruses and wars  act pitilessly on the human body and the western reality where computer viruses and the war among rival hackers seem to be rather the whims of a privileged class, which however hold the power to affect the economical and social destiny of the world.
 
Julia Kälin (Aarau, 1977)  with her videos and oozing installations presents an exploded and tortured body in constant strength relation with  the nature, the food, the town and the others. A real permeable membrane, the body described by Kälin acts as a filter between the interior and the exterior, the individual and the world. The artist builds her works predominantly with organic perishable substance to evoke the roughness and temporariness of a body on which the spectator can show his or her own  personal experiences.
 
On the contrary, the body invented by Jean-Luc Verna (Nice, 1966) is more eclectic and dreamy. It  introduces ourselves in a universe in  constant opposition to the conventional models. Inspired at the same time by Ingres, Marguerite Duras and Siouxsie and the Banshees, Verna connects in an elegant way the traditional and the underground culture, the popular and the elitist ones. His drawings, highlighted with powder and other cosmetic products,  are liven up by hybrid creatures, icons and vanity which reveal our drives, our fear and our dreams.
 

immagine : Jean-Luc Verna, "Mr Eggman",  2003 (courtesy Air de Paris)
   

I Sotterranei dell'Arte
Antico Monastero delle Agostiniane
CP 115,  CH-6513 Monte Carasso
Phone: + 41 (0)91 8211557, Fax: +41 (0)91 8263348
www.montecarasso.ch

Exhibition: 11.09 - 09.10.05
Opening hours:
We/Fr/Sa/Su from 2:00 to 6:00 pm

 Comunicato stampa: Pdf
Press release: Pdf

Supported By:
Comune di Monte Carasso, Repubblica e Cantone Ticino – Fondo Swisslos, Banca Raiffeisen, Fondation Nestlé pour l’Art, Ernst Göhner Stiftung Zug, Pro Helvetia, Migros Kulturprozent, Stadt Luzern / Fuka-Fonds, Società Generale d’Affissioni		  

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]]>

English version Italian version                                                              Back

 

I  SOTTERRANEI  DELL’ARTE

ANTICO MONASTERO DELLE AGOSTINIANE  -  MONTE CARASSO

Involucro

Fabrizio Giannini
Julia Kälin
Jean-Luc Verna

Opening saturday september 10 at 6:00 p.m
11 september - 9 october 2005


Glorified, twisted, perfected and marketed, the human body has nowadays become a flexible and a malleable horizon. Considered for centuries and in various cultures as the simple biological shell capable of hosting living identities, the body can be optimized or corrupted. Although the present philosophical and scientific evolution, it  will remain, in the collective imaginary, as the perishable element of the pair, soul and body. From the anatomical studies performed in the Renaissance to the heroic deformations of the mannerism and the baroque up to the radical performance of the seventies, the artists have known how to explore the body beyond taboos and preconceptions.
Nowadays the advertising production and the Hollywood cinema praise the body without the obligation to return it the honour multiplying, at the same time, the references according to the trade rules. In this maze of portrayals Involucro explores three horizons of performance of the body trough the art works of two Swiss artists and a French one.
 
Fabrizio Giannini (Lugano, 1964) known for his works on the logotypes of some  important  commercial companies, logotypes that he has recomposed by making use of the critical texts against the companies themselves, more recently is interested in  the hackers phenomenon and computer viruses. Through his pictures, he compares two distinct realities: the reality of the poor countries where viruses and wars  act pitilessly on the human body and the western reality where computer viruses and the war among rival hackers seem to be rather the whims of a privileged class, which however hold the power to affect the economical and social destiny of the world.
 
Julia Kälin (Aarau, 1977)  with her videos and oozing installations presents an exploded and tortured body in constant strength relation with  the nature, the food, the town and the others. A real permeable membrane, the body described by Kälin acts as a filter between the interior and the exterior, the individual and the world. The artist builds her works predominantly with organic perishable substance to evoke the roughness and temporariness of a body on which the spectator can show his or her own  personal experiences.
 
