The opera Passi. Palazzo Altemps. 20 settembre, 2018 is set up in the entrance loggia of Palazzo Altemps, creating a striking reflection effect between the vault, the courtyard and the sky. A fragmented vision, which creates a vertigo of the gaze, creating a kaleidoscope effect but also a feeling of precariousness and an exhortation to face the art without relaxing too much.
Gotico Industriale highlights, in a unified key, two generations of artists who have worked in Turin from the 80s to today, returning a reading and an exemplary political synthesis.
Giuseppe Stampone, one of the most interesting Italian artist of his generation, will be the protagonist of the 2018 edition of RAVE East Village Artist Residency, the artistic project reached at the eighth edition that each hotel hosts in the Friuli countryside one of the most expert artists of the panorama the way in which one finds his own research in a context where the offers are the coordinates of a different way of coexisting, in an attempt to overcome the anthropocentric filter.
First Shenzhen Contemporary Art Biennale will be held from May 11 to July 29 2018.
Despite the new directional and managerial asset, the reduction of the artists number and the new exhibition plans, Maurizio Donzelli and Laura Renna will be among the participating artists of this edition.
Dedicated to the theme "Open Source", curated by Zehui Tang and Janet Fong, Shenzhen Biennale will be held in the Luohu Art Museum and is supported by the Shenzhen Government and partially by the Shenzhen Cultural Development Funds.
The theme of the Biennale is "Open Source": a clear derivation from the hypertechnological world, it is through this concept that the curators believe that the individual and collective identities of the city of Shenzhen can be understood, and manifest itself in all of its different facets. On the one hand, Shenzhen is indeed China's most high tech venue, mega companies there such as Tencent and Huawei. On the other hand, metaphorically speaking, Shenzhen is "Open Source" as it is an historically powerful trading, economic, technological and social platform.
Starting from this premises Donzelli and Renna have reflected, conceived and designed two monumental, public, site-specific works, entirely produced by the Shenzhen Biennale, that will be exhibited in the Luohu Art Museum.
Friday, April 19 at 19:00 opens the work of Luigi Presicce for SACROSANCTUM.9 (oratory of San Mercurio, Palermo).
His work, influenced more by independent studies than by his academic training, orbits a performative action with a strong theatrical emphasis that stages a heterodox ritual close to the esoteric and occult dimension.
For Sacrosanctum, Presicce has assumed the role of San Mercurio di Caesarea, a holy warrior who held the oratory, being beheaded in Cappadocia because he converted to Christianity. San Mercurio corresponds to the transfiguration of the god Hermes and the same oratory, however, rises in the '500 in correspondence of a cave dedicated to this pagan deity. The review, now in its second edition, is organized and coordinated by the Association of Friends of Sicilian Museums and curated by Adalberto Abbate and Maria Luisa Montaperto.
The Veil of Veronica, or mandylion in Syrian, is an unprecedented performance, specifically designed for the structure hosting it: the Museo de Arte Popular in Mexico City. The simulacrum of the Virgin of Guadeloupe falls into the age-old tradition of images that have either come into existence miraculously or have been imprinted (acheiropoieta) and, perhaps, it is also the most recent sacred icon to have appeared "without the aid a human hand." The painting, which is still kept in the Basilica dedicated to the Virgin of the same name in Tepeyac, a small hill nearby Mexico City, where the miracle of its appearance allegedly took place. One day in December of 1531, on the hilltop of Tepeyac, the Virgin appeared before the farmer Juan Diego Cuauhtlatoatzin. The Virgin asked the farmer to go and find the bishop, and to ask him on her behalf to build a small church where the apparition took place. Juan Diego obeyed, but the bishop, Juan de Zumárraga, did not believe the farmer's story. The apparitions occurred time and time again, but the bishop wanted to see tangible proof, hence the Virgin told Juan Diego to go pick some flowers from the Tepeyac hill and bring them to the bishop. And so he did. Despite it being winter, Juan Diego was able to pick the roses and, once he met up with the bishop, he unwrapped his mantle, however, when the roses touched the ground, the two saw the image of a dark-haired Virgin Mary with mixed features appear beneath them.
