Category: video arte

04
Set

Paolo Ventura. Carousel

Dal 17 settembre al 8 dicembre CAMERA – Centro Italiano per la Fotografia ospita «Carousel», un percorso all’interno dell’eclettica carriera di Paolo Ventura (Milano, 1968), uno degli artisti italiani più riconosciuti e apprezzati in Italia e all’estero. Dopo aver lavorato per anni come fotografo di moda, all’inizio degli anni Duemila si trasferisce a New York per dedicarsi alla propria ricerca artistica. Sin dalle sue prime opere Ventura unisce alla grande capacità manuale una particolare visione poetica del mondo, costruendo delle scenografie all’interno delle quali prendono vita brevi storie fiabesche e surreali, immortalate poi dalla macchina fotografica. Con «War Souvenir» (2005), rielaborazione delle atmosfere della Prima Guerra Mondiale attraverso piccoli set teatrali e burattini, ottiene i primi importanti riconoscimenti, come l’inserimento all’interno del documentario della BBC «The Genius of Photography» nel 2007. Dopo dieci anni negli Stati Uniti, rientra in Italia dove realizza alcuni dei suoi progetti più celebri, all’interno dei quali mescola fotografia, pittura, scultura e teatro, come ad esempio nella scenografia di «Pagliacci» di Ruggero Leoncavallo, frutto dell’importante collaborazione con il Teatro Regio di Torino, di cui CAMERA ha esposto alcuni lavori preparatori a gennaio del 2017.

In quest’occasione le sale del museo ospitano alcune delle opere più suggestive degli ultimi quindici anni – provenienti da svariate collezioni, oltre che dallo studio dell’artista – in un’assoluta commistione di linguaggi che comprende disegni, modellini, scenografie, maschere di cartapesta e costumi teatrali. Non si tratta, tuttavia, di un percorso lineare né di una retrospettiva, quanto piuttosto di una messa in scena di tutti i temi ricorrenti della sua poetica, fra i quali spiccano quello del doppio e della finzione. Le prime sale dello spazio espositivo torinese diventano quindi un’autentica full immersion nella poetica di Ventura, un vero e proprio ingresso all’officina dove nascono e si compongono le storie elaborate dall’artista. Un viaggio e un racconto, dunque, secondo quelli che sono i temi e le modalità espressive predilette da Ventura, rappresentante di una fotografia volutamente narrativa: non a caso, i testi che accompagneranno questo percorso saranno stesi e scritti direttamente dall’artista, che diviene la voce narrante della mostra.

La seconda metà dell’esposizione sarà invece dedicata interamente a due nuovi e inediti progetti: il primo è “Grazia Ricevuta”, rivisitazione affettuosamente ironica del tema dell’ex voto, che Ventura naturalmente rielabora a partire dalla manipolazione dell’immagine e dalla presenza costante della sua figura e di quella delle persone a lui vicine. Un ulteriore affondo nella cultura popolare, così amata e ben conosciuta da Ventura, una cultura che da sempre fornisce icone e tematiche al multiforme artista milanese. Il secondo lavoro inedito è l’esito della partecipazione di Ventura al programma “ICCD/Artisti in residenza”, avviato a partire dal 2017 dall’Istituto Centrale per il Catalogo e la Documentazione di Roma, ed esposto per la prima volta grazie alla collaborazione fra CAMERA e l’Istituto del MiBACT. Sulla scorta della riflessione sulla rappresentazione delle vicende risorgimentali, Ventura indaga il tema della guerra e della sua rappresentazione in fotografia, influenzata dalla difficile accettazione della modernità del mezzo fotografico in un paese fortemente legato alla tradizione come l’Italia del XIX secolo. Tutto questo attraverso il romanzesco rinvenimento di una serie di rare carte salate risalenti al periodo risorgimentale, nel corso della residenza romana dell’artista. ​

Conclude la mostra una grande e spettacolare installazione, che trasforma l’intero lungo corridoio di CAMERA nel palcoscenico sul quale appare e si sviluppa una città immaginaria, composta dalle tante architetture realizzate da Ventura nel corso degli anni, riassemblate e reinventate per questa occasione in un allestimento di grande suggestione.

