Camera d’Arte

31
Gen

Isabel Alonso Vega. Senza fuoco

Posted by / visionart, installazione, scultura

Suspension, evanescence, abstraction: these are the first sensations the sculptures of Isabel Alonso Vega evoke. The artist will present her works in Italy for the first time during her next solo show, Senza Fuoco, opening on January 19th at White Noise Gallery, Rome. Her artworks are absolute and archetypical images, able to communicate on an unconscious level. The artist overlaps several plexiglass centrings painted with different techniques -sooth, gold leaf, acrylic- inside clear cases, giving the illusion of an ethereal suspension. The pieces on view focus on two specific shades: black and gold, evoking a sequential path towards enlightening through meditation. The black clouds, created burning with live fire the different layers, are in dialogue with large-scale drawings, their two-dimensional ideal projection. Smoke columns, black holes or mysterious shadows embody the concept of unknown, taking the viewer to a dimension of pure contemplation. Taking inspiration from the Late-Medieval text “The Cloude of Unknowyng”, Alonso Vega creates weightless structures that overtake language and comprehension, allowing the viewer to contemplate the ineffable. The works of Isabel are a hybrid form of abstraction, whose references to understandable forms such as cells or clouds, are immediately lost in favour of a completely subliminal interpretation. Suspension and obsessive formal simplicity create an immediate fracture between meaning and signifier, creating a completely irrational form of communication. One of the main needs driving her work is the will to create something universally recognizable as precious, so precious that it is able to generate what Kant defines “mathematical sublime” In 1910, Vasilij Kandinskij entered his studio and got struck by a work accidentally hung upside down. What he saw was a perfect painting, irradiating an internal light, where he could finally only see forms and colours, free from any other meaning. It took us centuries and several revolutions to recognize the importance of Abstract art, to understand its ability to communicate without using any clear term. The work of Isabel Alonso Vega seems to be moving in the same direction: monumental sculptures without any mass, able to give form to the evanescence.

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IT
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29
Gen

Leandro Erlich. Collection de Nuages

Posted by / visionart, arte, installazione

Tra i main projects di ART CITY Bologna 2019 in occasione di Arte Fiera, presso l’Oratorio di San Filippo Neri a Bologna, è in corso la mostra personale di Leandro Erlich dal titolo Collection de Nuages a cura di Maura Pozzati in collaborazione con Galleria Continua. L’esposizione, che fa parte delle iniziative proprie della Fondazione del Monte di Bologna e Ravenna.

Per questa importante occasione sono state prodotte tre sculture di grandi dimensioni della serie che l’artista argentino dedica alle “nuvole”, le quali dialogheranno con lo spazio magico dell’Oratorio, provocando lo stupore degli spettatori, che si troveranno in un ambiente semioscuro improvvisamente illuminato dalla luce che proviene dall’interno delle opere stesse. Lo spaesamento e lo sconcerto percettivo sono caratteristiche costanti dei lavori di Leandro Erlich, che si “diverte” a creare immagini che innescano nell’osservatore sensazioni illusorie. In questo caso la prima domanda che si porrà il visitatore sarà sulla consistenza materiale delle nuvole, su come l’artista sia riuscito a inscatolarle, per poi interrogarsi sul significato poetico del lavoro e sul potere immaginifico della creazione artistica. La domanda che si pone l’artista in questo caso è: Chi non hai mai giocato con le nuvole alla ricerca di forme e immagini nel cielo?

Quasi a volere catturare l’intangibile, la Collection de Nuages di Leandro Erlich propone tre nuvole in imponenti vetrine come provenienti da un gabinetto di curiosità, che sembrano sfidare le leggi della fisica e invitano lo spettatore a intraprendere un viaggio onirico, una passeggiata tra capricci di forme mutevoli ma immobili. Di fronte a questa delicata bellezza sospesa, Leandro Erlich ci pone di fronte alla poesia di un fenomeno lontano, quasi permettendoci di toccare le nuvole grazie alle vetrine che sembrano dare inizio a un catalogo infinito di forme riconoscibili.

Una volta fuori, è naturale alzare lo sguardo e guardare il cielo che, secondo l’artista, con le sue luci, forme e colori condiziona la percezione che ciascuno di noi ha della propria città.Continue Reading..

