Cinque Mostre – Visions at the American Academy in Rome

MODU, Cloud Seeding, 2015
Plaza Pavilion, 250 square meters
Design: Museum Holon. Photo courtesy: Aviad Bar Ness (Photography), Geotectura

Origin: Middle English (denoting a supernatural apparition): via Old French from Latin visio(n-), from videre to see.
Pronunciation: vision/ˈvɪʒ(ə)n/

Cinque Mostre 2017 is an annual exhibition of work by current Rome Prize Fellows. Composed of collaborative projects guest-curated by Ilaria Gianni under the collective title VISION(S), Cinque Mostre features work by Fellows in several disciplines and invited artists installed in various sites throughout the McKim, Mead & White Building at the American Academy in Rome.

Taking its cue from the multifaceted term “Vision,” and emphasizing its physical-perceptive, political, supernatural, and mystical aspects, VISION(S) explores the strategies that artists and scholars employ to re-configure our perception of the world. This group exhibition brings together different approaches and ways of seeing, which draw their inspiration from the present, facts from the past, and forecasts of the future.

Employing various strategies, including translation, history, performance, poetic insight, fiction or mysticism, the works challenge notions of culture, origin and belonging.

VISION(S) offers an encounter between the personal investigations of the creative processes and the external – often influenced and compromised – gaze of the viewer. The show unfolds along a non-linear thread constantly challenging viewers’ desire to understand through seeing, in which works of art confound styles and genres. Each contribution acts as a unique apparition, projecting the spectator into an experience in which the spectator is not a bystander, but an operative participant in a new dimension, as victim and producer of visions. In doing so, the works remind us that “the relation between what we see and what we know is never settled” (John Berger, Ways of Seeing, 1972), unleashing a new process of searching for meaning, one that is imbued with imagination and awareness at once. Realism and its ordinary, profane view of the world is overtaken by fantasy and prophecy, intuition and illusion. Both authors and spectators become fabricators of worlds through a different interpretation and construction of the appearance of the real.

also features a project entitled La più geniale tra le maschere (“The Most Brilliant Amongst the Masks”), an exhibition curated by artist Gabriele De Santis and Ilaria Gianni.

Artists and authors from different fields Gundam Air, Cornelia Baltes, Elisabetta Benassi, Roberto Coda Zabetta, Tomaso De Luca (in collaboration with Vincenzo Giannetti), Gabriele De Santis, Sean Edwards, Anna Franceschini, Zazie Gnecchi Ruscone, Grossi Maglioni, Isabell Heimerdinger, Lauren Keeley, Emiliano Maggi, Jonathan Monk, Pino Pasquali, Gianni Politi, Francis Upritchard, Alessandro Vizzini, Bedwyr Williams  investigate the ‘Harlequin,’ one of the main characters of the Italian commedia dell’arte, a complex and symbolic figure who embodies a visionary metaphor.

His social attributes, conceived five centuries ago, are still recognizable today. The Harlequin’s multifaceted qualities: the wily and covetous comic servant (zanni); the faithful, patient, credulous, and amorous valet; the amoral yet good hearted spirit; even the hellish, obscure demon of the night, hence the origin of his name (Hölle König – King of the Underworld – then Helleking, and finally Harlequin); become an excuse to convey variegated interpretations of the idea of the ‘mask’, translated through disparate formal and performative approaches.
The visitor enters a backstage, a masquerade that reveals the truth within comedy, the drama of mankind, the dark-side and vulnerability of the façade of an apparently stable social system.

Participating artists: Gregory Bailey & Kristi Cheramie, E.V. Day, Tomaso De Luca (in collaboration with Vincenzo Giannetti), Gabriele De Santis, Kyle deCamp, Stanislao Di Giugno, Hussein Fancy (in collaboration with Jonathan Berger, Caroline Cheung, Leon Grek, Enrico Riley, Joseph Williams and the Accettella-Teatro Mongiovino), Piero Golia, Robert Hutchison (Robert Hutchison Architecture); MODU – Phu Hoang & Rachely Rotem  (in collaboration with Jonathan Berger, Hussein Fancy, Jack Livings, Christoph Meinrenken, Matthew Null), Emiliano Maggi, Annalisa Metta (in collaboration with Jonathan Berger), Nicole Miller, Nicola Pecoraro, Michael Queenland, David Reinfurt, Enrico Riley, Danielle Simon (in collaboration with E.V. Day, Zazie Gnecchi Ruscone and G.A.N Made in Italy), Yasmin Vobis & Aaron Forrest (Ultramoderne)

the American Academy in Rome – via Angela Massina 5
Opening 14 February 2017, 6-9pm