Curata da Walter Guadagnini la mostra sarà accompagnata da un volume monografico, pubblicato da Silvana Editoriale, che ripercorre per la prima volta in modo esaustivo e organico tutte le tappe salienti della ricerca dell’artista.

L’attività di CAMERA è realizzata grazie a Intesa Sanpaolo, Lavazza, Eni, Reda, in particolare la programmazione espositiva e culturale è sostenuta dalla Compagnia di San Paolo.

Paolo Ventura. Carousel

Torino, CAMERA – Centro Italiano per la Fotografia

17 settembre – 8 dicembre 2020

Mostra a cura di Walter Guadagnini

CAMERA – Centro Italiano per la Fotografia
Via delle Rosine 18, 10123 – Torino
www.camera.to |camera@camera.to

Contatti
CAMERA – Centro Italiano per la Fotografia
Ufficio stampa e Comunicazione
Via delle Rosine 18, 10123 – Torino

Giulia Gaiato
www.camera.to | camera@camera.to
pressoffice@camera.to
tel. 011 0881151

Ufficio Stampa: Studio ESSECI, Sergio Campagnolo
tel. 049 663 499
gestione3@studioesseci.net
www.studioesseci.net

Image: Behind the Walls#05 (da Behind the Walls), 2011

31
Ago

Olafur Eliasson – Sometimes the river is the bridge

Originally scheduled to begin on March 20, Olafur Eliasson’s exhibition at the Museum of Contemporary Art Tokyo opened on June 19. As neither the artist nor the staff of Studio Olafur Eliasson were able to come to Japan due to Covid-19, the exhibition, which involved the installation of 12 rooms of works including six rooms of new ones, was realized by communicating remotely.

The title of the exhibition, Sometimes the river is the bridge, suggests the possibility of bestowing form and function onto formless things—like invisible rivers that may appear to be bridges with a particular form and function, when viewed from a different, alternative perspective. Inspired by the theme of sustainability, this exhibition takes its point of departure from Eliasson’s interest in the environment, as reflected in how he has voiced his opinions at the United Nations as well as through projects like Little Sun (2012–) and Ice Watch (2014–). It is the result of a two-year dialogue with curator Yuko Hasegawa, partially in relation to the tsunami that occurred in the Tohoku region of Japan in 2011.

Eliasson, who is known for his work with water, fog, light, and other natural phenomena, deploys a unique artistic language that gives form to intangible and richly varied materials. In this exhibition, his specific intention was to shift the focus to the viewer’s ecological awareness: in other words, to imbue the perceptual experience with a different meaning or realization. What is unique here is not just the theme of the exhibition: the sustainability theme is also reflected in how it was produced. Consciousness of the carbon footprint associated with the act of staging the exhibition was manifested in how transportation was minimized by increasing the number of components that were locally produced, the choice of the means of transportation, and the use of renewable energy in the exhibition itself. Works were transported from Berlin to Tokyo not by air, but by train and boat via the Trans-Siberian Railway. 12 new drawings from a series called Memories from the critical zone (Germany–Poland–Russia–China–Japan, nos. 1–12) were automatically executed by a drawing machine as a result of the vibrations during the journey.

In addition, the light sculptures are powered by solar panels, while Sustainability Research Lab showcases the products of materials and designs that the studio has experimented with and developed, sometimes in collaboration with outside experts. The ecological and aesthetic ingenuity of the studio’s waste-based recycling processes are examined from multiple angles, becoming a statement about how the future should not just be waited for, but actively embraced and welcomed. As Eliasson himself says, “for me, all of these works articulate and express the future.”

