Camera d’Arte

03
Gen

Tomás Saraceno – Aria

Le opere di Tomás Saraceno (Argentina, 1973) possono essere interpretate come una ricerca continua tra arte, architettura, biologia, astrofisica e ingegneria. Le sue sculture sospese, i suoi progetti collettivi e le sue installazioni interattive propongono ed esplorano nuove forme sostenibili di vivere ed esperire la realtà che ci circonda. La sua arte coinvolge il pubblico in esperienze immaginative e partecipative per ripensare collettivamente il modo in cui abitiamo il mondo, al di là di una prospettiva solo umana.

In quello che costituisce il suo più grande progetto mai realizzato in Italia, l’artista trasformerà Palazzo Strozzi in un nuovo spazio unitario mettendo insieme sue celebri opere e una nuova grande produzione site specific. Affiancata da un ricco programma di attività interdisciplinari, la mostra creerà una sorta di organismo vivente tra l’umano e il non umano, il visibile e l’invisibile, in cui tutti gli esseri entrano in connessione contribuendo alla creazione di una nuova realtà condivisa.

Firenze – Palazzo Strozzi
Tomás Saraceno – Aria
a cura di Arturo Galansino
Dal 22 Febbraio 2020 al 19 Luglio 2020

Tutti i giorni inclusi i festivi 10.00-20.00; Giovedì 10.00-23.00

Enti promotori: Fondazione Palazzo Strozzi e Studio Tomás Saraceno

info: +39 055 2645155

info@palazzostrozzi.org

Immagine: Tomás Saraceno, A Thermodynamic Imaginary, 2018. Photography © Studio Tomás Saraceno, 2018

20
Dic

Shiota Chiharu : The Soul Trembles

Shiota Chiharu: The Soul Trembles is the first grand-scale exhibition in Korea containing works from Shiota Chiharu’s early career in the 1990s through to the present, illustrating the artist’s growing international reputation. It is co-organized by the Busan Museum of Art and Mori Art Museum in Tokyo, Japan, curated by Mami Kataoka, Deputy Director and Chief Curator of Mori Art Museum where it elicited a great response from visitors after opening at Mori Art Museum in June, 2019. Following upon that exhibition at Mori Art Museum, her solo exhibition in Busan centers around four large-scale installation pieces, but features approximately 110 works that allow a comprehensive look at the artist’s activities over the past 25 years.

She is continuing to work with various genres, ranging from large-scale immersive installations incorporating thread and common objects, to sculptural works, photographs, drawings, video, and performance.Through works that visualize questions of the soul, immeasurable anxiety and fear, and her inexplicable existence, the artist expresses an inner state of confronting uncertainty and seeks the meaning of ‘existence’. Utilizing common objects such as thread, dresses, chairs, beds, shoes and bags, the artist creates vast spaces where the memories and relationships embedded in objects are explored. For the artist, the theme of “death” has been a longstanding concern, together with existence and the realm of the unconscious. Her works embody the fear of death she felt at family graves as a child, and the feelings of sorrow and trauma experienced on the border between life and death through two battles with cancer. By capturing these through her works, Shiota approaches death as the beginning of a new life.

Most of her works arise from her personal experiences. However, her works act as the same psychological mechanism for audiences as well to recall life, death and forgotten memories. Going into the 2000s, the artist produced large site-specific installations employing black thread and materials such as window frames, constructing a distinctive formative world of her own. In particular, she is known foremost for her series of immersive installations in which entire spaces are strung with red or black thread, unfolding like human blood vessels or spider webs. The subtitle “The Soul Trembles” references Shiota’s earnest wish to convey to others soul-trembling experiences derived from nameless emotions. In works that elicit ontological thought, she provokes soul-searching of an emotional and primal nature, and her artworks continually raise other questions. These may stem from this time of uncertainty we live in today, when it is increasingly difficult to predict where the many invisible connections in the lives of every individual are leading. Some things that are invisible to humans (the soul, fate, death), along with that uncertainty, may represent fears that are hard to face, and yet they are questions that are ultimately inevitable. Shiota Chiharu: The Soul Trembles is an exhibition that promises to offer an opportunity to reflect on the existence of the individual and to produce new relationships.

Shiota Chiharu (b. 1972) was born in Osaka, Japan, graduated from Kyoto Seika University, and moved to Germany in 1996. She subsequently studied at the University of Fine Arts Hamburg (HFBK), the Braunschweig University of Art (HBK), and the Berlin University of the Arts. Currently based in Berlin, she continues to work internationally. Since her first solo exhibition in 1993, the artist has shown her works in over 300 solo and group exhibitions. She has also participated in numerous international events, including the Sydney Biennale (2016), Busan Biennale (2014), Kiev First International Biennale (2012), and Yokohama Triennale (2001). In 2015, she represented Japan at the 56th Venice Biennale International Art Exhibition, where her work was praised by audiences and art officials.

