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.