Wednesday, 2 February 2011 - at 8:00 pm
Teatro Eliseo - via Nazionale 183, Rome
Artist Jamie Shovlin, together with the German rock band Lustfaust, will perform live the score to the film Hiker Meat in the tradition of a silent movie piano score, yet with samplers and a typical rock band set-up. The band will also ‘play’ the projection – sampling source material for the making of the film.
The performance, Hiker Meat (Rough Cut), is coordinated by Ilaria Gianni.
Organized by the Fondazione Giuliani per l’arte contemporanea.
In collaboration with Roma Capitale, Assessorato alle Politiche Culturali e Centro Storico – Sovraintendenza ai Beni Culturali.
curated by Marcello Smarrelli
Today, January 27th at 6 p.m., Pastificio Cerere Foundation starts with Raphäel Zarka (Montpellier, 1977, lives and works in Paris), the first appointment of Postcard from…, a 2011 two-monthly project in which five artists will realize a 400x300cm billboard, as the ones of advertisement.
The event, in collaboration with A.P.A. – Agenzia Pubblicità Affissioni, is curated by Marcello Smarrelli, Art Director, and it is part of the exhibitions programme of Pastificio Cerere Foundation, that is centred on utilising art as an educational tool for different social and cultural environments.
The project, that involves the city of Rome with public-spaces art interventions, wants to take art in unexpected places. The five artists will be invited to realize a poster – fixed on a structure that is installed in Pastificio Cerere’s yard – that stimulates public interest in aesthetic, ethic and social matters. The same image will be also proposed in ten different structures managed by A.P.A., following the typical advertisement turnover. The list of the structures will be posted on the Foundation web site.
The first billboard, entitled Pianta del Cretto e altri lavori (2011), is realized by Raphäel Zarka and it’s the right occasion for reflecting on an art work that has inspired his research, the Grande Cretto by Alberto Burri (Città di Castello, 1915 – 1995), an environmental sculpture realized by the master of Informal Art in the 80ies in Gibellina, a village in the Belice Valley destroyed by the earthquake of 1968. The Grande Cretto is composed by big white concrete blocks divided by deep cracks that reconstruct the urban plan of the village, with its little streets. Raphäel Zarka, in 2005, even realized a video on this sculpture: Cretto (6’30”, collection Frac Alsace e Centre Pompidou).
Recent conflicts between the artistic and ruling elites in Russia touched upon the issue of the political and religious engagement of artists and their ethical responsibility for their work. These episodes provoked ongoing and passionate debates about artistic freedom in which all the main firebands found themselves involved. Once again, one of the most painful and inescapable subjects of Russian historical reality has emerged from these debates.
Svoboda means ‘freedom’ in Russian – written in Roman characters it loses the fulfillment of its meaning and becomes just a word. It’s a metaphor for the perception of freedom in Russia; the combination of discrete letters turns the conception into abstraction: the word is still there, but the meaning of it has slipped away. This exhibition is an attempt to investigate the notion of freedom in Russia in a non-verbal imaginary way.
AA Bronson is an artist, publisher and curator, who co-founded the artist group General Idea in 1969. Until last October he has been the president of Printed Matter the world’s largest non profit organization to the promotion of publications made by artist and the director of the New York book Art Fair. He is a promoter of low-cost editions and he is insisting on keeping the books non-commercial like a kind of political position. Last autumn Mr Bronson announced that he would depart to spend time on personal projects, especially Haute Culture, the retrospective of General Idea at the Musée d’art moderne de la ville de Paris next February, studying for His Master of Divinity at Union Theological Seminary, and continuing in his position of Artistic Director of the Institute for Art, Religion, and Social Justice, which he founded at Union in 2008. Finally, he intends to devote more time to his practice as an artist and healer. In this interview, published on Purple Fashion magazine (Spring Summer 2009), Olivier Zahm and Dash Snow go deeper into his life, the beginnings of his art and his exploration of other cultures. We would like to present it again because it is very inspiring and because it depicted a sort of turning point of an eclectic mind.
AA BRONSON, one of the founders of the Canadian artists’ group, GENERAL IDEA – whose social activism and poignant irony made its first big impact in their ground-breaking magazine, FILE, published from 1972 to 1989 – remains as active as ever. After the tragic deaths of his two partners, Felix Partz amd Jorge Zontal, in 1994, AA took a more personal and esoteric approach, exploring the secrets and shamanistic rituals of other cultures as a serious practitioner of the healing arts, and incorporating his discoveries into his art. He’s become a mentor and a cult figure for a younger generation of artists. He also runs Printed Matter in New York City, one of the preeminent artist’s book publishers and sellers in the United States.
interview by OLIVIER ZAHM & DASH SNOW
AA Bronson: Good. But I’m a little exhausted from preparations for the NY Art Book Fair.
Dash Snow: I’ll be there on Wednesday, setting up.
AA BRONSON: I know. I’m very curious to see what you’re going to do.
DASH SNOW: We made ten big posters. I’ll have them put aside for you. I’ll have an advance copy of my new book, too.
AA BRONSON: Good. Look at this … I love this photo of yours, Dash. It’s such a great photo!
DASH SNOW: Thank you. This one is of my daughter. This is her grandmother kissing her. This is my girlfriend and her mother. My daughter again….
AA BRONSON: Isn’t she sweet!
Opening Saturday 22nd January 2011
2:00 to 8:00pm
January 25 – April 2, 2011
Fondazione Giuliani – Via Gustavo Bianchi, 1 – Rome
exhibition curated by Stefano Chiodi
The Fondazione Giuliani per l’arte contemporanea is pleased to present Rischi minori (Minor Risks), Giulia Piscitelli’s first exhibition in Rome and her most comprehensive to date. Curated by Stefano Chiodi, the show includes a vast selection of artworks which testify to one of the most original artistic practices in recent years.
Piscitelli directs an acute and often unpredictable gaze on contemporaneity, through the exploration of both the individual and collective everyday. The artist brings to the fore grotesque and paradoxical traits through a sharp yet melancholic sense of humour coupled with a strong sense of irony. Using a wide range of media, Piscitelli time and again operates with both the objectivity of the ethnologist and the empathetic participation of a privileged witness. The marginal areas of cities and their industrial outskirts become the ideal stage for her research, focusing on a dispersed and confused humanity, on its contradictory vivacity, which with its tics, obsessions and fragmented existential routine appears to incarnate a common condition of today.
An odd astronomical discovery, emailed to me recently by Peter Coffin, features a white dwarf, a broken-down former star, four thousand kilometers across and made of solid diamond.
The title of Peter Coffin’s third exhibition at Herald Street is Cosmolology + 1. If cosmology is the study of the universe (from the Greek cosm-, universe, order + -logy, systematic study of), then cosmolology is the systematic study of the study of the universe, and +1 perhaps the study of the study of the study of the universe. And so on.
In the first room there is an installation of seven neon lines, wriggling vertically from floor to ceiling, representing the seven colours of the Newtonian spectrum. Dimly lit, figures moving through the gallery might occlude each other to create rainbow shadows receding across the gallery floor and walls.
Like all post-Newtonian experimenters with colour, Coffin’s installation interrogates the subject’s bodily experience of the coloured object. If Goethe’s writings explored the physical and optical experience of pressure on the retina, Coffin’s work harnesses the bodies of the spectators, as well as the physical presence of the coloured tubes of neon gas, to block one another, creating a shifting experience of obstructed and variegated colour.