Shiota Chiharu : The Soul Trembles
Busan Museum of ART
December 17, 2019 – April 19, 2020

Image: Me Somewhere Else,  2018. Blain Southern London. Photo by Peter Mallet

27
Nov

Kate Crawford |Trevor Paglen: Training Humans

“Training Humans”, conceived by Kate Crawford, AI researcher and professor, and Trevor Paglen, artist and researcher, is the first major photography exhibition devoted to training images: the collections of photos used by scientists to train artificial intelligence (AI) systems in how to “see” and categorize the world.

In this exhibition, Crawford and Paglen reveal the evolution of training image sets from the 1960s to today. As stated by Trevor Paglen, “when we first started conceptualizing this exhibition over two years ago, we wanted to tell a story about the history of images used to ‘recognize’ humans in computer vision and AI systems. We weren’t interested in either the hyped, marketing version of AI nor the tales of dystopian robot futures.” Kate Crawford observed, “We wanted to engage with the materiality of AI, and to take those everyday images seriously as a part of a rapidly evolving machinic visual culture. That required us to open up the black boxes and look at how these ‘engines of seeing’ currently operate”.

“Training Humans Symposium” took place on Saturday 26 October at 2.30 pm, engaging with the exhibition. The event involved Prof. Stephanie Dick (University of Pennsylvania), Prof. Eden Medina (MIT), Prof. Jacob Gaboury (University of California, Berkeley), along with the project curators Kate Crawford and Trevor Paglen. Putting the ideas in the exhibit in conversation with their path-breaking work, the speakers examined questions such as: where are the boundaries between science, history, politics, prejudice and ideology in artificial intelligence? And who has the power to build and benefit from these systems?

“Training Humans” explores two fundamental issues in particular: how humans are represented, interpreted and codified through training datasets, and how technological systems harvest, label and use this material. As the classifications of humans by AI systems becomes more invasive and complex, their biases and politics become apparent. Within computer vision and AI systems, forms of measurement easily – but surreptitiously – turn into moral judgments.

Of import to Crawford and Paglen are classificatory taxonomies related to human affect and emotions. Based on the heavily criticized theories of psychologist Paul Ekman, who claimed that the breadth of the human feeling could be boiled down to six universal emotions, AI systems are now measuring people’s facial expressions to assess everything from mental health, whether someone should be hired, to whether a person is going to commit a crime. By looking at the images in this collection, and see how people’s personal photographs have been labeled, raises two essential questions: where are the boundaries between science, history, politics, prejudice and ideology in artificial intelligence? And who has the power to build and benefit from these systems?
As underlined by Crawford, “There is a stark power asymmetry at the heart of these tools. What we hope is that “Training Humans” gives us at least a moment to start to look back at these systems, and understand, in a more forensic way, how they see and categorize us.”

The exhibition will be accompanied by an illustrated publication in the Quaderni series, published by Fondazione Prada, including a conversation between Kate Crawford and Trevor Paglen on the complex topics addressed in their project.

English below

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20
Nov

Urs Fischer. Leo

An artwork is not about the now.
—Urs Fischer

Gagosian is pleased to present Leo, an exhibition of new work by Urs Fischer.
Across his protean oeuvre, Fischer frequently evokes art historical genres and motifs with wry self-awareness and humor. In Fischer’s work, the processes of material creation and destruction are often explored through the use of impermanent materials, as in Bread House (2004–05), a life-size cabin constructed from loaves of sourdough bread. Embracing transformation and decay while resounding with poetic contradictions, Fischer’s art excavates the potential of its materials and media, producing joyful disorientation and sinister bewilderment.

Fischer’s candle sculptures exemplify the relationship between permanence and impermanence. He began to make them in the early 2000s with a series of crudely rendered female nudes, standing upright or lounging in groups. A series of realistic figurative candle portraits followed, including a full-size replica of Giambologna’s sixteenth-century sculpture The Rape of the Sabine Women, and Marsupiale (Fabrizio) (2017), which amalgamates a portrait of the Florentine antique dealer Fabrizio Moretti with an oversize bust of Saint Leonard, the patron saint of prisoners. In 2018, Fischer created a candle replica of the art patron and collector Dasha Zhukova, which burned for weeks in the shopfront gallery at Gagosian Davies Street in London.

Fischer’s newest candle portrait, Leo (George & Irmelin) (2019), depicts Leonardo DiCaprio with his parents, George DiCaprio and Irmelin Indenbirken. Cast entirely in wax, the family is posed in mid-action: George gestures while conversing with Leo, as Irmelin holds Leo in her loving embrace.

As with all of Fischer’s candle sculptures, Leo (George & Irmelin) will melt slowly over the course of the exhibition, its original composition transmuted into a form dictated by the wayward laws of physics. Captivating in their materiality and haunting in their implications, Fischer’s candles serve as both portraits of—and meditations on—the passing of time. Elaborating on traditions of memento mori, they remind viewers of the transience of life, beauty, and even art itself.

Leo is presented in the ground floor gallery of Gagosian Paris. On view upstairs in the Project Space is Smalls, an exhibition of new works by Spencer Sweeney.

