mercoledì 27 febbraio 2013

Rezistans Ali Kazma Padiglione Turco

Ieri è stato presentato il progetto "Resistence" che l'artista Ali Kazma presenterà al Padiglione Turco presso le Artiglierie all'Arsenale.

Ecco il comunicato stampa ufficiale:

Ali Kazma represents Turkey at the Venice Biennale 2013

The Pavilion of Turkey at the 55th International Art Exhibition, la Biennale di Venezia will present Ali Kazma’s new video series “Resistance” from 1 June to 24 November, 2013. In “Resistance”, Ali Kazma explores the discourses, techniques and management tactics developed for the body today and focuses on the interventions and strategies that both release the body from its own restrictions and restrict it in order to control it. Curated by Emre Baykal, the Pavilion of Turkey is located at Artiglierie, Arsenale, in the main venue of the biennale.
The Pavilion of Turkey is organised by the Istanbul Foundation for Culture and Arts (İKSV), sponsored by FIAT and realised under the auspices of Ministry of Foreign Affairs and Ministry of Culture and Tourism, the Republic of Turkey with the contribution of The Promotion Fund of the Turkish Prime Ministry.
The Pavilion of Turkey at the 55th International Art Exhibition, la Biennale di Venezia was presented at a press meeting on Monday, 25 February at Salon İKSV. The artist Ali Kazma, the curator Emre Baykal, the General Manager of İKSV Görgün Taner and CEO of TOFAŞ Kamil Başaran on behalf of Fiat, participated in the meeting.
The CEO of Tofaş Kamil Başaran delivered a speech on behalf of Fiat: “As Fiat, a brand of Tofaş which has been leading the development of Turkish automobile industry and economy in the past 45 years, we are proud to be the sponsor of this precious art event in 2013, as in 2011.”
Following the speeches, Emre Baykal and Ali Kazma gave detailed information on the conceptual framework of the Pavilion of Turkey and the project “Resistance”.
Emre Baykal, who has collaborated with Ali Kazma on the occasion of several exhibitions and projects since the 7th Istanbul Biennial, 2001, stated that as a multi-channel video installation, “Resistance” grew out of an earlier series, “Obstructions” (Engellemeler) the artist has produced since 2005. In “Obstructions”, Ali Kazma has carried out research into the tense equilibrium between order and chaos, and life and death, into the efforts of the human being to hold together a world inclined towards disintegration and destruction, and the diversity of physical production developed to achieve this, and what such production might mean in the context of human nature. “Resistance” explores how the body is shaped today via scientific, cultural and social tools and how as a performance site it is repeatedly re-produced. In other words, “Resistance” conveys the productive activity of the body as a creative force directly onto the body itself; the producer and the produced, the shaper and the shaped this time unite in the materiality of the body.
Ali Kazma’s work “Jean Factory” from the “Obstructions” series was shown at the press meeting to illustrate how “Resistance” relates to the previous works of the artist.
Ali Kazma explained that the works in the “Resistance” series to be premiered in Venice record the processes that both construct and control the body, and explore the human being’s struggle to break the social, cultural, physical and genetic codes of the human body in order to render it perfect, as well as the processes that transform the body into the conveyor of new symbols and meanings. The almost one year-long filming process of the project was carried out in various parts of the world, in different settings and with different subjects. In “Resistance”, Kazma attempts to read the complex meanings and the enigma produced by the body as a physical and conceptual space from within a broad network of relations. Amongst the various settings of “Resistance” are a film set in Paris, a prison in Sakarya, a school and a hospital operating room in Istanbul, a university where robot production and experimental research is carried out in Berlin, a medical research laboratory in Lausanne, a tattoo studio in London, and a theatre hall in New York.
book will accompany Ali Kazma’s video installation “Resistance”. Published by Yapı Kredi Publications, the book is designed by Esen Karol who has also designed the communication materials of the project. The book will be available at the launch of the pavilion with two separate editions in Turkish and English and will subsequently be sold in major bookstores.
The Pavilion of Turkey at the 55th International Art Exhibition, la Biennale di Venezia will inaugurate with the opening ceremony to be held on Thursday, 30 May. The biennale will be open for visitors from Saturday, 1 June onwards until 24 November 2013.

