21.10.2015 - 21.10.2015
Wednesday October 21st, 5:30 pm
On the occasion of the visual and audio installation PASSI by Alfredo Pirri & Alvin Curran, hosted in the Museum's cloister until October 31st, the artist analyzes some aspects of the work in relation with his artistic practice.
The lecture will be presented by Valentina Gensini.
10.10.2015 - 10.10.2015
Alfredo Pirri's work "Passi" has been selected as featuring image of the 11th Giornata del Contemporaneo – the Day of Contemporary Art – that will be held on Saturday, 10 October 2015 throughout Italy to focus on the art of our times.
The major event conceived for contemporary art and its public is now in its eleventh year. Doors will open free of charge to present artists and new ideas through exhibitions, workshops, events and conferences, as part of a multifaceted programme that, year after year, offers the public an opportunity to experience the complex and lively world of contemporary art.
Since its inception, the Day of Contemporary Art has been supported by the Ministry of Cultural Heritage and Activities, and has obtained the sponsorship of Italy's leading institutions.
04.10.2015 - 24.12.2015
The exhibition intends exploring an area of contemporary art production which has used industrial materials, through the re-use of objects or industrial-type processes, within the realm of aesthetics, and produced a different visual impact. All the works, exhibited here for the first time, belong to the Collection.
The exhibit also includes the work Analgesia (2003-2004) by Paolo Grassino.
Artists on show: Vincenzo Agnetti, Elisabetta Benassi, Wim Delvoye, Lara Favaretto, Paolo Grassino, Gregory Green, Peter Halley, Kent Henricksen, Matthew Day Jackson, Kaarina Kaikkonen, Krištof Kintera, Annette Lemieux, Nuvolo, Carl Ostendarp, Laure Prouvost, Tom Sachs, Vincent Szarek, Andrea Zittel.
24.09.2015 - 27.09.2015
Alfredo Pirri exhibits the installation "Passi" at TENT London, on the occasion of 2015 edition of the Design London Festival.
22.09.2015 - 22.09.2015
Dopo la pausa estiva, "I Martedì Critici" riprendono la propria attività rinnovandosi. Gli incontri della stagione autunnale prevedono la partecipazione di numerosi artisti internazionali attivi a Roma, oltre agli italiani, e si svolgeranno in diverse sedi, a partire dal suggestivo Tempietto del Bramante sul Gianicolo. La nuova stagione si apre martedì 22 settembre, in collaborazione con la Real Academia de España en Roma, con l'appuntamento dedicato a Bernardí Roig (Palma de Mallorca, 1965).
19.09.2015 - 19.09.2015
Sabato 19 settembre, dalle 18 alle 20, l'artista Alfredo Pirri sarà protagonista dell'incontro "Arte e design", presso la Limonaia di Villa Strozzi (Firenze) nell'ambito della terza edizione di Source self-made design. Autore dell'immagine guida della Giornata del Contemporaneo 2015 (10 ottobre) e attualmente presente al Museo Novecento di Firenze con l'installazione "Passi", Alfredo Pirri sarà protagonista con Vito Dilena (imprenditore e Founder di Demura) di un dibattito volto ad approfondire le interazioni tra arte e design, e a tracciare un percorso dove le discipline creative si contaminano.
16.09.2015 - 26.09.2015
The 2nd Nanjing International Art Festival, China
A Beautiful New World
International contemporary art exhibition
16th-26th September 2015
Artists: Nobuyoshi Araki, Fernando Bayona, Alessandro Brighetti, Norbert Bisky, Olga Chernysheva, Braco Dimitrijevic, Jan Fabre, Regina Jose Galindo, Lyra Garcellano, Debbie Han, Candida Höfer, Phill Hopkins, Glenda León, Carlos Martiel, Luis Moscardó Cuquerella, Erwin Olaf, Hans Op de Beeck, Joao Vasco Paiva, Liliana Porter, Eddi Prabandono, Raul Rece, Deva Sand, Tejal Shah, Richard Streirmatter, Wire Tuazon, Keke Vilabelda, Jason Bard Yarmosky
11.09.2015 - 31.10.2015
The cycle of works titled Passi [Steps] originates from a work presented in 2003 at the Certosa di Padula, and since then presented in many different venues, always highly significant places from either the historical/artistic or the political viewpoint, or better still, possessing both of these characteristics.