On the contrary, the body invented by Jean-Luc Verna (Nice, 1966) is more eclectic and dreamy. It  introduces ourselves in a universe in  constant opposition to the conventional models. Inspired at the same time by Ingres, Marguerite Duras and Siouxsie and the Banshees, Verna connects in an elegant way the traditional and the underground culture, the popular and the elitist ones. His drawings, highlighted with powder and other cosmetic products,  are liven up by hybrid creatures, icons and vanity which reveal our drives, our fear and our dreams.
 

immagine : Jean-Luc Verna, "Mr Eggman",  2003 (courtesy Air de Paris)
   

I Sotterranei dell'Arte
Antico Monastero delle Agostiniane
CP 115,  CH-6513 Monte Carasso
Phone: + 41 (0)91 8211557, Fax: +41 (0)91 8263348
www.montecarasso.ch

Exhibition: 11.09 - 09.10.05
Opening hours:
We/Fr/Sa/Su from 2:00 to 6:00 pm

 Comunicato stampa: Pdf
Press release: Pdf

Supported By:
Comune di Monte Carasso, Repubblica e Cantone Ticino – Fondo Swisslos, Banca Raiffeisen, Fondation Nestlé pour l’Art, Ernst Göhner Stiftung Zug, Pro Helvetia, Migros Kulturprozent, Stadt Luzern / Fuka-Fonds, Società Generale d’Affissioni		  

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]]> -1 8/31/2005 Alex Katz, Opening Saturday December 8, Galleria Monica De Cardenas, Zuoz

English                                                                                     Back

 

Alex Katz
Opening Saturday December 8, 2007 at 6 pm

Exhibition in Zuoz   
11 December  2007 – 9 February,  2008
Gallery Hours: Tues – Sat, 3 - 7 pm


Monica De Cardenas is pleased to announce the first solo exhibition of Alex Katz in Switzerland. It will be on view in the new gallery in Zuoz near St.Moritz from December 11, 2007 to February 9, 2008. It will feature the two big panorama paintings “Summer Seven” from 1993 and “Dark Green” from 1997, as well as new portraits and drawings. Until now in Switzerland Alex Katz’s work has been  seen only in the cult exhibition  “Birth of the Cool” curated by Bice Curiger at Kunsthaus Zürich in 1997.
 
American artist Alex Katz is one of the leading figurative painters of our time. Since the 1960s he has developed a highly innovative realist style unlike any of his contemporaries. His landscapes and figures excel in their simplicity of line, form and colour. His brushwork is light and confident, the compositions subtle and simple, the dimensions majestic. Katz creates powerful images. With his huge canvases, selective palette and two-dimensional surfaces he creates paintings that have both realistic and abstract elements and refuse to allow them selves to be pigeonholed.
 
Alex Katz creates an essential, intense figuration, which thanks to his attention to mass media, cartoons and photography, is today particularly close to the sensitivity of much younger artists. Having appeared on the American artistic scene at the end of the ‘50s , the years of Abstract Expressionism, and being a contemporary of Pop Art and the subsequent artistic movements, Katz surprisingly managed to reconcile the abstract movement with realism in US post war art, in a style that he himself defines as “totally American”. The images are essential, luminous, direct and sharp, showing intense colour planes, rendered in a particular bidimensional perspective, free of any sentimental connotation and yet able to communicate a profound emotional involvement.

Alex Katz was born in New York in 1927 and studied painting at the Cooper Union. After his first solo show at the Roko Gallery in New York in 1954, he began to work on drawings and collages turning to portraits in 1957 and to large size paintings in 1962 after moving to his new studio in Soho. His first retrospective exhibition was held at the Utah Museum of Fine Art. After that he showed regularly in American museums and galleries. In 1986 the Whitney Museum of American Art showed a large-scale retrospective and in 1997 the PS1 Museum in New York organized the exhibition “Alex Katz Under the Stars: American Landscapes 1951-1995”.
 
Although he is considered one of the most important American painters, Alex Katz had few exhibitions in Europe until 1995. Europe discovered him in the course of the last ten years. In 1995 the Baden Baden Museum in Germany presented an exhibition entitled “Alex Katz. American Landscapes” and in 1996 the IVAM Museum in Valencia, Spain, organized a retrospective of his works. In 1998 the Saatchi Gallery in London showed “Alex Katz. Twenty-Five Years of Painting”. In 2002 the Kunsthalle der Bundesrepublik Deutschland in Bonn hold a large retrospective, while the Kunsthalle in Hamburg showed his Cut-Outs. In 1999 the Galleria Civica in Trento organised his first personal exhibition in an Italian museum, and in Summer 2003 the Fondazione Bevilacqua La Masa in Venice showed a selection of his portraits from 1959 to the present. In 2005 a selection of the cartoons for his paintings has been shown at the Albertina in Vienna, and in 2007 his work has been exhibited by the Irish Gallery of Modern Art in Dublin.
 