martedì 26 febbraio 2013

Film multicanali per il Padiglione Danese con Jesper Just

Anche qui come per il Padiglione Turco, ci sarà un progetto a più canali il lavoro che Jesper Just presenterà alla prossima Biennale di Arti Visive di Venezia, eccovi il comunicato stampa appena diffuso:
The Danish Arts Council presents Jesper Just’s multi-channel filmic odyssey and architectural intervention for the Danish Pavilion at the 55th International Art Exhibition of la Biennale di Venezia, June  1–November 24, 2013. Collaborating with Project Projects (New York), a graphic design studio, the project will integrate film, digital communications, and the Danish Pavilion’s physical space.
Renowned Danish artist Jesper Just will present a film project that will examine themes of architectural pastiche and cultural dislocation for the Danish Pavilion. Commissioned by the Danish Arts Council, Just’s contribution will consist of five films played simultaneously in a looped format as part of one singular, cyclical narrative. The films weave together a depiction of what appears to be Paris due to certain architectural signifiers, but then assumptions are challenged as the landscape becomes uncanny.
Key to all of Jesper Just’s films is the question of representation. How do we create images? And how do these images, in turn, conjure ideas, expectations, and conventions?
In addition to the films, Just will create an architectural intervention on the Pavilion, integrated with the film installation, based on the paradoxical mismatch of the Danish Pavilion’s 1930s neoclassical architecture and its 1960s modernist addition.
An accompanying communications system developed by design studio Project Projects will allow people to experience the pavilion outside of Venice and create a mirrored experience in parallel with Just’s project.
The project is funded by the Danish Arts Council. The project has received additional support from Nørgaard på Strøget, Copenhagen. Jesper Just’s film project is co-produced by Galleri Nicolai Wallner, Copenhagen.
About Jesper Just
Jesper Just was born in Copenhagen in 1974, and he attended the Royal Danish Academy of Fine Art. He currently lives and works in New York.

Recent solo exhibitions include Jesper Just: This Nameless Spectacle (2012), University of Michigan Museum of Art (Ann Arbor, Michigan); Galleri Nicolai Wallner (Copenhagen); and James Cohan Gallery (New York); and Jesper Just: Sirens of Chrome (2011), MobileArtProduction (Stockholm). Recent group exhibitions include No Object is an Island: New Dialogues with the Cranbrook Collection (2011)Cranbrook Art Museum (Bloomfield Hills, Michigan); Time and Place (2011), Inaugural Exhibition, Kunsthalle Detroit (Detroit, Michigan); and Intermission (2011), James Cohan Gallery (New York).
Just’s work is featured in many public collections, including Arario Gallery (Korea), the Solomon R. Guggenheim Museum (New York), the Museum of Modern Art (New York), Musée d’Art Moderne (Luxembourg), Tate Modern (London), and many others. He is also the proud recipient of the Arken Prize Travel Grant (2009), and the Carnegie Art Award (2008) (2nd prize).
Jesper Just is represented by James Cohan Gallery, New York; Galleri Nicolai Wallner, Copenhagen; and Galerie Perrotin, Paris. 

About The Danish Arts Council and la Biennale di Venezia
The Danish Arts Council Committee for International Visual Arts has responsibility for Denmark’s participation in la Biennale di Venezia. Denmark has taken part in the exhibitions of la Biennale di Veneziasince 1895, and its participation is financed with funds from the Danish Arts Council. The Danish Arts Council Committee for International Visual Arts consists of Jette Gejl Kristensen (chairman), Lise Harlev, Jesper Elg, Mads Gamdrup, Lise Harlev, and Anna Krogh.

About Project Projects
Project Projects is a design studio focusing on print, exhibition, identity, and interactive work with clients in art and architecture, in addition to independent curatorial and publishing projects. Founded in 2004 in New York, the studio is led by principals Prem Krishnamurthy, Adam Michaels, and Rob Giampietro.

Project Projects is a two-time Finalist in the Cooper-Hewitt National Design Awards and has received numerous distinctions, including grants from the Graham Foundation and NYSCA for its independent projects.
More information at
Information about the project:
Lotte S. Lederballe Pedersen, The Danish Agency for Culture, +45 33 74 45 37,
Jesper Just's filmic odyssey for the Danish Pavilion at the 55th Venice Biennale

giovedì 21 febbraio 2013

Al via la colletta per il Padiglione Italiano

E' online il sito "vice versa" progetto di crowdfunding (colletta suonava troppo italiano) per sostenere il Padiglione Italiano per la Biennale di Venezia, 
Ecco qui il testo per partecipare e sostenere questa lodevole iniziativa.