The Museo Novecento in Florence is one of these places, where historical characteristics are combined with specific traits representative of the role that Florence has played and continues to play in the collective imagination of the world. In a certain sense, Florence is the city of all of the 20th centuries that have traversed the history of humanity, even before the advent of this century.
Passi, this time, is set not only in a specific place, but in this magical number forming a syntheses of all of the 20th centuries of the past and those still to come. This time, unlike the others, the mirrors that crack and splinter under the visitor's feet, generating the sound that the musician and composer Alvin Curran processes, will not occupy all of the space available, but only the "constructed" part, a square divided at the center by a cross, which in turn creates other squares, flower-beds of the same hue of green that will be framed by the compact blue of the sky and by the grey of the stone of which the building facing on the cloister is made. The straight paths will be broken under the weight of the bodies traversing them, reflecting a grieving, shattered image of a place and an epoch that once attempted to fuse logical reasoning with religious and symbolic aspects. For the first time, thanks to the live contribution of Alvin Curran, the acoustic nature that the work Passi possesses in my imagination will be emphasized. This aspect has always played a vital role, certainly neglected up to now, insofar as considered mainly a comment on the image rather than a factor inherent to the work itself. This time, on the contrary, Passi will be a kind of musical instrument set within an architectural space. An instrument that each individual will be called upon to "play" with his or her presence alone and simply by moving about in this space. The space of Passi consists of a cross within a square, with a round well marking the point of connection between the two lines/paths, almost like a head that unites the two figures, a crucifix within a square, a perfect synthesis of humanism and faith, a conjunction that this work will render evident only to criticize and disassemble it at the same time. Which is to say: art is not (either yet or still) the mirror of the world, but rather its representation and transformation (acoustic).
Democratic, irreverent and traditionally experimental, Alvin Curran travels in a computerized covered wagon between the Golden Gate and the Tiber River, and makes music for every occasion with any sounding phenomena -- a volatile mix of lyricism and chaos, structure and indeterminacy, fog horns, fiddles and fiddle heads. He is dedicated to the restoration of dignity to the profession of making non-commercial music as part of a personal search for future social, political and spiritual forms.
Curran's music-making embraces all the contradictions (composed/improvised, tonal/atonal, maximal/minimal...) in a serene dialectical encounter. His more than 200 works feature taped/sampled natural sounds, piano, synthesizers, computers, violin, percussion, shofar, ship horns, accordion and chorus. Whether in the intimate form of his well-known solo performances, or pure chamber music, experimental radio works or large-scale site-specific sound environments and installations, all forge a very personal language from all the languages through dedicated research and recombinant invention. With a fortuitous bang, he begins his musical journey (1965 in Rome) as co-founder of the radical music collective MUSICA ELETTRONICA VIVA, as a solo performer, and as a composer for Rome's avantgarde theater scene. In the 70's, he creates a poetic series of solo works for synthesizer, voice, taped sounds and found objects. Seeking to develop new musical spaces, and now considered one of the leading figures in making music outside of the concert halls -- he develops a series of concerts for lakes, ports, parks, buildings, quarries and caves -- his natural laboratories. In the 1980's, he extends the ideas of musical geography by creating simultaneous radio concerts for three, then six large ensembles performing together from many European Capitals. By connecting digital samplers to MIDI Grands (Diskklavier) and computers, since 1987, he produces an enriched body of solo performance works -- an ideal synthesis between the concert hall and all sounding phenomena in the world. He creates a visually striking series of sound installations, some of them in collaboration with visual artists including Paul Klerr, Melissa Gould, Kristin Jones, Pietro Fortuna, Umberto Bignardi, Uli Sigg. Throughout these years he continues to write numerous pieces for radio and for acoustic instruments.