The artist is widely represented at museum in the United States of America, including The Museum of Modern Art, the Metropolitan and the Whitney in New York, as well as in some European Museums, like Tate Modern in London and the MMK in Frankfurt.
 

Alex Katz, Summer Seven, 1993
   

Galleria Monica De Cardenas
Chesa Albertini  Via Maistra 41
CH–7524  Zuoz
P +41 81 8688080
monica@decardenas.com
 www.artnet.com/decardenas.html

 Press release: Pdf
   

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 Contemporary art services
 www.plug-in.ch
   
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]]>

English                                                                                     Back

 

Alex Katz
Opening Saturday December 8, 2007 at 6 pm

Exhibition in Zuoz   
11 December  2007 – 9 February,  2008
Gallery Hours: Tues – Sat, 3 - 7 pm


Monica De Cardenas is pleased to announce the first solo exhibition of Alex Katz in Switzerland. It will be on view in the new gallery in Zuoz near St.Moritz from December 11, 2007 to February 9, 2008. It will feature the two big panorama paintings “Summer Seven” from 1993 and “Dark Green” from 1997, as well as new portraits and drawings. Until now in Switzerland Alex Katz’s work has been  seen only in the cult exhibition  “Birth of the Cool” curated by Bice Curiger at Kunsthaus Zürich in 1997.
 
American artist Alex Katz is one of the leading figurative painters of our time. Since the 1960s he has developed a highly innovative realist style unlike any of his contemporaries. His landscapes and figures excel in their simplicity of line, form and colour. His brushwork is light and confident, the compositions subtle and simple, the dimensions majestic. Katz creates powerful images. With his huge canvases, selective palette and two-dimensional surfaces he creates paintings that have both realistic and abstract elements and refuse to allow them selves to be pigeonholed.
 
Alex Katz creates an essential, intense figuration, which thanks to his attention to mass media, cartoons and photography, is today particularly close to the sensitivity of much younger artists. Having appeared on the American artistic scene at the end of the ‘50s , the years of Abstract Expressionism, and being a contemporary of Pop Art and the subsequent artistic movements, Katz surprisingly managed to reconcile the abstract movement with realism in US post war art, in a style that he himself defines as “totally American”. The images are essential, luminous, direct and sharp, showing intense colour planes, rendered in a particular bidimensional perspective, free of any sentimental connotation and yet able to communicate a profound emotional involvement.

Alex Katz was born in New York in 1927 and studied painting at the Cooper Union. After his first solo show at the Roko Gallery in New York in 1954, he began to work on drawings and collages turning to portraits in 1957 and to large size paintings in 1962 after moving to his new studio in Soho. His first retrospective exhibition was held at the Utah Museum of Fine Art. After that he showed regularly in American museums and galleries. In 1986 the Whitney Museum of American Art showed a large-scale retrospective and in 1997 the PS1 Museum in New York organized the exhibition “Alex Katz Under the Stars: American Landscapes 1951-1995”.
 
Although he is considered one of the most important American painters, Alex Katz had few exhibitions in Europe until 1995. Europe discovered him in the course of the last ten years. In 1995 the Baden Baden Museum in Germany presented an exhibition entitled “Alex Katz. American Landscapes” and in 1996 the IVAM Museum in Valencia, Spain, organized a retrospective of his works. In 1998 the Saatchi Gallery in London showed “Alex Katz. Twenty-Five Years of Painting”. In 2002 the Kunsthalle der Bundesrepublik Deutschland in Bonn hold a large retrospective, while the Kunsthalle in Hamburg showed his Cut-Outs. In 1999 the Galleria Civica in Trento organised his first personal exhibition in an Italian museum, and in Summer 2003 the Fondazione Bevilacqua La Masa in Venice showed a selection of his portraits from 1959 to the present. In 2005 a selection of the cartoons for his paintings has been shown at the Albertina in Vienna, and in 2007 his work has been exhibited by the Irish Gallery of Modern Art in Dublin.
 