Anche se leggendolo si rimane un poco perplesso su alcune voci (es: Attività di promozione e comunicazione, tra le quali la realizzazione di una App della mostra vice versa) ma veramente c'è bisogno di queste spese in questo momento così critico per il nostro paese. Poi domanda ovviamente banale ma poi le opere chi se le tiene e se le si vende una parte andranno a sostenere il prossimo padiglione 2015?

Va beh ecco l'elenco:
Al fine di sostenere la mostra vice versa al Padiglione Italia alla 55. Esposizione Internazionale d’Arte della Biennale di Venezia, il curatore Bartolomeo Pietromarchi ha avviato un progetto di crowdfunding sulla scia di alcune recenti esperienze internazionali di successo.
Tale iniziativa è finalizzata al sostegno delle produzioni degli artisti; della mediazione culturale; della promozione e comunicazione; dell’organizzazione di incontri con artisti e opinion leader; di un convegno finale sui temi del Padiglione.
Lo spirito di partecipazione al progetto espositivo sarà riconosciuto con una serie di benefit corrispondenti ai target di supporto: il nome di ogni sostenitore comparirà all’ingresso, sul catalogo e sul sito della mostra vice versa; per l’occasione, sarà realizzata una cartella contenente quattordici stampe a tiratura limitata degli artisti in mostra, numerate e firmate in originale. Sono previste copie del catalogo firmate dal curatore e dagli artisti, visite guidate, accoglienza personalizzata, invito all’inaugurazione, incontri con il curatore e gli artisti, e molto altro ancora.
La raccolta fondi ha una durata di 90 giorni con eventi a Roma, Milano, Londra e New York e su web

Destinazione dei fondi raccolti tramite crowdfunding 
I fondi raccolti tramite il crowdfunding saranno destinati, in accordo con il Ministero per i Beni e le Attività Culturali, al finanziamento di varie iniziative della mostra vice versa del Padiglione Italia alla 55. Esposizione Internazionale d’Arte, tra cui:
Additional funding per le produzioni degli artisti
Attività di mediazione culturale
Attività di promozione e comunicazione, tra le quali la realizzazione di una App della mostra vice versa
Organizzazione di incontri con artisti e opinion leader e di un convegno finale sui temi della mostra vice versa

Possibili quote di finanziamento da raggiungere e destinazione dei relativi fondi 
In base ai fondi raccolti, sarà possibile sostenere in modo differente le attività:

Raccolta di €50.000 destinata al sostegno di:
  1. Additional funding per le produzioni degli artisti

Raccolta di €70.000 destinata al sostegno di:
  1. Additional funding per le produzioni degli artisti
  2. Attività di mediazione culturale

Raccolta di €100.000 destinata al sostegno di:
  1. Additional funding per le produzioni degli artisti
  2. Attività di mediazione culturale
  3. Attività di promozione e comunicazione, tra le quali la realizzazione di una App della mostra vice versa

Raccolta di €120.000 destinata al sostegno di:
  1. Additional funding per le produzioni degli artisti
  2. Attività di mediazione culturale
  3. Attività di promozione e comunicazione, tra le quali la realizzazione di una App della mostra vice versa
  4. Organizzazione di incontri con artisti e opinion leader e di un convegno finale sui temi della mostra vice versa

lunedì 18 febbraio 2013

News dall'Australia

Ecco le ultime news dal Padiglione Australia che ospiterà l'intervento di Simryn Gill.

Simryn Gill’s latest exhibition project, Here art grows on trees, will be presented in the Australian Pavilion at the 55th International Art Exhibition – la Biennale di Venezia.
Curated by Catherine de Zegher, the exhibition is conceived as a site-specific project featuring significant new work by Gill that is made in her customary way—in the places she lives, and through her many long-standing relationships with makers, assistants, interlocutors and galleries. 
Through their formal presence and the manner of their creation, these works offer a view into our inhabitation of local circumstances in a world that is becoming smaller and flatter. 
Here art grows on trees presents Gill’s works on paper, being of vegetation, as a cog in the whole system of turning wheels, as a link in the chain, in the string of gems that the world is offering—a cyclic instead of linear worldview,” says de Zegher.
Gill’s processes include methodical collections gleaned from the detritus of daily life, photographing her surroundings, drawing and writing—all thoughtful interventions that instil meaning into ordinary actions and everyday objects.
A new publication will also be launched at the exhibition, featuring extensive colour plates and commissioned essays by Catherine de Zegher, Carol Armstrong, Michael Taussig, Brian Massumi, Kajri Jain, Lilian Chee and Ross Gibson.
The Australian Pavilion is managed by the Australia Council for the Arts, and led by the Australian Commissioner, Simon Mordant AM, a driving force in contemporary art projects both locally and internationally.
About the artist
Simryn Gill was born in Singapore, and lives and works in Sydney and Port Dickson, Malaysia. Gill has had major solo exhibitions at the Museum of Contemporary Art, Sydney; Tate Modern, London; and The Arthur M. Sackler Gallery, Smithsonian Institution, Washington DC. Her works have been included in numerous group exhibitions including Documenta 12 (2007) and dOCUMENTA 13 (2012) in Kassel, Germany. Gill is represented by BREENSPACE, Sydney; Jhaveri Contemporary, Mumbai; and Tracy Williams Ltd, New York.