The highlight of this exhibition is a new large-scale installation in the 20-meter long atrium space, called Sometimes the river is the bridge. A basin of water is placed in the center of the darkened space, while the reflections of twelve lights illuminating the surface of the water create various shadows on the circular screen wall above. The ripples caused by the gentle stirrings of the water surface take on a variety of forms, inviting the viewer to partake in a state of deep contemplation that resonates with these water ripples. This is not just an individual sensory experience, but also a medium for empathy with others who share the same space. Eliasson’s work takes into account the neo-materialist discursive nature of things: through the material structure of his work, he explores ways of creating a space of empathy that is accompanied by thought. In a certain sense, this particular work might be said to have achieved this goal.

In other works, such as photographs that capture the changes in Iceland’s glaciers over a period of 20 years, or documents of an intervention that causes a river to appear within a city, Eliasson deploys methods that promote awareness and knowledge production through form and space by understanding the structures external to our living spaces, such as architecture and landscapes, as elements of nature and climate. These methods are integrated into the theme of sustainability, welcoming many visitors as an exhibition that entails “feeling and thinking.”

Bilingual catalogue in Japanese and English, including photographs documenting new works, with a dialogue between Eliasson and Timothy Morton, a discussion by the Studio staff on sustainability, and an essay by Yuko Hasegawa on “Eliasson: The Artist who Listens to the Future.” (Film Art, Inc.)

Curator: Yuko Hasegawa

Organized by Museum of Contemporary Art Tokyo operated by Tokyo Metropolitan Foundation for History and Culture / The Sankei Shimbun
Supported by Embassy of Iceland, Japan / Royal Danish Embassy
Sponsored by Kvadrat, Bloomberg L.P., JINS HOLDINGS Inc.
Grant from The Scandinavia-Japan Sasakawa Foundation, Obayashi Foundation

Olafur Eliasson
Sometimes the river is the bridge
June 9–September 27, 2020

Museum of Contemporary Art Tokyo (MOT)
4-1-1 Miyoshi, Koto-ku
Tokyo 135-0022
Japan

www.mot-art-museum.jp

Image: View of Olafur Eliasson, Sometimes the river is the bridge, Museum of Contemporary Art Tokyo, 2020. Photo: Kazuo Fukunaga. Courtesy of the artist; neugerriemschneider, Berlin; Tanya Bonakdar Gallery, New York / Los Angeles. © 2020 Olafur Eliasson

source: e-flux

06
Lug

Marina Apollonio – Dinamiche Virtuali

Online una mostra retrospettiva dedicata a Marina Apollonio, figura di rilievo internazionale tra le più rappresentative dell’arte Ottico-Cinetica Italiana. Le opere in mostra ricostruiscono il percorso artistico dell’Apollonio, raccogliendo diversi cicli di lavori significativi da lei sviluppati dal 1964 ad oggi; le opere in alluminio, le Gradazioni su tela, le Dinamiche Circolari, i Rilievi a Diffusione Cromatica e le recenti Dinamiche Ellittiche e Fusioni Circolari. La poliedrica ricerca dell’artista sintetizza in modo semplice uno studio complesso, in bilico tra arte e scienza,rendendo lo spettatore protagonista di una visione spazio–temporale da lei minuziosamente programmata. Il segno deciso e l’equilibrio tra gli opposti, soprattutto tra il bianco e nero, determinano un’iconicità tale da delineare il tratto distintivo dei suoi lavori e la loro assoluta riconoscibilità.

In mostra sarà esposta anche l’installazione a pavimento che Marina Apollonio presentò in The Illusive Eye presso El Museo Del Barrio di New York nel 2016.

