April 24 – 29, 2012
Live Arts Week – Bologna
Live Arts Week a new project born out the fusion of the experiences of the two Bologna festivals: Netmage – International Live Media Festival and F.I.S.Co. – Festival Internazionale sullo Spettacolo Contemporaneo.
The event takes place in Bologna, from april 24 to 29, 2012, and is developed throughout one week in six different locations and settings in the historical centre of the town. Live Arts Week intensifies a weave between disciplines and forms of expression, and cohabitation between artists and audiences from different backgrounds. Focused on live arts, it offers a program that reflects an idea of art as experience made of temporalities, postures and the imaginaries. The decision to launch the new event as ’week-long’ is an attempt to break away from the concept of a festival as a consumer point in the cultural life of a city.
The program allows the visitor to cross a number of world-spaces created by important personalities in international and contemporary research. Thirty artists in all are grouped into ‘scenes’ and ’companion species’. The set-up suggests a city-wide event, divided into a schedule of events, performances, shows, concerts and live media with unique dates, productions and premieres, building a space/time polyhedral sinusoid. (more…)
April 11 – May 19 2012
Peep – Hole - via Panfilo Castaldi 33, Milan
Reversibility: A Theatre of De-Creation explores, in exhibition form, the “promotion and display” of artworks by proposing their “de-creation” or temporarily conversion into an alternative cognitive model, in order to allow the public to examine the work of a group of artists. The aim is also to show the reversibility of two movements of creation and de-creation that are at work in all circumstances: in the moment when the creative process comes to be qualified as an artwork, on the one hand, and, on the other, in the moment when an artwork is disqualified in the form of a commodity or cultural fetish.
The prologue to Reversibility took place in 2008 at the stall of the Fair Gallery (gb agency, Paris; Hollybush Gardens, London; Jan Mot, Brussels; Raster Gallery, Warsaw) during the Frieze Art Fair in London. It was further developed in a public institution in 2008 at the CAC Brétigny (The Center for Contemporary Art in Brétigny, France) and concluded in 2012 at Peep-Hole, in Milan, within the context of an independent non-profit structure financed by donations from artists.
The actantial structure of Reversibility: A Theatre of De-Creation in three parts takes the form of classical drama: exposition, climax and denouement. For each chapter and among each group of works, a particular piece is specifically related to each setting (in turn, commercial, institutional and private) in a principle of functional and symbolic equivalence: Dos Espacios Modificados (1967/2008) by David Lamelas during the Frieze Art Fair in London; Floating Wall by Robert Breer at the Centre d?art contemporain in Brétigny, France; No Necesita Título (1990/2012) by Isidoro Valcárcel Medina for Peep-Hole, a non-profit art space in Milan. (more…)
February 18 – May 27, 2012
WIELS Contemporary art Centre - Av. Van Volxemlaan 354, Brussels
The exhibition Flagrant Delight provides a first general overview of the work of German artist Rosemarie Trockel, who is considered to be one of the major artists of her generation, in Belgium. Through a very personal and subjective approach to avant-garde themes, she proposed an alternative to rigid formalism and expressive painting at the beginning of the 1980s, and thus laid the foundations for what became postmodernism.
Today, a few decades later, the fundamental principles of her practice and work still involve the notions of liberty and going beyond the limits of academicism, conventional associations and knowledge of language, as well as avant-garde forms and symbols.
Trockel’s particular attitude, whereby she clearly refers to the subjective heritage of dadaism and surrealism, allows a special context to be created for an exhibit in Belgium and in Brussels. And yet, her work has been exhibited here very rarely. (more…)
April 21 – July 21 2012
Fondazione Giuliani per l’arte contemporanea – via Gustavo Bianchi, I – Rome
“The base, or pedestal, is a specialized form of table.”
– Scott Burton
I called the show “Scott Burton” because I had to put a name on how I feel. Probably it would have made more sense to take the title from Bea Schlingelhoff, and call it “Fuck The Participant”, a pun that would have described more accurately the dual nature of Burton’s work, subtly perverse, antagonistic, sexy. There’s a great self-portrait of Burton, posing in Afro wig and white face, wearing overalls and an enormous dildo, that could very well be subtitled Fuck the Participant.
I guess I tried to become Scott Burton. I don’t know how other people do it, but that’s how I do it. Which was strange. A demon came into my head. Suddenly I was alone inside that demon’s house. I tried to build pedestals, I tried to build tables. I thought very literally about becoming another person, I was wearing a Beau Dick mask. Dick makes masks in the Kwakiutl ceremonial tradition, objects designed to serve a function—but an idea of function expanded to include hallucinatory states and dreams. Call it psychic utility, I don’t know what to call it but I know what it does. I’m sure that Dick tries on the masks while he makes them, the way Martino Gamper tests the feel of a chair, by occupying it, testing it out with his body. Which is something you can’t say about painting. Bea said “painting as a medium might be inherently suspect,” and I tend to agree with her. (more…)
March 22 – April 13 2012
Marsèlleria – via Paullo 12/a – Milan
Recurring theme in Federica Perazzoli’s painting is the man/nature relationship, and its glorification. An endless sight, a view in the middle of nothing. Spaces/ Places/ Subjects/ Uncertainty. The uncertainty of being, its suspension, being suspended. The subjects are nearly almost feminine, unidentifiables, inexpressive. Melancholy as an escape from reality. Melancholy and solitude as a way to recover peace and a inner self.
April 5 – May 24 2012
Art gallery Dorsoduro – via Dorsoduro 2793/a Venice
FINE LINE does double duty as a title. It not only refers to the meticulous technical skill of the featured artists, their clear and decisive lines—therefore a literal understanding of the words—but it also highlights a more profound connection amongst the works by way of its popular application: in English, “fine line” is a term one uses to express the nearly indiscernible difference between two competing or seemingly distant concepts such as madness and genius, love and hate. Workshop FINE LINE a group exhibition curated by Leslie Rosa, featuring painting, drawing and sculpture by artists Diann Bauer, Francesco Igory Deiana, Micah Ganske, Langdon Graves, Evan Gruzis, Robert Lazzarini, Colette Murphy and Colette Robbins.Taking as a starting point the notion of consensus reality—that reality is what the majority agrees seems to exist—this exhibition is interested in the fine line between the real and the unreal, between the reasonable and the absurd. And, it is precisely because these works are at the intersection of both the denotation and the connotation of the show’s title that they are able to confront our accepted order of thought and perception with such success. For it is through the artists’ immaculate craft, their flawless execution of reality, that the distortion of it strikes us with such force and provides us with the opportunity to critically inspect how our perception of that reality is constructed. (more…)