28.06.2015 - 27.09.2015
CULTIVATING CULTURE: planting, tending, sharing
In Arezzo, from 28 June to 27 September, the works of over a hundred of the most important and interesting contemporary artists on the world scene will be installed in almost forty indoor and outdoor spaces of the city. Taken out of the museums, contemporary art will mix with masterpieces by Cimabue, Piero della Francesca and Giorgio Vasari, and Arezzo will be able to experience art directly.
With ICASTICA 2015 the region of Arezzo is opening up to art, performance and debate on the need to cultivate culture, following in the footsteps of the guiding theme of the Milan Expo, under whose aegis the programme is being staged. Thus the title ‘Cultivating Culture' will reflect ICASTICA 2015's conception of culture as a set of decisive criteria and consolidated practices.
Chiesa di San Domenico: Alfredo Pirri
Palazzo Comunale, Palazzo Chianini: Alessandro Brighetti
Galleria Comunale d'Arte Contemporanea: Paolo Grassino, Bernardi Roig
13.06.2015 - 01.01.2016
27.05.2015 - 26.07.2015
SOPRINTENDENZA SPECIALE PER IL COLOSSEO, IL MUSEO NAZIONALE ROMANO E
L'AREA ARCHEOLOGICA DI ROMA
Museo Nazionale Romano in Palazzo Altemps
Opening (free entrance): martedì 26 maggio dalle 17.30 alle 21.30
Durata della mostra: 27 maggio – 26 luglio 2015
La mostra personale di Maurizio Donzelli (Brescia, 1958) presso il Museo Nazionale Romano in Palazzo Altemps si snoda come un dialogo articolato fra le sale del museo e le sue collezioni, e rappresenta la continuazione di un percorso di ricerca in cui l'artista entra in dialogo con sedi storiche inserendo il suo intervento come un'evocazione di un tempo sospeso, quello della percezione dell'opera d'arte, posto al di là dei limiti cronologici fra il manufatto antico e l'opera d'arte contemporanea.
Nella sua pratica artistica – incentrata sulle linee e forme fluide del disegno, sulla relazione reciproca tra luce e colore, sulla rivelazione progressiva e mai completa dell'immagine, sul rispecchiamento come continua ridefinizione del punto di vista, sul ruolo attivo dell'osservatore nella definizione dell'opera – Donzelli crea ambienti cangianti ed esperienze epifaniche, vere e proprie macchine delle meraviglie che esaltano il potere caleidoscopico dello sguardo e l'intima mobilità e instabilità della conoscenza del reale.
Il punto di partenza ideale di questo percorso, e la sua stessa ragione d'essere, è lo sguardo dell'artista, il suo invito a reincantare lo sguardo dell'osservatore sulle preziose opere d'arte conservate presso il museo di Palazzo Altemps, per riappropriarsi, come osservatore contemporaneo, della ritmica delle sue sale decorate, del cortile d'onore verso cui esse convergono, delle scalinate che ad esse conducono. Un percorso che da statico diventa dinamico, da pubblico intimo, che alla solennità dei reperti archeologici, con i loro panneggi marmorei e le loro posture eroiche, abbina la levità di disegni su carta e seta che quasi si ripiegano, ritrosi, su se stessi (Disegni Molli, Disegni del Quasi), la vacuità di specchi dalle mille rifrazioni (Mirrors), la metamorfosi e la trasfigurazione di un culto, quello dell'arte, che l'artista celebra nella sua intangibilità a-temporale, riscoprendolo, per esempio, nelle fattezze misteriche dell'Iside egizia, romanizzata in Demetra.