Online a retrospective exhibition dedicated to Marina Apollonio, a figure of international importance, among the most representative ones of the Italian Optical-Kinetic art. The works in the exhibition reconstructs the artistic path of Marina Apollonio, collecting several cycles of significant works she has developed since 1964; works in aluminum, the Gradazioni on canvas, the Dinamiche Circolari, the Rilievi a Diffusione Cromatica and the recent Dinamiche Ellittiche and the Fusioni Circolari. The multifaceted research of this artist summarizes a complex study in a simple way, in a balance between art and science, making the viewer protagonist of a space-time vision she has meticulously planned. The strong mark and the balance between opposites, especially between white and black, determine an iconicity that delineates the hallmark of her worksand their absolute recognizability. Included in the online exhibition, the pavement installation Marina Apollonio presented during the exhibition The Illusive Eye, at El Museo Del Barrio, New York in 2016.

10 A.M. ART
Marina Apollonio. Dinamiche Virtuali
visitabile sul sito della Galleria fino al 30 luglio 2020

Immagine in evidenza: Marina Apollonio, Dinamica Circolare 6S+S II, 1966, tecnica mista su tavola, meccanismo rotante motorizzato, Ø 102 cm

04
Giu

FORNASETTI Theatrum Mundi

Centinaia di creazioni dell’atelier fondato da Piero Fornasetti in dialogo con le collezioni della Pilotta per raccontare la classicità attraverso la lente del design contemporaneo.

Il 3 giugno 2020 inaugura Fornasetti Theatrum Mundi, mostra ospitata all’interno del Complesso Monumentale della Pilotta di Parma. L’esposizione sarà aperta al pubblico fino al 14 febbraio 2021 e si colloca all’interno di “Rivitalizzazioni del Contemporaneo”, bando ideato in occasione di Parma 2020+21, Capitale Italiana della Cultura.

La mostra, inaugurata in concomitanza con la riapertura del Complesso della Pilotta dopo il lungo periodo di sospensione dovuto all’emergenza COVID-19, ha generato in questi mesi una particolare aspettativa da parte del pubblico, della stampa e degli appassionati.

L’esposizione è un vero e proprio viaggio stratificato tra classico e moderno, tra passato e presente, la cui curatela è di Barnaba Fornasetti, Direttore Artistico dell’Atelier milanese, di Valeria Manzi, co-curatrice delle attività culturali e Presidente dell’associazione Fornasetti Cult, e del direttore del Complesso Monumentale della Pilotta Simone Verde, con l’intento di rigenerare il patrimonio classico e classicità dell’istituto museale autonomo parmigiano, attraverso la ripresa intellettuale che ne ha fatto uno dei maestri indiscussi del design contemporaneo.

Fornasetti Theatrum Mundi mette in dialogo le architetture e le opere della Pilotta con l’immaginario di Piero e Barnaba Fornasetti, creando un vero e proprio ‘teatro del mondo’: una rete di rimandi iconografici e suggestioni culturali che rivela lo statuto intellettuale degli oggetti esposti e delle immagini in mostra, rendendone visibile lo spessore e regalando universali ed emozionanti implicazioni. Un vero e proprio “Theatrum” nel significato cinquecentesco, dunque, che declina nell’infinita varietà del mondo l’enciclopedica unitarietà del sapere a cui aspirava il classicismo, sia rinascimentale che settecentesco e, grazie alla chiave ludica di Fornasetti, anche contemporaneo.

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02
Mar

ZERO IS INFINITY

Yayoi Kusama Museum is delighted to announce its first major group exhibition, ZERO IS INFINITY, ZERO and Yayoi Kusama, featuring Kusama’s activity in Europe during the 1960s, introducing ZERO’s art practices and also exploring their relationship with Kusama.

“ZERO” indicated in a narrow sense the name of the group formed by Mack and Piene in 1958 in Düsseldorf, Germany, with Günther Uecker later joining in 1961. However, by publishing the magazine ZERO and holding many exhibitions, ZERO’s activity began to involve many active artists, groups and movements from various places in Europe: Yves Klein from France, Piero Manzoni and Enrico Castellani from Italy, and Henk Peeters and Jan Schoonhoven, founding members of Dutch avant-garde group Nul from the Netherlands. Like the resetting of the European continent separated under World War II, ZERO has been a powerful motivation for transnational collaboration between avant-garde artists.

