NERO is pleased to announce the newly opened space of V4ULT in a new address in Berlin. The space opens up with an exhibition by Kernel that will be marked by two interventions, the first of which will take place this Saturday, December 19th at their new location. We recommend that you don't miss out on this exceptional event and that you also check out the recently published book curated by V4ULT and published by NERO. (more...)
A post-surrealistic experiment juxtaposing visual artworks and literary sources that apparently have nothing in common. In this issue: Goffredo Parise (1929–986) and a selection of photos from the archive of Paese Sera newspaper. (more...)
NERO is pleased to present two current solo exhibitions Lonely Planet by Samara Scott and Parallel Pictures by Jason Gomez at the gallery Almanac in Turin. Both artists approach the life span of materials in their interaction with processes of decomposition and intermingling, through very different practices and conceptualizations. The two presentations were built up over a three-week residency period at Almanac Inn.
In 1986 Corrado Levi curated one of the most influential Italian exhibitions of the last thirty years: Il Cangiante. It was a seminal event for many reasons: the juxtaposition of the artists, the exhibition design, the critical writing, the revaluation of underappreciated figures. Levi set up a confrontation between the youngest artists (such as Bruno Zanichelli) and the most famous artists of the period (such as Francesco Clemente). (more...)
On Wednesday 10 December at 7pm, HangarBicocca will open bau bau, Céline Condorelli’s first solo exhibition in Italy, curated by Andrea Lissoni. On this occasion the artist, who lives and works between London and Milan, will show some of her most significant projects together with a new piece especially produced for HangarBicocca, which was created during an unprecedented collaboration at one of Pirelli’s factories, the Technological Hub at Settimo Torinese (Turin). (more...)
Strolling about in a twenty-first century shopping mall, we might wonder when and where such graves of the spirit first came into being. The answer to that question is a fairly tangible reality, one that we can experience in person, if we are willing to discover what is left of the Paris passages. (more...)
Over the last few years Mandla Reuter has mostly worked on the question of how places can be defined or occupied, often establishing a certain minimal narration within the spatial connections and structures he develops within his exhibitions. The selection of images found on Reuter’s computer in Berlin come from different sources, folders and years. (more...)
In November and December, Raum will be presenting three innovative interdisciplinary projects focusing on the new performance scene in Vienna, commissioned by INTPA Austria and Tanzquartier Wien. The exhibition begins with White For, a performance, or dynamic polymorphic and changing sculpture, capable of immersing oneself into a decidedly abstruse scenario, by the duo Karl Karner, visual artist, and Linda Samaraweerová, performer and choreographer, accompanied by the interventions of sound artists Rosi Rehformen and Royl Culbertson (13 November). (more...)
biotic/abiotic, the current group exhibition at The Gallery Apart in Rome, acts as a coming together of different habitats, curated by Hanna Laura Kaljo and Lucy Lopez from the curatorial platform JupiterWoods in London, the project involves The Gallery Apart and the collection of the Nomas Foundation. (more...)
Federico Campagna, author and friend of Gianluca Concialdi, wrote a personal letter to the artist in response to his solo show MOODCLOTH presented by Ermes. The letter is both an acrostic and mesostic text. The acrostic part of the piece reads the title of a treaty on friendship and love, both erotic and mystical, written in the twelfth century by Aelred of Rievaulx. (more...)
I know it's a zebra when I see stripes - Laughter is usually at the end of the conversation
I know it’s a zebra when I see stripes – Laughter is usually at the end of the conversation is a double catalogue of the two namesake exhibitions by Dunja Herzog at Piano Nobile, Geneva and Istituto Svizzero, Milan. The book project consists of a mix of images from the two exhibitions along with texts written by artist friends invited by Herzog and directly inspired by one of her artworks. Together with internet images, that oscillate metaphorically between the chosen work and the written text, the book unfolds in an original and enigmatical narrative flow.
Forest Theater is the catalogue published in conjunction with the exhibition of the same name (8 October – 30 November 2014) by Grear Patterson at the American Academy in Rome, curated by Peter Benson Miller. The exhibition and the catalogue are a collaboration between Depart Foundation and the American Academy in Rome. Both the exhibition and the book summon formative moments in the artist’s life, a recollection of rites of passages, tapping into a collective, rather than simply a personal, consciousness.
sono qui [un esercito di donnacce nude]
sono qui [un esercito di donnacce nude] is a book of drawings realized by Doris Maninger in 2013 during a residency at the European Ceramic Work Centre in s’Hertogenbosch (Netherlands). A kind of continuous narrative, the drawings represent a concatenation of experienced episodes and references to images from memory. In some cases, they are accompanied by personal notes related to a specific creative moment, and apparently dissociated from the images themselves: perhaps a conscious representation of how memory is nothing more than an endless series of reconstructions that the “present” makes of the “past.”
Disordered Structures is a book of drawings by Alicja Bielawska which documents her artistic research on structures and constructions. The book consists of a collection of drawings and a text written by the artist in which she describes the processes behind her work. She visualizes structures and patterns continuously and thoroughly, unveiling what lies beneath. While the shape of objects appears to be stable, within our memory, objects are fragmented and loose their configuration.
The Sudden Gust
The Sudden Gust is the new artist’s edition by Matteo Nasini. The edition, composed of an audio vinyl, a booklet and an original eight large-format artist’s print (A2), collects for the first time a selection of field recordings of Matteo Nasini’s aeolian instruments, together with a book of images related to the sound and visual practice that the artist has developed over the last four years in relation to “aeolian sound” – the sound that is produced when a system of strings, applied to a sound box, is made to vibrate by the wind. Rather than simply documenting it,
Passo a Due
Passo a Due is the catalogue published in conjunction with the exhibition at the MAN in Nuoro (30 May-29 June) curated by Lorenzo Giusti, the director of the museum, and Elena Volpato, the person in charge for the conservation at GAM in Turin and for the collection of films and artist’s videos.
The first part of the book is composed by a selection of critical essays written by the two curators about the issue of animation and cinema in the field of visual arts. The second part displays all the artworks in the exhibition through some information sheets and images.