December 12, 2010 – February 12, 2011
Opening: Saturday, December 11, 2010, 6.30 p.m.
Istituto Svizzero di Roma Sala Elvetica
Via Liguria 20 – Rome
“Black2 (Black and Square)” is the exhibition conceived by Konstantin Grcic for the Istituto Svizzero di Roma, that analyzes the presence of the black square shape in the production of the contemporary object.
Through a selection of fifty products that are more or less well-known (or at times popular even), Grcic combines non-homogeneous objects within a homogeneous formal and linguistic category.
With its rich symbolic values, the black and square shape has passed through the millenary history of cultures: from the Egyptian stelae to the Tablets of Law engraved by Moses; from certain Chinese ceramic traditions to the Islamic Kaaba, up to the alchemy and philosopher’s stone which, as tradition would have it, was the shape of a black cube.
But it is starting from the Twentieth century, with the modern age, that the black and square shape has been given prominence and such widespread diffusion thus becoming a formal trend.
December 9 2010 – February 25 2011
Opening: Today, December 9 2010 – 7 pm
Nomas Foundation, viale Somalia, 33 – Rome
Your throat describes this.
Returns your touches.
The back of your neck to the front of this vertical intention.
Taking the vertical intention of this built build to the front of your throat. The back of your neck. The small of your arms.
With the look of touch returned.
Your throats accuracy like your shoulders and wrists for this history of permanence.
My throats accuracy like my shoulders and wrists for this history of permanence.
The physical imitation. Take this buildings physical and vertical intention for permanence.
Our Daily Permanence is a dialogue of voices discussing ideas of permanence and impermanence, history and imminence, physical imitation and emotional indentation. Responding to the layers of Rome’s history, the artist reflects on the column in its materiality and immateriality. A rock transformed into a stone structure that with time becomes rock once again, the column encompasses a history of substance, imminence and endurance. The shape undergoes a further transformation in correspondence to our own physical presence, relating to the neck, the throat and consequently to the notion of voice.
The voices of a dialogue, presented in an apparently infinite repetition, constitute the form of a diminishing book that will be dispersed within the city of Rome for the duration of the exhibition. The pages will be torn, given out and taken away into the world, into perpetuity. Somewhere, nowhere, endlessly the pages will travel in time and space. Taking up a new position and value within a daily permanence, becoming a subtle and new declaration of the monumental.
4 dicembre 2010 – 4 February 2011
Galleria francesco pantaleone arte Contemporanea
via Garraffello, 25 Palermo
It was back in 1989 when Per Barclay created his first “oil room”, a room completely flooded in which architecture was mirrored on a black, translucent surface of mineral oil.
For his first solo exhibition in Palermo, Per Barclay (Oslo, 1955) has given birth to a new work created in the halls of Palazzo Costantino, a fine example of baroque architecture in the heart of Palermo’s old city center. For his photos of “flooded” rooms, Per Barclay has always carefully chosen the places where to create his reflecting architectures: Palazzo Costantino is a symbolic place that tells of the decline of the old city center, but it is also the charm of a space that bears the signs of abandonment at the end of World War II and, like many palazzos in the old city center, has been left to the neglect of time.
After the solo shows by Gert & Uwe Tobias and Jacob Kassay, the Maramotti Collection has recently presented two new commisioned works by the Los Angeles based artist Kara Tanaka and the italian artist Flavio De Marco. Mainly based on paintings, the Maramotti Collection is one of the most interesting collection in Europe. It was founded by Achille Maramotti, who first conceived of creating a public collection of contemporary art some thirty years ago, and planned to make it an exemplary institution, open to connoisseurs and other interested individuals, in the service of the aesthetic and intellectual appreciation of art. He intended this collection to mirror the evolution of the most advanced artistic thinking of his time. The collection is the result of the strong friendship and professional relationship between Achille Maramotti and Mario Diacono, one of the most brilliant critics, intellectuals and dealers of the last decades.
A seminar by Piero Golia
1 December 2010 at 6.30 p.m.
Nomas Foundation, viale Somalia, 33 Rome
In occasion of the fifth appointment of the Reading Room, which this year concentrates on initiatives established by artists for artists, Nomas Foundation presents The Mountain School of Art, a seminar with Piero Golia.
The Mountain School of Arts is a free university founded in 2005 in Los Angeles by Piero Golia and Eric Wesley. Located in a bar in Chinatown, the university offers a complete academic programme to its fifteen students. The Mountain School of Arts is an independent university that aims at completing the traditional American academic system. Renown professionals from the field of art, cinema and music give free three-monthly courses in Arts, Science, Philosophy, Marketing and Law. The talk offers an insight of the project and aims to stimulate a discussion on art education and its financing, and the possibility or need to initiate similar projects in Italy.
A talk curated by Cecilia Canziani and Ilaria Gianni | Chair of debate: Luca Lo Pinto
Corvée by Sam Griffin
26 November 2010 – 15 January 2011
Gallery Vela – 38 Langham Street
The secret of corporate aesthetics is the power of elimination, the celebration of the efficient, the eradication of excess: abstraction as camouflage, the search for a Corporate Sublime.
Rem Koolhaas, Junkspace
The view from the top of 30 St “Gherkin” Mary Axe is a vista worthy of Caspar David Friedrich. Man appears as an insignificant but critical cog in the flow of capital, as it ascends the glass elevators of the Lloyds building, floats in a hedonistic fog lubricated by speculative financing in the bar of Tower 42, and watches the Pinnacle ascend to the heavens from its Bishopsgate pit. James Rosenquist’s Swimmer in the Econo-Mist beckons from beyond the lobby doors of Deutsche Bank, as Pret refuels assistants between meetings and commutes. Architecture gives wipe-clean form to corporate rapture – framing the heavens and reflecting the sky – whilst lobbies overflow with trees, high-tech and breezeway suburban designs, connoting the ecological order of “vest-pocket“ urban parks, in high-rise office buildings.
Contemporary artists are the perfect late-capitalist workers – freelance, mobile, with no pension and personal responsibility for their overheads: intensely self-motivated entrepreneurs acting in their own material interest. Museums emerge as Frankensteinian cut-n-shuts of office, shopping mall, restaurant and lobby space. Does an adoption of the architectonics of businesses work as a sweetener to corporate philanthropy? Did MoMA’s 2004 renovation really do away with an indoor sculpture garden, in favour of further canapé space and the ‘enchantment of a bank after hours’?