About the curator
Catherine de Zegher is the Curator for the forthcoming 5th Moscow Biennale (2013). She was previously co-Artistic Director of the 18th Biennale of Sydney in 2012, and Guest Curator in the Department of Drawing at MoMA. Prior to this, de Zegher held various positions in Europe and North America, notably as the Executive Director of the Drawing Center in New York and the Belgian Commissioner for the 47th Venice Biennale. 

About the Commissioner
Simon Mordant AM is Vice Chairman and Managing Director of Greenhill & Co., Inc., a leading global independent corporate advisory firm, and a committed and passionate supporter of the arts. He is the Chairman of the Board of the Museum of Contemporary Art, Australia and also sits on the Board of the Australian Broadcasting Commission (ABC), the Sydney Theatre Company, the Leadership Council for the New Museum, and is a member of the Executive Committee of the Tate International Council and a member of the International Council of The Museum of Modern Art.

About the Australia Council
As the Australian Government’s arts funding and advisory body, the Australia Council has managed and funded Australia’s participation in the Venice Biennale since 1978. The Australia Council is committed to building opportunities for the international presentation and collection of Australian contemporary art, and representation at the Biennale is an important part of this strategy. Australia’s participation in the Venice Biennale has contributed to the professional development of many artists and has opened up significant presentation opportunities internationally.

About the Australian Pavilion 
The Australian Pavilion is positioned within the Biennale Gardens (Giardini della Biennale). The pavilion is one of 29 within the Giardini, all built at different periods by various countries. The Australian Pavilion was designed by renowned Australian architect Philip Cox and opened in 1988. 

Australia’s representation at the Venice Biennale began in 1954 with an exhibition of Sidney Nolan, Russell Drysdale and William Dobell’s iconic works, followed by visual arts luminaries such as Arthur Boyd, Rosalie Gascoigne and Albert Tucker. Other previous Australian representatives include Imants Tillers (1986), Judy Watson, Emily Kame Kngwarreye (1997), Howard Arkley (1999), Patricia Piccinini (2003), Ricky Swallow (2005), Susan Norrie, Daniel Von Sturmer and Callum Morton (2007), Shaun Gladwell (2009) and Hany Armanious (2011).


martedì 12 febbraio 2013

News dalla Nuova Zelanda

Ecco le ultime notizie sul prossimo Padiglione Nuova Zelanda che ospiterà l'artista Bill Culbert, che ha ideato un progetto site-specific per le stanze dell'Istituto Santa Maria della Pietà

Ulteriori informazioni al sito

Comunicato stampa:

Bill Culbert has been commissioned by Creative New Zealand Arts Council of New Zealand, Toi Aotearoa to exhibit at the 55th International Art Exhibition of la Biennale di Venezia.

Culbert will show site-specific works for the New Zealand Pavilion at the Istituto Santa Maria della Pietà (La Pietà). The lagoon-facing venue offers five exhibition spaces, including an outdoor courtyard and a spacious corridor where Vivaldi once taught violin. For the first time the main entrance will be on the Riva degli Schiavoni.

"Bill makes marvelous work, constantly re-investigating how light works and revitalising how we think of it,” says New Zealand’s Venice Biennale Commissioner, Jenny Harper. “Venice is a wonderful platform for us to celebrate his individual achievements and to continue to present the richness of this country’s visual arts practice. It will be fascinating to see how he responds to a venue that is both spatially and historically rich.”