The artist is widely represented at museum in the United States of America, including The Museum of Modern Art, the Metropolitan and the Whitney in New York, as well as in some European Museums, like Tate Modern in London and the MMK in Frankfurt.
 

Alex Katz, Summer Seven, 1993
   

Galleria Monica De Cardenas
Chesa Albertini  Via Maistra 41
CH–7524  Zuoz
P +41 81 8688080
monica@decardenas.com
 www.artnet.com/decardenas.html

 Press release: Pdf
   

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]]> 0 CACT – Centre of Contemporary Art in Canton Ticino at Bellinzona and the CACC – Centre of Contemporary Art at Chiasso

English   Italian                                                                             Back

 

Dear Ladies and Gentlemen,

Dear Friends and Supporters of the CACT,

Dear Public,
marking the occasion of the merger between the CACT – Centre of Contemporary Art in Canton Ticino at Bellinzona and the CACC – Centre of Contemporary Art at Chiasso, a press conference has been called, to which you are all most warmly invited. It will take place on

WEDNESDAY 1 APRIL 2009 at 11.00 a.m.

at

the CACT Chiasso
Via Dante Alighieri 10
 6830 Chiasso 3

The conference will be followed by refreshments.

For further logistical information, please call +41 (0)91 825 40 85 (CACT Bellinzona) or +41 (0)76 446 52 63 (Silvano Repetto) and/or +41 (0)79 552 50 05 (Mario Casanova).

We would like you to know that we shall be honoured to welcome you and are pleased to take this opportunity to send you our very best wishes.

Mario Casanova + Silvano Repetto

PRESS RELEASE

Marking this, the fifteenth, anniversary of its foundation, we are pleased to inform you that the CACT – Centre of Contemporary Art in Canton Ticino will be starting to expand in 2010, putting an operational merger between its Bellinzona venue and the CACC – Centre of Contemporary Art at Chiasso, created and directed by Silvano Repetto, into place with immediate effect.

The total surface area available for exhibitions in the two venues (Bellinzona and Chiasso) will be more than 600 m2, whose use will be planned by a joint management. Mario Casanova and Silvano Repetto – the executive directors – will cover the artistic planning, while Massimo Porcedda (www.neos.net) – the art director – will continue as he has done until now, designing the visual communications and the “publications line” for the CACT. The consultancy of the Rome-based art critic Guglielmo Gigliotti will also be vital.

The current cultural situation is favourable to an intense offer of contemporary art, making it more present in the region of Ticino, as well as at federal and international levels; especially at this special moment in our history, when we find ourselves in need of capitalisation and an injection of resources.

In parallel with the creation of the MACT – Museum of Contemporary Art in Ticino, the time was ripe to bring about a merger with the independent space in Chiasso, on the scene in Ticino for some time now, whose promoter has for many years demonstrated his unattached, polymorph  personality in the cultural community – and not only in our Canton.

This, then, is a synergy and a reinforcement, coming at a time when we bear witness on all sides to a structural weakening and the slow refrigeration of the concept of dynamism and of renewal.

These, too, are signs that raise due question marks against the geographies, the architectures and the need for a polarisation around contemporary art in Ticino.

New and exciting challenges await us on the horizon, though perhaps the most important is the challenge to put some energy and vigour back into a cultural life in Ticino (and elsewhere) that has been stalling of late.

Mario Casanova & Silvano Repetto, executive directors
Massimo Porcedda, art director
Guglielmo Gigliotti, art critic
 

 
   

CACTicino
CENTRO D'ARTE CONTEMPORANEA TICINO
 Via Tamaro 3 - 6500 Bellinzona (Switzerland)
 Phone +41 (0)91 825 40 72 Fax +41 (0)91 825 40 85
www.cacticino.net

  

Supported By:
 Repubblica e Cantone Ticino DECS / Swisslos
Ufficio Federale della Cultura Berna
Città di Bellinzona
Alfred Richterich Stiftung Kastanienbaum
Amici del CACT		  

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]]>

English   Italian                                                                             Back

 

Dear Ladies and Gentlemen,

Dear Friends and Supporters of the CACT,

Dear Public,
marking the occasion of the merger between the CACT – Centre of Contemporary Art in Canton Ticino at Bellinzona and the CACC – Centre of Contemporary Art at Chiasso, a press conference has been called, to which you are all most warmly invited. It will take place on

WEDNESDAY 1 APRIL 2009 at 11.00 a.m.

at

the CACT Chiasso
Via Dante Alighieri 10
 6830 Chiasso 3

The conference will be followed by refreshments.

