30 September 2011 – 10 December 2011
Galleria Lorcan O’Neill - via Orti D’Alibert, 1E – Rome
Galleria Lorcan O’Neil will open a show of new works by Rachel Whiteread. She is carrying on her enquiry of domestic space and its affiliations. Whiteread’s resin sculptures and drawings remind the viewer of the significance of domestic objects. A door, for instance, echoes delicate memories, history, and objective foundational need.
“Galleria Lorcan O’Neill Roma is pleased to present a show of new sculptures and drawings by Rachel Whiteread. Whiteread is one of the most prominent international artists of her generation. She creates sculptures which investigate architecture, space, absence and memory. Her works very often explore intimate domestic spaces and household objects bringing to evidence invisible aspects of their ordinary life. She typically uses industrial materials such as plaster, resin and rubber to cast the negative space surrounding or within an object: the void under a chair, the space inside a cardboard box, or that around a collection of books, floors, but also the space of rooms and entire buildings. The resulting sculptures preserve the texture and form of the original objects, yet they appear as revelations, uncanny ghosts of the original objects they are drawn from.
With the new body of work at Galleria Lorcan O’Neill Roma, Whiteread re-examines the subject of doors and windows, using resin as her medium. She continues her constant investigation of the domestic space and its connotations, with its capacity of containing memory and history in a very subtle way.
September 30 – October 2, 2011
Preview: Thursday, Sept. 29, 6–9 p.m.
MoMA PS1 - 22-25 Jackson Avenue at 46th Avenue – NY
NERO is pleased to be part of the sixth annual New York Art Book Fair. In this occasion we will present new artists’ books, new editions, and recent publications. Please join us at our booth T11, 3rd floor.
Free and open to the public, and featuring more than 200 exhibitors, the NY Art Book Fair is the world’s premier event for artists’ books, contemporary art catalogs and monographs, art periodicals, and artist zines. Exhibitors include international presses, booksellers, antiquarian dealers, artists and independent publishers from twenty-one countries.
Philip Aarons, Chair of the Board for Printed Matter, Inc., said: “The NY Art Book Fair remains the premier venue to find what’s new in art publishing. This year’s focus on artists’ photography books, and the addition of more than 60 zinesters in an outdoor tent, will make this year’s edition of the Fair the best so far.”
opening October 6 – h. 7.00 pm
fluxia gallery – Via Ciro Menotti, 9 – Milan
The incident was, and I will always remember …
Walking in the streets of a big city, a kind of ziggurats forest.
Walking with Josef Hannibal.
The walk is quiet, no discussions, but I can feel that there is a strange visual communion between us.
It’s like camera movements without focus or an end.
That walk brings us to a stop. We’re staring at the front of a big building. Heavy and hieratic.
Some kinds of unknown signs are on the front wall.
We have decided to enter the building.
Walk to a large hall.
Walk to a desk, and there is a woman behind it.
-”What is this building?”
-”It’s a Library” said the woman
-”What kind of library? What do you keep here?”
-”We have plans, architectural plans, floor plans. All of them, since ever…”
-”Do you have artist studios’ plans?”
-”Yes we do!”
-”Can we see them?”
-”What are you looking for?”
-”Let’s start with Brancusi’s studio and the Lascaux cave!”
Some people came, and guided us to an empty room.
There is a smooth neutral light in that room.
Then they brings us the two plans, like two floating white rectangular plates. We start to read them. And at the same time, we extract from the plans, volumes. Some white blocs, small blocs of many shapes.
With those blocs we start to play a game.
It’s an assemblage game.
The product of that game is a vertical construction.
The game finds an end when both the participants are satisfied by the construction.
The incident was, and I will always remember…
Blocks of different shapes and sizes were ordered for me. I played for hours for the erection of fine porcelain piles.
When we choose the game for these evenings, we let the night in, to be admired, once, in the empty warehouses of the morning.