This story, just like the one of The Veil of Veronica, is not written in Gospel, and there is no tangible evidence proving that it was indeed a miracle, however, as all other unexplainable occurrences of Christian history, these too are worthy of devotion. We can find the story of The Veil of Veronica in the Golden Legend by Jacopo da Varazze, a very popular reading during the 13th century, the credibility of which was so high that it was able to turn the miracle in one of the stations of the Via Crucis. The station depicts the moment in which a woman offers a veil to wipe the face of Christ in the moment in which he falls under the weight of the wooden cross on the way to Calvary. At this point, the miracle takes place, and the face of Christ, torn apart by sweat and blood, is imprinted onto the veil of the woman named Veronica. There have been many theories regarding the origin of her name, on how it may have Greek or Latin roots, or even mixed ones, as a play on the words "vera icona" (true icon), while others suggest that the name may derive from Berenice, from ancient Greek, hence "which brings victory." This leads us to think about the symbolic aspect of the face of Christ, just like the cross that appeared in Constantine's dreams before the battle with Maxentius "in hoc signo vinces."
Faith or not, the images of the face of Christ that have miraculously appeared remain a controversial matter, just like the Manoppello Image, or the famous Shroud of Turin, which was saved (miraculously, once again) from the flames of a great fire.
There is also talk of holy imprints in the case of the stigmata received by Saint Francis of Assisi on the mountain of La Verna, and of the most recent stigmata of Padre Pio of Pietralcina. Similar fervor was raised by the case of Natuzza Evolo, where a humble housekeeper from the Calabrian province began an intense dialogue with Christ, the Virgin Mary, and the deceased, and during Easter time she received both a stigmata and hematic effusions portraying Christ's holy face. If these examples did not require a human hand to imprint the face of Christ or of the Virgin Mary, there are plenty more in art history that depict Veronica and, still today, several artists have used the imprinting of the face or of the body as a pure pictorial form. For example Yves Klein, with his anthropometries and "panoramic" self-portraits by Kiki Smith.
The performance aims to reenact a scene from the Via Crucis, where the face of the artist is impressed onto paper by applying pressure. Just as a press for mechanical print, a figure manipulates the face of the artist with a damp sheet of paper, which absorbs the colors that had been placed on the artist's face. Just like a panoramic portrait or a Rorschach's inkblot, the imprinted papers will portray the face of the demiurge, or the artist that interprets god, creator of the world.
Fluctuations explores the paradigm of our data society and reflects a world of changing media. Canogar creates large-scale installations and generative video animations to investigate the interfaces and transitions between virtual and real worlds. Fluctuations stands for a world in flux – a world of transient, fleeting memories, shifting media and continuously increasing data streams- and searches for the individual person's impact and position in this hyperconnectivity.
The exhibition, curated by the internationally acclaimed curator and art historian Dr. Lorand Hegyi, features 34 contemporary artists from various countries and across different generations. These works suggest a strong belief in the ethical character and powerful mission of contemporary art to convey visual metaphors about human existence, through strong expressive language which reinforces and highlights the emotional, passionate and human character of contemporary art.
This exhibition focuses on the capacity and competence of contemporary art to transfer essential messages and existential revelations about life, truth, historical visions, ethical values, anthropological constellations. In a historical period dominated by a sense of crisis, disillusionment, instability and disorientation, the artist has the power and the responsibility to send their messages about human perspectives, creating new connections between different fields and experiences and providing multiple systems of interpreting the complexity of contemporary reality.
IGAV, the Garuzzo Institute for the Visual Arts, presents the third part of the FLY ART project at Turin's Sandro Pertini Airport (departure lounge). The project takes the form of an encounter between an installation by an eminent contemporary artists and tourists who do not expect to find, in a space of "transit", the "stationary", imposing presence of a work of art.
Travasi, an installation in the departure lounge, becomes the basis for an exchange of identities and relationships with the "casual" viewer, an element that allows for an aesthetic and cultural reflection in what are untypical surroundings for art. With FLY ART, waiting for your flight becomes a whole lot more enjoyable.
Seven italian artists are the winners of Italian Council: Alterazioni Video, proposed by the association Incompiuto Siciliano; Danilo Correale, proposed by Careof; Nicolò Degiorgis, proposed by Ecole Supérieure d'Art et de Design; Eva Frapiccini, proposed by the association Connecting Cultures and the association Isole; Alice Gosti, proposed by the association Indisciplinarte; Margherita Moscardini, proposed by the foundation Pastificio Cerere and Patrick Tuttofuoco, proposed by Polo Museale of Emilia Romagna.
The selection commission was presided over by Federica Galloni and was composed by Carlos Basualdo, Stefano Baia Curioni, Maria Grazia Messina and Alberto Salvadori.
Eduardo Secci Contemporary s.r.l soc. unip.
Cap. Soc. IV 1.000.000,00 €
IT C. F. P.IVA N. ISCR. REG. IMP. FI 06421100485
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