For further logistical information, please call +41 (0)91 825 40 85 (CACT Bellinzona) or +41 (0)76 446 52 63 (Silvano Repetto) and/or +41 (0)79 552 50 05 (Mario Casanova).

We would like you to know that we shall be honoured to welcome you and are pleased to take this opportunity to send you our very best wishes.

Mario Casanova + Silvano Repetto

PRESS RELEASE

Marking this, the fifteenth, anniversary of its foundation, we are pleased to inform you that the CACT – Centre of Contemporary Art in Canton Ticino will be starting to expand in 2010, putting an operational merger between its Bellinzona venue and the CACC – Centre of Contemporary Art at Chiasso, created and directed by Silvano Repetto, into place with immediate effect.

The total surface area available for exhibitions in the two venues (Bellinzona and Chiasso) will be more than 600 m2, whose use will be planned by a joint management. Mario Casanova and Silvano Repetto – the executive directors – will cover the artistic planning, while Massimo Porcedda (www.neos.net) – the art director – will continue as he has done until now, designing the visual communications and the “publications line” for the CACT. The consultancy of the Rome-based art critic Guglielmo Gigliotti will also be vital.

The current cultural situation is favourable to an intense offer of contemporary art, making it more present in the region of Ticino, as well as at federal and international levels; especially at this special moment in our history, when we find ourselves in need of capitalisation and an injection of resources.

In parallel with the creation of the MACT – Museum of Contemporary Art in Ticino, the time was ripe to bring about a merger with the independent space in Chiasso, on the scene in Ticino for some time now, whose promoter has for many years demonstrated his unattached, polymorph  personality in the cultural community – and not only in our Canton.

This, then, is a synergy and a reinforcement, coming at a time when we bear witness on all sides to a structural weakening and the slow refrigeration of the concept of dynamism and of renewal.

These, too, are signs that raise due question marks against the geographies, the architectures and the need for a polarisation around contemporary art in Ticino.

New and exciting challenges await us on the horizon, though perhaps the most important is the challenge to put some energy and vigour back into a cultural life in Ticino (and elsewhere) that has been stalling of late.

Mario Casanova & Silvano Repetto, executive directors
Massimo Porcedda, art director
Guglielmo Gigliotti, art critic
 

 
   

CACTicino
CENTRO D'ARTE CONTEMPORANEA TICINO
 Via Tamaro 3 - 6500 Bellinzona (Switzerland)
 Phone +41 (0)91 825 40 72 Fax +41 (0)91 825 40 85
www.cacticino.net

  

Supported By:
 Repubblica e Cantone Ticino DECS / Swisslos
Ufficio Federale della Cultura Berna
Città di Bellinzona
Alfred Richterich Stiftung Kastanienbaum
Amici del CACT		  

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]]> 0 PRIMOPIANO PRESENTS David Hockney - Friends and Places demosmobilia vintage design furniture from the '30s to the '80s - new arrival

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PRIMOPIANO PRESENTS David Hockney: Friends & Places

Diego Cassina and Marco Frignati will present David Hockney: Friends & Places, an exhibition of works on paper and photographs by the celebrated British artist and curated by Charlie Scheips, at their space Primopiano in Lugano, Switzerland opening November 28 through January 31, by appointment 0919212075 or 0794442111.

The exhibition features drawings, photographs and prints of such Hockney intimates such as curator Henry Geldzahler, art dealer Nicholas Wilder, writer Brooke (Hopper) Hayward, photographer Cecil Beaton, textile designer Celia Birtwell, and other long time friends and assistants such as Mo McDermott, Gregory Evans and Charlie Scheips.