At the time, Yayoi Kusama was based in New York and participated in many exhibitions along with other leading artists of Pop art and Minimalism. While she received high acclaim from the New York art world, she regularly presented her art across Europe, in particular at exhibitions led by ZERO, attracting attention in the European art scene in the 1960s. Kusama’s first invitation to the European exhibitions was for Monochrome Painting (Monochrome Malerei), curated by Udo Kultermann, and held at Morsbroich Museum, Leverkusen in 1960. After participating in this international exhibition, Kusama started correspondence with ZERO artists such as Peeters. Kusama’s pursuit of “Infinity” through her art finds various similarities with artistic expressions in the works of ZERO artists: in their experiments with new materials such as mirror, repetitions of single motifs, pursuit of monochrome and their orientations towards environment art and performance.

In this context, ZERO IS INFINITY explores the transnational developments in Kusama’s and ZERO’s activities during the 1960s, by showcasing their works and documentation materials. The group show displays a work from Infinity Nets, Kusama’s monochrome painting series, a series shown in Europe for the first time at the above-mentioned exhibition in 1960. The newest work in her Infinity Mirror Rooms series, Longing for Infinite Heaven, as well as a reproduction of Christian Megert’s Mirror Wall (Spiegelwand) installation are also presented. Other highlights of the exhibition include another Kusama installation, Narcissus Garden,which was first presented in the 33rd Venice Biennale in 1966 with financial support from Lucio Fontana, who also exhibits an artwork from his signature series Spatial Concept (Concetto Spaziale) at this show.Continue Reading..

14
Feb

Franco Vaccari – Migrazione del reale

Migrazione del reale is the first solo exhibition by Franco Vaccari (Modena, 1936) at Galleria P420.

Migrazione del reale is based on Vaccari’s deep interest in dreams, which since 1975 have been the focus of five Esposizioni in tempo reale (exhibitions in real time) as well as a vast output of works closely connected with things dreamt by the artist himself over a span of nearly 40 years. Already in his participation in the Venice Biennale in 1972, Vaccari put aside the traditional role of the artist, acting as an instigator of processes by installing a Photomatic booth with a sign on the wall encouraging visitors to leave a trace of their passage in the space. The main lines of this action then went through a predictable, logical development. But when dreams make their appearance in the Exhibitions in real time “the role of a ‘remote controller’ dissolved, in turn, to the extent that the dream functions as an activator of reality—as the artist himself explains—namely as a pretext to detour an apparently definite situation towards unexpected results, unexpected reality.” In the early 1980s Vaccari began a singular artistic practice, painstakingly annotating and illustrating his nocturnal dreams in notebooks; over the decades, he has created a series of works in which photography and painting coexist to represent subjects and forms that have not been sought, not been studied, but are totally suggested by mechanisms of the unconscious.

I would like to emphasize the fact that I am not interested in the surreal or disorienting dimension of dreams—Vaccari writes in a text from 1985—nor in aspects of the extraordinary, the exceptional, even the psychoanalytic. I am attracted by the ‘real’ dimension of dreams. The real world has been emptied of reality, while at the same time reality has migrated towards the territory of dreams.”

But another image complicates the relationship between dream and reality. Migrazione del reale presents a video installation in which the Oumuamua interstellar asteroid looms in a sidereal space, perhaps closer than we might think. Reality reveals itself in all its oneiric character, and dreams and nightmares seem to take on a weight that is more than real.

Oumuamua, a messenger from afar arriving first as the name might be translated, the first interstellar object to literally cross the orbital planes of the planets of our solar system and then disappear back into interstellar space, exists in reality, like a premonitory dream.