Urs Fischer. Leo
October 14–December 20, 2019

Gagosian
4 rue de Ponthieu
75008 Paris

+33 1 75 00 05 92
paris@gagosian.com

Hours: Tuesday–Saturday 11–7

Contact
collecting@gagosian.com
press@gagosian.com

Image: Urs Fischer Gentle Moon, 2019 Aluminum composite panel, aluminum honeycomb, two-component adhesive, primer, gesso, solvent-based screen printing ink 96 x 72 in 243.8 x 182.9 cm © Urs Fischer. Photo- Ulrich Ghezzi. Courtesy Gagosian
11
Nov

Dadamaino – Dare tempo allo spazio

La galleria A arte Invernizzi inaugura giovedì 28 novembre 2019 alle ore 18.30 una mostra personale di Dadamaino (Milano 1930 – 2004), che ripercorre i diversi momenti della ricerca dell’artista mettendo in luce l’unitarietà e la continuità che ne hanno segnato le scelte estetiche e personali nel corso del tempo.

“Nella feconda stagione di radicali azzeramenti linguistici – scrive Bruno Corà – a cavallo tra la fine degli anni Cinquanta e l’inizio del 1960, accanto alle proposte degli artefici di Azimuth Piero Manzoni ed Enrico Castellani, trova posto l’azione affiancatrice dell’opera di Dadamaino, integra figura tra quelle emerse dalla tensione spazialista avviata da Fontana. Ma, non diversamente da quegli artisti, Dadamaino raggiunge rapidamente un’autonomia linguistica autorevole e autonoma”.

All’ingresso della galleria si trova l’opera Oggetto ottico-dinamico (1962), in cui le diverse tessere in alluminio applicate su tavola dall’artista creano delle “scacchiere” variabili che guidano lo sguardo attraverso percezioni illusorie. Al primo piano della galleria sono esposti tre lavori appartenenti al ciclo de “La Ricerca del colore” (1967) in cui l’artista ha approfondito il rapporto che viene ad instaurarsi fra diverse coppie di colori combinate, in termini quantitativi e qualitativi, utilizzando i sette colori dello spettro (rosso, arancio, giallo, verde, celeste, blu e violetto) associati con bianco, nero e marrone. Nella stessa sala sono presenti anche due tavole del ciclo “Cromorilievi” (1974), in cui l’intenzionalità pittorica emerge, più che dalla variazione dei toni, dalla disposizione degli elementi geometrici utilizzati da Dadamaino per creare molteplici effetti dinamici e luministici che alludono alla profondità visiva. Nella seconda sala del piano superiore si trovano i lavori del ciclo “L’inconscio razionale” (1975-1977), in cui l’intreccio perpendicolare di linee orizzontali e verticali, che affiorano e si nascondono in modo discontinuo sulla superficie, si apre a componenti nuove, più legate a criteri irrazionali e inconsci. Negli ambienti successivi dello stesso piano sono esposte opere appartenenti alla serie dei “Volumi”, che l’artista ha realizzato tra il 1958 e il 1960, e che si differenziano in diverse tipologie, in relazione al numero dei fori realizzati sulla tela, fino a giungere ai “Volumi a moduli sfasati” (1960) in cui la superficie trasparente viene movimentata dalla fitta successione di fori regolari, praticati su fogli di materiale plastico sovrapposti. La riflessione sul segno che Dadamaino avvia con “L’inconscio razionale” viene maggiormente indagata al piano inferiore della galleria, dove nelle opere appartenenti al ciclo “Costellazioni” (1984-1987) – tra cui Ennetto, presentato alla XI Quadriennale di Roma del 1986 – si può notare una maggiore e progressiva apertura nel rapporto con lo spazio, in cui viene meno la dipendenza rispetto alla struttura lineare della scrittura. Il segno diviene via via una traccia, senza un preciso ordine di svolgimento, e si identifica come pura energia senza un inizio e una fine. Così, quasi fossero solchi nella superficie, i tratti che percorrono le opere della serie “Passo dopo passo” (1988-1990), “Il movimento delle cose” (1990-1996) e dei successivi “Sein und Zeit” (1997-2000), attraverso un minuto e costante proliferare di segni sulla superficie trasparente del poliestere, racchiudono il rapporto tra l’infinitamente piccolo del gesto preciso e chiuso nel momento definito dall’accadimento e l’infinitamente grande del tempo nel suo continuo scorrere.

In occasione della mostra verrà pubblicato un volume bilingue che ripercorrerà l’iter creativo di Dadamaino dalla fine degli anni Cinquanta al 2000, con la riproduzione delle opere in mostra, un saggio introduttivo di Bruno Corà, una poesia di Carlo Invernizzi e un aggiornato apparato bio-bibliografico.

DADAMAINO. DARE TEMPO ALLO SPAZIO
VOLUME CON SAGGIO DI: BRUNO CORÀ
PERIODO ESPOSITIVO: 28 NOVEMBRE 2019 – 5 FEBBRAIO 2020
ORARI: DA LUNEDÌ A VENERDÌ 10-13 15-19, SABATO SU APPUNTAMENTO

A ARTE INVERNIZZI
VIA DOMENICO SCARLATTI 12  20124  MILANO  ITALY
TEL. FAX +39 02 29402855  info@aarteinvernizzi.it

Immagine: Costellazioni, 1986