The exhibition also features Hockney’s 1973 The Student: Homage to Picasso, which features a self-portrait of the nude Hockney seated across table from his artistic idol Picasso. Other highlights include a rare 1986 Polaroid photocollage of curator Scheips and his partner Thomas Graf seated on Hockney’s terrace in the Hollywood Hills; two etchings from the artist’s well known Grimm’s Fairytales series; and a tour de force portrait from 1969 of photographer Cecil Beaton. A celebrated photograph by Beaton of Henry Geldzahler and Christopher Scott in front of Hockney large acrylic double portrait of them as well as contact sheets from that sitting are also featured in the exhibition.

As component to David Hockney: Friends & Places, Primopiano will also feature a continuous screening of Jack Hazan’s famous 1975 film on Hockney "A Bigger Splash." Critically praised, the artist himself has long distanced himself from the film calling instead a portrait of the break-up of his relationship with Peter Schlesinger. Many of the people featured in the exhibition appear in the film.

Charlie Scheips is a curator, writer and cultural historian. He first met Hockney in 1984 and was the artist’s assistant during the late 1980s. He is the author of several books including Andy Warhol: The Day the Factory Died (2006) and American Fashion (2007).

Primopiano is a space dedicated to contemporary art exhibitions within Artadvisory,

directed by Diego Cassina and Marco Frignati, dealers and agents in fine arts in Lugano and London.

© Cecil Beaton: Henry Geldzahler and Christopher Scott in front of David Hockney painting, 1975, cm 21 by 24 ca.
   

PRIMOPIANO
Via Curti 1
CH-6900 Lugano
Switzerland
T/F +41 (0)91 921 20 75

BY APPOINTMENT
www.artadvisory.ch
Press release: Pdf
   

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]]> demosmobilia vintage design furniture from the '30s to the '80s - new arrival

English                                                                                      Back

 

PRIMOPIANO PRESENTS David Hockney: Friends & Places

Diego Cassina and Marco Frignati will present David Hockney: Friends & Places, an exhibition of works on paper and photographs by the celebrated British artist and curated by Charlie Scheips, at their space Primopiano in Lugano, Switzerland opening November 28 through January 31, by appointment 0919212075 or 0794442111.

The exhibition features drawings, photographs and prints of such Hockney intimates such as curator Henry Geldzahler, art dealer Nicholas Wilder, writer Brooke (Hopper) Hayward, photographer Cecil Beaton, textile designer Celia Birtwell, and other long time friends and assistants such as Mo McDermott, Gregory Evans and Charlie Scheips.

The exhibition also features Hockney’s 1973 The Student: Homage to Picasso, which features a self-portrait of the nude Hockney seated across table from his artistic idol Picasso. Other highlights include a rare 1986 Polaroid photocollage of curator Scheips and his partner Thomas Graf seated on Hockney’s terrace in the Hollywood Hills; two etchings from the artist’s well known Grimm’s Fairytales series; and a tour de force portrait from 1969 of photographer Cecil Beaton. A celebrated photograph by Beaton of Henry Geldzahler and Christopher Scott in front of Hockney large acrylic double portrait of them as well as contact sheets from that sitting are also featured in the exhibition.

As component to David Hockney: Friends & Places, Primopiano will also feature a continuous screening of Jack Hazan’s famous 1975 film on Hockney "A Bigger Splash." Critically praised, the artist himself has long distanced himself from the film calling instead a portrait of the break-up of his relationship with Peter Schlesinger. Many of the people featured in the exhibition appear in the film.

Charlie Scheips is a curator, writer and cultural historian. He first met Hockney in 1984 and was the artist’s assistant during the late 1980s. He is the author of several books including Andy Warhol: The Day the Factory Died (2006) and American Fashion (2007).

Primopiano is a space dedicated to contemporary art exhibitions within Artadvisory,

directed by Diego Cassina and Marco Frignati, dealers and agents in fine arts in Lugano and London.

© Cecil Beaton: Henry Geldzahler and Christopher Scott in front of David Hockney painting, 1975, cm 21 by 24 ca.
   