25
Gen

ICA Milano. Apologia della storia – The historian’s craft

Posted by / visionart, disegno, arte, installazione, fotografia, video arte

Fondazione ICA Milano, a non profit space dedicated to the arts, contemporary culture, research and experimentation, opens its doors in Milan in the name of inclusion, under the direction of Alberto Salvadori.

The Institution inaugurates its program with the collective exhibition Apologia della storia – The historian’s craft, curated by Alberto Salvadori and Luigi Fassi.

ICA Milano has arisen from the passion, the need for discovery and the will for sharing of five people with a great dream: to build an ideal ecosystem for arts and contemporary cultures in which artists are able to find a free space of action where to stage the main urgencies of the intellectual research. The city of Milan, with its natural inclination toward hybrid projects between public and private, has offered the ideal framework to shape this new organism, which opens its space to the public Friday, January 25, 2019. Directed by Alberto Salvadori, ICA Milano is a private foundation merging different energies and protagonists of the art world: artist, collectors, art lovers and professionals. The exhibition and the Institute’s activities represent a dedication to offering the city and general public an opportunity to understand, share and participate in the attitudes and nature of the Institute.

Exhibitions, art publishing, ceramics, cinema, performance, music, literature, seminar activity, education and much more will create a path toward interdisciplinary and transmedial activities. ICA Milano is the expression of a precise “Milanese” identity which historically connects private initiatives with the institutional dimension and finds its inspiration within the “give back” culture, that is to say, through giving back in order to share. Following the model of the pioneering experience held by the first Institute for Contemporary Arts, born in London in 1946 by a collective of artists, intellectuals and philanthropists, ICA Milano will be an active and propositional presence, supporting the most stimulating artistic production of our times and likewise being a breeding ground of ideas.

ICA Milano is pleased to present its first project: the collective exhibition Apologia della storia – The historian’s craft, curated by Alberto Salvadori and Luigi Fassi opening on January 24, 2019. The title of the show is inspired by the foundational book Apologie pour l’histoire ou Métier d’historien written in 1944 (and published posthumous in 1949) by one of the main intellectuals of the modern culture, French historian Marc Bloch. Bloch’s reflection on historiography has led the author to analyse the practical use of history and the historian’s craft. Bloch introduces history as the discipline for knowing the human being in society, which fulfils an interpretative function through a methodology that promotes an approach committed to an equal and respectable representation of all the histories. Stepping away from a typical syndrome of our time, the “judgment mania,” the exhibition unveils hidden stories and provides methodological suggestions in which the recovery of collective memory and its role becomes the central element for each contemporary society. The parallelism between history and art is thus necessary in order to read the two disciplines as complementary elements in human’s knowledge, as a continuous practice of change against immobility that pushes the human being to constantly question him/herself. Through the works and the practices of the invited artists, the exhibition reveals and deepens stratifications, ambiguities and dissonances in history. Such a strategy represents a fundamental moment within the development of the institution and a field of research that will be further investigated in the future activities of ICA Milano’s cultural program.

The exhibition gathers together works by: Yto Barrada (FR-MA), Lothar Baumgarten (DE), James Lee Byars (USA), Nanna Debois Buhl (DK), Ryan Gander (UK), Haroon Gunn-Salie (ZA), Arjan Martins (BR), Santu Mofokeng(ZA), Antonio Ottomanelli (IT), Paul Pfeiffer (USA), Javier Téllez (VN-USA), Mona Vatamanu & Florin Tudor(RO).

Apologia della storia – The historian’s craft
January 25–March 15, 2019

ICA Milano
Via Orobia 26
20139 Milan
Italy

image: ph. Dario Lasagni

16
Gen

Bill Viola / Michelangelo. Life Death Rebirth

Posted by / arte, fotografia, scultura, video arte

In January 2019, we’ll bring together two artists – born centuries apart – who explore the same universal themes with works of transcendent beauty and raw emotional power.

In contrast to the scale and grandeur of his frescoes and sculptures, Michelangelo’s exquisite drawings take us closer to the emotional core of his work. Finished works in their own right, they were created as gifts and expressions of love, or as private and meditative reflections on his own mortality.

In 2006, pioneering video artist Bill Viola saw the finest of a collection of these drawings at Windsor Castle, and was astonished by the Renaissance master’s expressive use of the body to convey emotional and spiritual states. Although created in a radically different medium, Viola’s own works also grapple with life’s fundamental questions, asking us to consider the thresholds between birth, life and death. Both artists harness the symbolic power of sacred art, and both show us physical extremes and moments of transcendence.