Culbert (b. 1935) is a pioneer of the use of electric light in art, making works that harness the qualities of this most intangible of mediums from as early as the 1960s. Over a career that spans almost six decades, he has pushed the frontiers of art through a rigorous, inventive and economic use of materials. Light is both medium and subject matter in his sculptures, installations and photographs, the means of mounting a philosophical enquiry into the art object and its materiality. Culbert's sculptural installations make striking use of found and new materials. From suitcases pierced with fluorescent tubes, to chandeliers of repurposed furniture, through to arrays of reclaimed plastic containers, his artworks illuminate the qualities of common things and their surrounding environments.

Culbert has had more than 100 solo exhibitions since 1960, showing across New Zealand, England, Europe, the United States, and Australia. His work is owned by numerous public and private collections around the globe and can currently be seen in exhibitions at the Château de Servières, Marseilles, France (19 January to 23 February 2013), and in the Hayward Gallery, London’s group exhibition, 'Light Show' (30 January - 28 April 2013). Culbert is based in Provence, France and London, England.

Ritorna con Mladen Miljanovic la Bosnia Erzegovina

Sono passati dieci anni e ritorno alla Biennale il padiglione della a Bosnia Erzegovina  alla Biennale di Venezia.

L'artista selezionato per la rentrè è Mladen Miljanovic, scelto dal Museo di Arte Contemporanea della Repubblica Srpska insieme ai commissari Sarita Vujkovic e Irfan Hosic e confermato ufficialmente dal Concilio dei Ministri della Bosnia Erzegovina. 

La mostra avrà corso presso Palazzo Malipiero dove sarà allestito un progetto apposito che è in realizzazione in queste settimane. 

Mladen Miljanovic è nato nel 1981 a Zenica,  media citta' industriale della Bosnia Erzegovina, a nord di Sarajevo, diplomatosi all'Accademia di Belle Arti di Banja Luka. Nel 2007 Miljanovic vince, come miglior giovane artista bosniaco, il premio Zvono. 

Tantissime le mostre internazionali a cui ha partecipato, ricordiamo: la Biennale di Busan (Sud Corea) nel 2008, il Mumok di Vienna Wien nel 2010 e il Salone di Belgrado nel 2011. Nel 2012 espone la sua prima personale italiana a Venezia presso la galleria A plus A Centro Espositivo Sloveno. 

Fra pochi giorni, il 28 Febbraio 2013, sara' in mostra presso la MC Gallery a New York.

Petrit Halilaj alla Biennale per il Kosovo

Ecco un'altra importante partecipazione alla prossima Biennale, il Kosovo che presenta l'artista Petrit Halilaj, che sta riscuotendo interessanti consensi sul suo operato artistico.

Comunicato stampa ufficiale:

Artist: Petrit Halilaj 
Curator: Kathrin Rhomberg
Commissioner: Erzen Shkololli
Organization: Ministry of Culture, Youth and Sports of the Republic of Kosovo, National Gallery of Kosovo
Venue: The Kosovan Pavilion at Arsenale
Dates: June 1st to November 24th 2013 
Professional Preview: May 29th, 30th and 31st 2013

Being invited to contribute to the realisation of Kosovo's first appearance at the Venice Biennale is a great privilege for me, all the more so, due to the symbolic significance attached to the decision that Kosovo be represented at the Venice Biennale for the very first time. The invitation comes with a high degree of responsibility, which I would have been more anxious about, were it not for the artist Petrit Halilaj, who has been chosen to represent Kosovo in Venice this year.

Petrit Halilaj's artistic practice is deeply routed in a constant search of what reality is and how reality might be represented through art. His memories of a rural childhood, his personal experience of war, destruction, exodus and displacement are the very basis of his reflections on life and the human condition. The artist moves back and forth between different countries, between Kosovo - where he grew up and where his family and many friends are - Italy, where he studied and Berlin, where he temporarily lives. This transnational way of life not only adds to his experience but is also representative of Petrit Halilaj's specific way of exploring art and reality, and of his continuing attempts to translate or even transform the one into the other. His art can be seen as building bridges between different worlds and realities, ideologies, different generations and phases of life.

Petrit Halilaj's art is unique, but this kind of transnational existence and experience that is at the core of his work, is not. On the contrary, to a varying extent it is an increasingly contemporary reality of everyone´s life and thus all the more a radical starting point for Kosovo's first appearance at the Venice Biennale.