PRIMOPIANO
Via Curti 1
CH-6900 Lugano
Switzerland
T/F +41 (0)91 921 20 75

BY APPOINTMENT
www.artadvisory.ch
Press release: Pdf
   

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]]> 0 Finissage “Let’s call the whole thing off”

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i2a istituto internazionale di architettura in Vico Morcote

 
   

i2a istituto internazionale di architettura

Portich da Sura 18 . 6921 Vico Morcote . Svizzera
t 0041 91 996 13 87 . f 0041 91 996 24 21 . aprada@i2a.ch . www.i2a.ch

Amanda Prada . Communication, public relations, development

See details in attachment.

 comunicato stampa
press release
press kit zip file
   

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i2a istituto internazionale di architettura in Vico Morcote

 
   

i2a istituto internazionale di architettura

Portich da Sura 18 . 6921 Vico Morcote . Svizzera
t 0041 91 996 13 87 . f 0041 91 996 24 21 . aprada@i2a.ch . www.i2a.ch

Amanda Prada . Communication, public relations, development

See details in attachment.

 comunicato stampa
press release
press kit zip file
   

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]]> 0 Art 39 Basel takes place June 4 – 8, 2008.

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Art 39 Basel takes place June 4 – 8, 2008.

Art Film

The Stadtkino Basel again features a varied program of films by and about artists during this year’s edition of Art Basel. Art Film will be starting earlier than before, on Sunday, June 1, with the world premiere of Chiara Clemente’s film portrait of five New York-based women artists. Further highlights include an evening featuring a film by Lawrence Weiner, English artist Isaac Julien’s film Derek (an homage to the legendary artist/filmmaker Derek Jarman), and the screening of a classic of experimental cinema, Traité de Bave et d’Éternité, made in 1951 by Lettrism founder Isidore Isou. Art Film is curated by film scholar Marc Glöde (Berlin). This Brunner, a collector with profound knowledge of the international film scene, and artist John Armleder will also be staging evenings with special guests.

Art Basel was the first art fair to create an independent platform for the film medium. Since 1999 a wide-ranging program of films by and about artists has regularly been presented in the ideal conditions of the Stadtkino Basel (Steinenberg 7, entrance via the garden of the Kunsthalle). The screenings spotlight films by both internationally renowned artists and young talents, undiscovered until now by the public. Art Film is curated by Marc Glöde (Monday, June 2; Wednesday, June 4 through Friday, June 6), This Brunner (Sunday, June 1 and Friday, June 6), and John Armleder (Sunday, June 8).

The series kicks off on Sunday (June 1, 10 p.m. at the Stadtkino) with the world premiere of the documentary Our City Dreams, Chiara Clemente’s portrait of five women artists who live and work in New York: Marina Abramovic, Ghada Amer, Kiki Smith, Nancy Spero, and Swoon. The director visited them in their studios and draws a fascinating picture of women who not only belong to different generations but represent very different artistic approaches as well. Ms. Clemente and the film’s producer, Tanya Selvaratnam, will be present at the event.

On Monday, June 2, two programs are on the agenda at the Stadtkino. The first, at 8.30 p.m., is dedicated entirely to Polish artist Wilhelm Sasnal and features several of his short films, some of them premieres. The second program of the night is at 10 p.m. and showcases works by Olaf Nicolai, Peter Downsbrough, Chris Larson, Nina Fischer, Maroan el Sani, Hans Op de Beeck, Patricia Piccinini, and Ursula Mayer.

On Tuesday evening, June 3, American artist Lawrence Weiner will present Water In Milk Exists, his second excursion into the porn genre, following his legendary 1976 film A Bit of Matter and A Little Bit More. In this non-narrative cinematic essay, the artist treats human bodies as objects. On Weiner’s film set, real people (not porn stars) experience sex in its everyday banality. But there is no ritualized series of sex scenes, as would be typical of a porn movie. Moreover, the artist underlays the individual sequences with spoken texts from his children’s books. Screened in association with the Swiss Institute New York, the film will be shown at the Mascotte sex movie house, Elisabethenanlage 7, at 11 p.m. (doors open at 10 p.m.). Lawrence Weiner will be present.

On Wednesday (June 4, 10 p.m. at the Stadtkino) viewers can see a varied program of pieces by Peter Roehr, Manfred Kuttner, Manon de Boer, Matthias Müller, Christoph Girardet, Karø Gold, Tim Blue, Kevin Schmidt, 3 P = 3 Players, and Kolkoz. Thursday (June 5, 10 p.m. at the Stadtkino) features works by Tobias Rehberger, Deimantas Narkevicius, Kent Monkman, Marie Losier, and G.R.A.M.