Among Vaccari’s most recent exhibitions: the 5th Ural Industrial Biennial of Contemporary Art, Urals and Siberia (2019), Tutto. Prospettive sull’arte italiana, MUSEION, Bolzano (2018);Matriz do tempo real, curated by Jacopo Crivelli Visconti, MAC USP, Sao Paulo, (2018); and Take Me (I’m Yours), curated by Christian Boltanski, Hans Ulrich Obrist, Chiara Parisi, Roberta Tenconi, Hangar Bicocca, Milan (2017). An important event is now being programmed at the Walker Art Center in Minneapolis in 2020.

Franco Vaccari – Migrazione del reale
P420, Bologna / Italy
January 25–March 21, 2020

P420
Via Azzo Gardino 9
40122 Bologna
Italy
Hours: Tuesday–Saturday 10:30am–1:30pm,
Tuesday–Saturday 3–7:30pm

T +39 051 484 7957
info@p420.it

Image: Franco Vaccari, Oumuamua (messaggero che arriva per primo da lontano), 2020, video installation, 5’15’’ (courtesy credit ESO/M. Kornmesser, USA)

13
Gen

Dalí & Magritte. Two surrealist icons in dialogue

The Royal Museums of Fine Arts of Belgium dedicate an exceptional exhibition to Salvador Dalí and René Magritte. For the first time ever, the connection and influences between the two greatest icons of the surrealist movement are highlighted.

Dalí and Magritte both aim to challenge reality, question our gaze and shake up our certainties. The Catalan and the Belgian show a fascinating proximity, despite their very different creations and personalities, which would eventually lead them to drift apart.In the spring of 1929, Salvador Dalí and René Magritte meet in Paris, surrounded by the great names of the artistic avant-garde. In August of the same year, at Dalí’s invitation, Magritte travels to Cadaqués, the Spanish painter’s home base. This surrealist summer – which also includes visits by Éluard, Miró and Buñuel – will prove decisive.

The exhibition reveals the personal, philosophical and aesthetic links between these two iconic artists through more than 100 paintings, sculptures, photographs, drawings, films and archival objects.

The “Dalí & Magritte” exhibition is held under the High Patronage of their Majesties the King and Queen and is organized by the RMFAB in collaboration with the Dalí Museum (St. Petersburg, Florida), the Gala-Salvador Dalí Foundation and the Magritte Foundation. More than 40 international museums and private collections have lent their masterpieces for this unique exhibition, which ties in with the festivities organised around the Magritte Museum’s 10th anniversary.
Exhibition curator: Michel Draguet, Director General of the RMFAB.

VIDEO Behind The Scenes at the exhibition DALÍ & MAGRITTE

Dalí & Magritte Two surrealist icons in dialogue

Royal Museums of Fine Arts of Belgium
Rue de la Régence/Regentschapsstraat 3
1000 Brussels
+32 (0)2 508 32 11
info@fine-arts-museum.be

Image: Magritte, The Blood of the World, 1925

27
Nov

Kate Crawford |Trevor Paglen: Training Humans

“Training Humans”, conceived by Kate Crawford, AI researcher and professor, and Trevor Paglen, artist and researcher, is the first major photography exhibition devoted to training images: the collections of photos used by scientists to train artificial intelligence (AI) systems in how to “see” and categorize the world.

In this exhibition, Crawford and Paglen reveal the evolution of training image sets from the 1960s to today. As stated by Trevor Paglen, “when we first started conceptualizing this exhibition over two years ago, we wanted to tell a story about the history of images used to ‘recognize’ humans in computer vision and AI systems. We weren’t interested in either the hyped, marketing version of AI nor the tales of dystopian robot futures.” Kate Crawford observed, “We wanted to engage with the materiality of AI, and to take those everyday images seriously as a part of a rapidly evolving machinic visual culture. That required us to open up the black boxes and look at how these ‘engines of seeing’ currently operate”.