This exhibition explores the affinities between Bill Viola and Michelangelo, and is conceived as an immersive journey through the cycle of life. You’ll see a selection of Michelangelo’s most poignant works, including those from Windsor such as his drawings of the Crucifixion, as well as Michelangelo’s only marble sculpture in the UK, the Virgin and Child with the Infant St John (the ‘Taddei Tondo’). From Viola, we feature 12 major installations spanning his entire career, including the extraordinary Tristan’s Ascension (The Sound of a Mountain Under a Waterfall), a five-metre-high projection depicting the ascent of the soul after death.

Royal Academy of Arts
Bill Viola / Michelangelo
Life Death Rebirth
26 January — 31 March 2019

Daily 10am – 6pm
Friday 10am – 10pm

Extended opening hours: open until 9pm on 29 – 30 January and 2 February.

Main Galleries, Burlington House, Piccadilly

 

03
Gen

Marina Bindella. L’opera grafica 1988-2018

Posted by / disegno, arte, grafica, incisione

L’Istituto centrale per la grafica, in collaborazione con l’Accademia di Belle Arti di Roma, presenta la mostra Marina Bindella. L’opera grafica 1988-2018 a cura di Claudio Zambianchi e Antonella Renzitti.

La mostra, che presenta una sessantina di opere di Marina Bindella, pittrice e xilografa nata a Perugia nel 1957, copre un trentennio di lavoro ed è dedicata prevalentemente all’opera grafica dell’artista, con qualche disegno, acquerello o pittura che servono come mera evidenza delle ulteriori avventure di segni nati in prima battuta come segni grafici. L’incisione sin dagli inizi ha costituito infatti per Bindella il laboratorio dove collaudare, controllare e filtrare il resto dell’attività creativa grazie alla qualità indiretta, riflessiva della grafica, frutto di un procedimento analitico volto a individuare le modalità sempre variate attraverso le quali il segno filtra la luce del bianco della carta: una pratica artistica che solo alla fine, attraverso la stampa, si traduce in una forma adatta alla lettura. Di qui la decisione di ordinare la mostra non in base al rispetto di una cronologia, ma secondo tre «famiglie» di segni («biomorfe», «filigrane» e «incroci»): la divisione non ha valenza rigidamente tassonomica, ma rende possibile organizzare i frutti di un lavoro che procede ogni giorno per invenzioni e varianti, dove la pazienza e l’immaginazione, l’artigianato e la cultura, si incontrano in momenti di intensa qualità poetica. Tra le opere esposte anche una selezione di fogli e libri d’artista che l’autrice ha voluto donare all’Istituto, arricchendone le collezioni contemporanee. I curatori scientifici del progetto espositivo e del catalogo sono Claudio Zambianchi docente di Storia dell’arte contemporanea dell’Università La Sapienza e Antonella Renzitti, responsabile del Dipartimento del contemporaneo dell’Istituto. Durante il periodo di apertura della mostra saranno attivati laboratori didattici, ideati con l’artista e coordinati dal Servizio educativo dell’Istituto, che vedranno coinvolti studenti dell’Accademia e dell’Università.

La mostra sarà corredata da una pubblicazione edita da Campisano Editore con testi di Claudio Zambianchi, Antonella Renzitti, Jolanda Nigro Covre, Daniela Fonti, Carlo Lorenzetti, Beatrice Peria e Ilaria Schiaffini. La mostra fa parte della rassegna Grafica Femminile Singolare. Iniziata da Maria Antonella Fusco, Dirigente dell’Istituto centrale per la grafica, nella simbolica data dell’8 marzo 2012, la rassegna consente al pubblico di conoscere lo sguardo delle donne, sia esso espressione artistica o lettura critica.

Marina Bindella. L’opera grafica 1988-2018
dal 28 novembre 2018 al 31 gennaio 2019

Istituto Centrale per la Grafica – Gabinetto disegni e stampe
Via della Stamperia, 6
Rione Trevi (Quirinale-Tritone-Barberini) (Roma centro)
Palazzo Poli

Non è possibile accedere all’Istituto con bagagli, zaini e borse di grandi dimensioni. Non sono disponibili armadietti o guardaroba.

Modalità di partecipazione: Ingresso libero

Telefono: +39 06 699801 centralino

Fax: +39 06 69921454
www.grafica.arti.beniculturali.it
in-g.gabinettodisegnistampe@beniculturali.it

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