Ciò che è intangibile è appunto intoccabile, invisibile, appartiene alla sfera dell'intuizione, dello stimolo, ci sospinge verso un territorio di similitudini, di analogie e di rimandi infiniti. In questo perlustrare senza ordine prestabilito le sale del museo, Donzelli rivela l'arcano legame che esiste tra ogni opera d'arte, una tendenza al valore archetipico in cui ogni opera, al di là della sua collocazione temporale, diviene un polo diattrazione e di convergenza, un polo di emanazione di infinitepossibilità: "l'opera come sistema di riverberi continui, come un risonatore", scrive l'artista.
Entrando dunque in una sala del Museo Nazionale Romano in Palazzo Altemps ci si può trovare a calpestare disegni di orecchie,come ad accennare che ogni ascolto è intuizione multisensoriale. Entrando in un'altra sala si può avere la sensazione di superare una soglia, dell'attenzione e della percezione, in cui l'intuito dichi osserva rimane libero di perdersi in una frammentazione, in un labirinto di interpretazioni. Aggirandosi, quindi, fra la Sala di Serapide, la Sala delle Grandi Dee, la Sala del Trono Ludovisi, riscopriamo un museo che da esteriore diventa interiore: semplicemente nell'abbandonarsi alla vertigine di un'esperienza rarefatta quanto pervasiva, a quell'indistinto vortice, emotivo ed intellettuale, a quel grand tour recondito di un'esperienza di visita appassionata e di ascolto affascinato, a cui va ascritto, infine, il titolo della mostra stessa: Ad Altemps.
13.05.2015 - 13.05.2015
A reflection on Marco Tirelli's work is included in the exposition "Arte e filosofia del ‘900", curated by Giuseppe Di Giacomo and Maria Giuseppina Di Monte.
Wednesday 13th May 2015, 4:00 pm
Galleria nazionale d'arte moderna e contemporanea
Viale delle Belle Arti, 131 - Rome
09.05.2015 - 22.11.2015
Official Collateral Event as part of the 56th International Art Exhibition of la Biennale di Venezia
Tagore Foundation International and the Polo museale del Veneto are pleased to announce their presentation of Frontiers Reimagined, a major exhibition that will open to the public at the Museo di Palazzo Grimani on 9 May, 2015 in tandem with the inauguration of the 56th International Art Exhibition of la Biennale di Venezia. Curated by Sundaram Tagore, with co-curator Marius Kwint, the exhibition will explore the theme of cultural boundaries through new and recent works, many of which were created specifically for the presentation, by established and emerging artists from around the world. The site-specific installation is juxtaposed by the architecture and collection of the Museo di Palazzo Grimani, a 16th century palace turned state museum, which holds a unique place in Venetian history and architecture. The recently restored palazzo houses a historic collection of artwork by Hieronymus Bosch, Giorgione, Vasari, as well some of the most important frescoes in the city, by Italian Mannerist painters Francesco Salviati, Federico Zuccari and Camillo Mantovano.
Comprised of more than 65 works by 44 artists from more than 25 countries in a variety of media, Frontiers Reimagined will demonstrate the intellectual and aesthetic richness that can emerge in today's globalized art world when artists engage in intercultural dialogue. Sundaram Tagore and Marius Kwint have selected the artists in the
exhibition for their shared global perspective, as seen in both their artistic explorations and their practice of living and working across physical borders, stretching from the West to Asia to Africa.
09.05.2015 - 22.11.2015
from May 9 to November 22, 2015
Venice, Palazzo Fortuny
PROPORTIO, an exhibition organised by the Axel & May Vervoordt Foundation and the Fondazione Musei Civici di Venezia opens this May to coincide with the 56th International Exhibition – La Biennale di Venezia.