“Training Humans Symposium” took place on Saturday 26 October at 2.30 pm, engaging with the exhibition. The event involved Prof. Stephanie Dick (University of Pennsylvania), Prof. Eden Medina (MIT), Prof. Jacob Gaboury (University of California, Berkeley), along with the project curators Kate Crawford and Trevor Paglen. Putting the ideas in the exhibit in conversation with their path-breaking work, the speakers examined questions such as: where are the boundaries between science, history, politics, prejudice and ideology in artificial intelligence? And who has the power to build and benefit from these systems?

“Training Humans” explores two fundamental issues in particular: how humans are represented, interpreted and codified through training datasets, and how technological systems harvest, label and use this material. As the classifications of humans by AI systems becomes more invasive and complex, their biases and politics become apparent. Within computer vision and AI systems, forms of measurement easily – but surreptitiously – turn into moral judgments.

Of import to Crawford and Paglen are classificatory taxonomies related to human affect and emotions. Based on the heavily criticized theories of psychologist Paul Ekman, who claimed that the breadth of the human feeling could be boiled down to six universal emotions, AI systems are now measuring people’s facial expressions to assess everything from mental health, whether someone should be hired, to whether a person is going to commit a crime. By looking at the images in this collection, and see how people’s personal photographs have been labeled, raises two essential questions: where are the boundaries between science, history, politics, prejudice and ideology in artificial intelligence? And who has the power to build and benefit from these systems?
As underlined by Crawford, “There is a stark power asymmetry at the heart of these tools. What we hope is that “Training Humans” gives us at least a moment to start to look back at these systems, and understand, in a more forensic way, how they see and categorize us.”

The exhibition will be accompanied by an illustrated publication in the Quaderni series, published by Fondazione Prada, including a conversation between Kate Crawford and Trevor Paglen on the complex topics addressed in their project.

English below

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05
Nov

Julie Wolfe. Under Their Gaze, We Become Creatures

We are distressed by the daily cycle of hateful and self-serving rhetoric. It skews us into unful lling reactions. We are out-of-whack. We ght to avoid turning o . Though ill-at-ease, there is hope of something blooming from our better nature. In a small and special part of our society a growing number of artists are speaking of redress and solace. In their work we can find the energy to turn back on. It is at this moment, within these circumstances, that the Hemphill gallery presents the fourth Julie Wolfe exhibition. To quote the artist, “After the election some dark things became more apparent. My awareness has been heightened. Along with many others, I am concerned about the social and cultural impact of this sort of spiritual crisis, about the lack of truth. Through my work I am finding ways to cope and be hopeful. The upcoming show is a response. The show contains works from three series. There is the confrontational character of the ‘Under Their Gaze, We Become Creatures’ series. In the landscapes from the ‘Venus Site Speci c’ series there is an otherworldliness. And in the ‘Magnitude of Equality’ paintings the gravity defying e ects of the color and gray scale studies speak of the power of diversity and equality.”

The artist describes her show as a response to current events, but none of the works in Under Their Gaze, We Become Creatures are didactic. Each piece carefully provokes thoughts of potential catastrophe, present dangers, or feelings of dislocation. Yet the show is colorful, hopeful. We experience a sense of generosity in the artist’s viewpoint. “I hope you find something to respond to, something to contemplate, to remember, something that opens up in you.” Great artworks are machines of perpetual motion. They move us from tradition, responding in the present, pushing us towards the future. The artist reminds us that art is always connected to society.

The limited edition folio, Dream Sequel Series: Under Their Gaze, We Become Creatures, is published in conjunction with the exhibition.

Julie Wolfe (American, born 1963) is a visual and conceptual artist living and working in Washington, DC. Her work is exhibited and collected internationally and has been featured in ARTnews, BBC America and Hyperallergic. She has published numerous limited edition artist books and folios, and has held residencies at AGA Lab, the Netherlands, and Mass MOCA. Wolfe received a BFA in Painting and Art History from The University of Texas, Austin, TX.