English artist Isaac Julien’s film Derek (written by Tilda Swinton) is an homage to the legendary English artist, filmmaker, writer, and gay activist Derek Jarman (1942-1994). The centerpiece of the film – shown Friday, June 6, at 8 p.m., at the Stadtkino - is an interview with Jarman conducted in 1990 by film producer and author Colin MacCabe, in which Jarman, who was ill with AIDS, looks back on his work. But the film is also a story of England from the 1960s to the early 1990s, for Jarman’s biography and footage from his films illuminate multiplicitous cultural change.

The next item on Friday’s Stadtkino program, at 10 p.m., is the road movie DAFT PUNK'S ELECTROMA by directors Thomas Bangalter and Guy-Manuel de Homem-Christo, a duo better known as Daft Punk. In a world without human beings, two robots set out on an odyssey through a hauntingly deserted American landscape of surreal beauty on their quest to become human. The soundtrack features music by Todd Rundgren, Brian Eno, Curtis Mayfair, Sebastien Tellier, and Chopin.

The Art Film program closes on Sunday, June 8 (10 p.m. at the Stadtkino) with Swiss artist John Armleder presenting the legendary experimental film Traité de Bave et d’Éternité (1951) by French artist Isidore Isou, founder of Lettrism. Regarded as the cinematic manifesto of Lettrism, Traité de Bave et d’Éternité broke all the conventions of its time and created a scandal when it was premiered at the Cannes Film Festival in 1951. Isou’s introduction of discrepancy between sound and image provoked particular incomprehension among his contemporaries.

Over the years, Art Basel has become one of the places that highlight not only how closely the various arts have approached one another but how intimately interlinked and reciprocally influential they have meanwhile become. This phenomenon has emerged particularly clearly with respect to film and its relationship to art: film has joined classic artistic mediums such as painting and sculpture as an integral part of artistic exploration and practice. Against the background of the growing debate between museum and movie house over the appropriate venue for film art, the past few years have underscored the breadth of this discourse, which includes everything from outdoor screenings, film happenings, and backdrops for music events to B-movies, videos, installations, and light sculptures.

Art Basel’s film program allows some of the lines connecting the arts to be traced. It provides an opportunity, in a movie-house setting, to explore the broad spectrum of forms that transcend the frontiers of traditional art-exhibition venues like museums or galleries.

Fg

 
   

Art 39 Basel
www. artbasel.com
 
   

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]]>

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Art 39 Basel takes place June 4 – 8, 2008.

Art Film

The Stadtkino Basel again features a varied program of films by and about artists during this year’s edition of Art Basel. Art Film will be starting earlier than before, on Sunday, June 1, with the world premiere of Chiara Clemente’s film portrait of five New York-based women artists. Further highlights include an evening featuring a film by Lawrence Weiner, English artist Isaac Julien’s film Derek (an homage to the legendary artist/filmmaker Derek Jarman), and the screening of a classic of experimental cinema, Traité de Bave et d’Éternité, made in 1951 by Lettrism founder Isidore Isou. Art Film is curated by film scholar Marc Glöde (Berlin). This Brunner, a collector with profound knowledge of the international film scene, and artist John Armleder will also be staging evenings with special guests.

Art Basel was the first art fair to create an independent platform for the film medium. Since 1999 a wide-ranging program of films by and about artists has regularly been presented in the ideal conditions of the Stadtkino Basel (Steinenberg 7, entrance via the garden of the Kunsthalle). The screenings spotlight films by both internationally renowned artists and young talents, undiscovered until now by the public. Art Film is curated by Marc Glöde (Monday, June 2; Wednesday, June 4 through Friday, June 6), This Brunner (Sunday, June 1 and Friday, June 6), and John Armleder (Sunday, June 8).

The series kicks off on Sunday (June 1, 10 p.m. at the Stadtkino) with the world premiere of the documentary Our City Dreams, Chiara Clemente’s portrait of five women artists who live and work in New York: Marina Abramovic, Ghada Amer, Kiki Smith, Nancy Spero, and Swoon. The director visited them in their studios and draws a fascin