Curated by Axel Vervoordt and Daniela Ferretti and located in the imposing Palazzo Fortuny, the exhibition explores the omnipresence of universal proportions in art, science, music and architecture. PROPORTIO follows on from the highly acclaimed exhibitions: Artempo (2007), In-finitum (2009) TRA (2011) and more recently Tàpies. Lo Sguardo dell'artista (2013).
PROPORTIO features specially commissioned works by leading artists such as Marina Abramovic, Bae Bien-U, Michael Borremans, Maurizio Donzelli, Riccardo De Marchi Arthur Duff, Anish Kapoor and Izhar Patkin, which are exhibited alongside major works by Berlinde de Bruyckere, Luciano Fabro, Antony Gormley, Anselm Kiefer, Ellsworth Kelly, Sol Lewitt, Agnes Martin, Fausto Melotti, Mario Merz, Ad Ryman and Bill Viola, as well as a stunning selection of Egyptian artefacts, a series of Dutch Old Master architectural paintings, a splendid portrait by Botticelli and a monumental plaster model by Antonio Canova.
04.05.2015 - 23.05.2015
Meeting Architecture Part II: Architecture and the Creative Process
A programme of lectures and study-exhibitions
4 May 2015: IX Part IX
Alfredo Pirri/Thomas Schütte:
The Italian artist Alfredo Pirri and the German artist Thomas Schütte have been friends for several decades and will discuss their work together for the first time in a public conversation and a study-exhibition Questions?.
Over the years, the two have worked extensively on the boundaries between art and architecture, and even though their aims, cultural differences and modes of expression may be at variance, Pirri and Schütte both wish to assess their approach to their craft as an attempt to discover ways of uniting and breaking down such barriers as exist.
The study exhibition Questions? examines the boundaries between art and architecture. At its core will be a series of drawings by Pirri and of digital documentary images of Schutte's new building.Pirri will present his drawings for the three architectural projects on which he is currently engaged: the Patrizia chapel he has constructed at the Piverone cemetery, near Turin, the project for the Chiesa del Giglio oratory in Palermo in which the artist has designed a "golden cage" structure for a multidisciplinary space, and the refurbishment of the cloister at the Museo delle Arti di Catanzaro.
Over the years, Pirri has often concentrated on site specific installations and collaborations with architects. These three new projects, however, expand his role as an artist/architect. Rather than focussing simply on the relevant structures, Pirri, particularly in his projects in Palermo and Catanzaro, has developed his own vision of contemporary art and multi disciplinary spaces.
In collaboration with
Royal College of Art, French Academy in Rome – Villa Medici
18.10.2014 - 18.10.2014
The National Association of Modern and Contemporary Art Galleries hosts a 12-hour art event on Saturday, October 18 that runs from 12 pm until 12 am and extends across 11 galleries in Florence and Prato.
12x12 Gallerie In-Contemporanea is dedicated to sharing modern and contemporary art for a day by offering art lovers and collectors the chance to visit the diverse exhibitions showcased by each gallery.
14.06.2014 - 31.10.2014
ICASTICA means "the art of representing reality". Icàstico (Greek adjective εἰκαστικός «representative», from the Greek word εἰκάζω «to represent») means a representation, which is effective, sharp, hence full of atmosphere and, concise. However, this contextual representation is more than a mere observation of an action taking place on objects: it reaches the dimension of an expressive act going beyond these directions, i.e. this content, up to the specificity of a modal rather than substantial significant.
ICASTICA 2014, is the second edition of a cultural event that deals with international aesthetics, through art, entertainment, research. ICASTICA 2014 focuses on the theme of rebirth, according to the criterion of "positive crisis", that phenomenon that is at the origin of everything, because that is where it originates. When you think about the concept of generation, you cannot separate it from the terms of creative violence from which peace and balance arise. Hence the negative theme as an opportunity…
Art, as material and spiritual dimension of experience, therefore of history, is here to symbolize what is around the "crisis point"; it is everything that surrounds the awareness of the solution; it is catharsis.