September 22 – October 25, 2011
Galleria Franco Noero – via Giulia di Barolo 16 D – Turin
Italian- born, London-based designer, Mario Gamper’s first solo-exhibit, Condominium, has been launched in Turin at Galleria Franco Noero. Gamper lived in the wedge-shaped 1860 building for six weeks. On each of the nine floors, he worked with 50′s and 70′s furniture he found in Turin. He then took the bed-tables, chairs, and lamps apart, and merged them with mixed media, or reassembled them differently. Gamper tailored the furniture, thus attuning it to the aesthetic desire of each room.
Condominium is a unique project expressly conceived for the gallery’s peculiar spaces and underlines its commitment towards contemporary creative research, overcoming the boundaries between different artistic disciplines.
Martino Gamper’s path is constantly marked by a great spontaneity that permeates all of his projects. These are rooted in a refined and precise knowledge of materials, processes, shapes and aesthetics that characterize the history of Italian design. After the first apprenticeship at a furniture maker in Merano, his native border town, followed then by studies in sculpture with Michelangelo Pistoletto at the Academy of Fine Arts in Wien, Martino Gamper finally entered the design world under the guidance of one of Memphis group’s founders, Matteo Thun. In 1997 he moved to London where he joined the Royal College of Art studying with Ron Arad, and there he later taught from 2004 to 2010.
Saturday 24th of September h.1.00 pm
Federica Schiavo Gallery – Piazza Montevecchio 16 – Rome
Wonders of the Volcano is the first artist’s book by Salvatore Arancio, published by NERO in collaboration with Federica Schiavo Gallery.
Wonders of the Volcano is a faithful reconstruction of a Victorian era book that is part of Arancio’s own collection and the source of some of his etchings. The original volume, printed in London presumably in the second half of the 19th century, was written by Ascott R. Hope and comprises 11 original illustrations in black and white.
Salvatore Arancio has re-elaborated the book’s original images, altering their scientific and documentary function, and added 8 plates to the final section of the volume. The text from the first edition has instead been reprinted in its entirety, and the book’s material and typographic characteristics are identical to the original.
The volume by Ascott R. Hope is an impassioned piece of research into the naturalistic wonders of volcanoes and of the geo-telluric phenomena related to them. The inexact geology of the late 19th century mixes here with landscape descriptions so ingenuous that they transform the underlying romanticism into loose and enthusiastic popular adventure literature. The most impressive natural phenomena – registered at that time not only in Italy, but also throughout Europe, South America, in the Indian east and across the entire Mediterranean basin – are described with all the imprecision of a vague science. In this book, the inductive method overlaps with the deductive, making space for oral testimonies, fairytales and superstitions, all philologically inventoried.
It is not by chance that Salvatore Arancio has chosen to work within a context that is “science-fictional” avant la lettre. The ambiguous alterations that the artist has brought to the original images do not merely evidence the book’s original nature, but, decontextualizing it, reinvent an inexistent past that oscillates between mythology and fantasy.
from 24th of September, 2011
Thomas Brambilla Gallery – Via Casalino nr 23/25 – Bergamo
The artist, Thomas Helbig, chose to limit the press release to one sentence; “MAI COMMETTERE UN CRIMINE SENZA CONCEPIRNE PRIMA UN’ ALTRO.” (to English; “NEVER COMMITING A CRIME WITHOUT CONCEIVING ANOTHER”.)
The title of the show is taken from Pasolini’s film, “Salò, or the 120 Days of Sodom”. Helbig, like Pasolini, does not want to give a ‘classical’ literary impression in advance.
Both reject the role of a prophet, thus allowing life and artistic stimulus to sail its own path. The viewer walks into the exhibition as a blank slate, liberated from literary prophecy and expectations.
The gallery will be set up like a theatre, putting the spotlight on the spectator’s intuitive responses to art. The birth of thought towards an artwork emphasizes the importance of the freedom to be aware of ones own, individual sensitivities.
Thank you Thomas Helbig, for liberating us from stock expectations, and for evoking the innate value of art; The freedom and recognition of the beholder’s delicate contemplations.
Approximately three sculptures and ten to twelve paintings will be on display.