H E M P H I L L  opened as a commercial gallery in September of 1993. The exhibition schedule features contemporary art ranging in media from emerging to mid-career and established artists. In addition to these shows the gallery mounts exhibitions of historically significant artwork and socially relevant subjects. The diversity of this schedule is designed to showcase important talent and provide artwork appealing to a broad range of interests.

HEMPHILL Fine Arts
1515 14th Street NW #300
Washington DC, 20005

Phone: 202.234.5601
Fax: 202.234.5607
gallery@hemphillfinearts.com

Gallery hours are Tuesday – Saturday, 10am – 5pm and by appointment.

JULIE WOLFE
Under Their Gaze, We Become Creatures
Until November 16, 2019

Image: JULIE WOLFE. Direct Daylight, 201, ph. amalia di lanno

report gallery by amaliadilanno

10
Ott

Musja. The Dark Side – Who is afraid of the Dark?

Christian Boltanski, Monica Bonvicini, Monster Chetwynd, Gino De Dominicis, Gianni Dessì, Flavio Favelli, Sheela Gowda, James Lee Byars, Robert Longo, Hermann Nitsch, Tony Oursler, Gregor Schneider, Chiharu Shiota

Curated by Danilo Eccher

Musja, the exhibition space in via dei Chiavari 7 in Rome presided over by Ovidio Jacorossi, becomes a private museum with the opening on October 9 of Who is afraid of the Dark?, the first exhibition within The Dark Side project, a three year programme curated by Danilo Eccher.

The vast art collection owned by Jacorossi, covering the period from the early 19th century Italian to the present, will be flanked by the most innovative contemporary trends in the international panorama in order to highlight the fundamental contribution of art to personal and collective growth. The new museum also sets out to become established as a focus for the development of civil society in Rome, and to carry forward cultural commitment, and dialogue with international public and private institutions and museums.

The complex thematic setting of The Dark Side project is organized into three exhibitions spread over three years, and dedicated to: “Fear of the Dark,” “Fear of Solitude,” and “Fear of Time.” The first event in the new exhibition programme—“Fear of the Dark”—brings together 13 of the most important international artists with large site-specific installations and large-scale artworks by established artists, such as Gregor Schneider, Robert Longo, Hermann Nitsch, Tony Oursler, Christian Boltanski, James Lee Byars as well as new protagonists on the contemporary art scene such as Monster Chetwynd, Sheela Gowda, and Chiharu Shiota. There is a substantial Italian component with works and installations by Gino De Dominicis, Gianni Dessì, Flavio Favelli, Monica Bonvicini. During the opening of the exhibition, and thereafter at monthly intervals, there will be a performance by “Differenziale Femminile,” a group of four actresses, in the rooms of the gallery.

The majority of the site-specific works will be produced especially for the exhibition, while others are loans from various institutions, galleries and some others are part of the Jacorossi collection. All of them were selected for their power to draw the viewer in and encourage reflection on the topic while, at the same time, introducing some essential aspects of current contemporary art research. Visitors will be able to analyse their own reactions to sensory and tactile experiences, theatrical and magical visions, rituals and settings, anxieties that take different and unexpected forms only to melt away.

The catalogue accompanying the exhibition, published by Silvana Editoriale, contains a wealth of images by all the participating artists as well as written contributions. In addition to Danilo Eccher’s contribution, there are also some intellectually complex views on the theme of the dark by theologian Gianfranco Ravasi, theoretical physicist Mario Rasetti, psychiatrist Eugenio Borgna and philosopher Federico Vercellone. Different points of view, cross-cutting approaches, intellectual fields that diverge, overlap and are interwoven, give the project much greater scope than a standard art exhibition.

In the course of the exhibition, Musja will also be holding a series of meetings on the theme, coordinated by Federico Vercellone, professor of Aesthetics in the Department of Philosophy at Turin University.

The Dark Side – Who is afraid of the Dark?
October 9, 2019–March 1, 2020

Musja
via dei Chiavari 7
Rome
Italy

Image artwork by Gino De Dominicis, Jacorossi collection