Kathrin Rhomberg


Petrit Halilaj was born in 1986 in Skenderaj (Kosovo), he lives and works between Kosovo, Berlin and Mantova, Italy.
Recent solo exhibitions include: “Who does the earth belong to while painting the wind?!”, Kunst Halle Sankt Gallen, St. Gallen (2012); Art Basel Statements with Chert, Berlin (2011); Kunstraum Innsbruck, Innsbruck (2011); "Back to the Future", Station,  Prishtina (2009); Petrit Halilaj solo exhibition, Chert, Berlin (2009).
Recent group exhibitions include: "SUPER Visions - Zeichnen und Sein", Museum Schloss Moyland (2013);  "New Public", Museion, Bolzano (2012); "30 Künstler 30 Räume", Kunstverein Nürnberg, Albrecht Dürer Gesellschaft (2012); “Temoraneao”, Nomas Foundation, Rome (2011); "Ernste Tiere", Bonner Kunstverein, Bonn (2011); "Ostalgia", New Museum, New York (2011); STRUKTUR & ORGANISMUS, Marillenhof – DestillerieKausl, Österreich (2011); "Maladresses ou La Figure de l’idiot", The Institute of Social Hypocrisy, Paris (2010); "Based in Berlin", Atelierhaus Monbijoupark, Berlin (2011); 6th Berlin Biennale for Contemporary Art, Berlin (2010).

Upcoming solo exhibitions are in program at Wiels, Bruelles (2013), National Gallery of Kosovo (2013) and at Museum Fridericianum, Kassel (2014).

The Kosovo entry in the Venice Biennale is made possible thanks to the Ministry of Culture, Youth and Sports of the Republic of Kosovo.

Official Kosovo Pavillion website coming soon:

mercoledì 6 febbraio 2013

Vice versa, Padiglione Italia, Biennale di Venezia 2013

Ecco tutte le news sulla prossima edizione del Padiglione Italia alla Biennale di Venezia (Tese delle Vergini, Arsenale) dal 1° giugno – 24 novembre 2013, curata da Bartolomeo Pietromarchi, con commissario Maddalena Ragni 

Vice versa è il titolo scelto dal curatore Bartolomeo Pietromarchi per il progetto espositivo del Padiglione Italia alla 55. Esposizione Internazionale d’Arte della Biennale di Venezia, promosso dal Ministero per i Beni e le Attività Culturali attraverso la Direzione Generale per il Paesaggio, le Belle Arti, l’Architettura e l’Arte Contemporanee. 
Vice versa riprende un concetto teorizzato da Giorgio Agamben nel volume Categorie italiane. Studi di Poetica (1996), in cui il filosofo sostiene che per interpretare la cultura italiana sia necessario individuare una “serie di concetti polarmente coniugati” capaci di descriverne le caratteristiche di fondo. Binomi quali tragedia/commedia, architettura/vaghezza o velocità/leggerezza divengono così originali chiavi di lettura di opere e autori fondanti della nostra storia culturale. 

Questa attitudine speculare e dialettica, e in particolare la dimensione del doppio, è uno degli aspetti che più profondamente caratterizzano l’arte contemporanea italiana. Basti citare la poetica di artisti come Alighiero Boetti, Giulio Paolini, Michelangelo Pistoletto, Luigi Ontani e Gino De Dominicis che basano la propria ricerca su polarità contrapposte: ordine e disordine, immagine e riflesso, visibile e invisibile, i confini tra realtà e finzione, originale e copia, tragedia e commedia tendono a dissolversi. La natura antitetica della nostra cultura produce così opere che ribaltano la realtà in finzione e la finzione in realtà, dove nel gioco del vice versa il paesaggio diviene palcoscenico, la storia performance, l’opera teatro, l’immaginario popolare storia personale. 

Ispirandosi a questa visione, vice versa propone un percorso espositivo composto da sette stanze, sette ambienti ognuno dei quali ospita due artisti in dialogo tra loro, dove il senso profondo di questa vocazione dialettica è manifestato dalle opere esposte. 
La mostra diviene così un viaggio ideale nell’arte italiana di oggi e di ieri, un itinerario che racconta identità e paesaggi – reali e immaginari – esplorando la complessità e le stratificazioni della vicenda artistica e antropologica del paese. Un ritratto dell’arte recente non più letta come contrapposizione tra movimenti e generazioni, ma come un atlante di temi e di attitudini, riconducibili alla storia e alla cultura nazionali, in un dialogo incrociato di corrispondenze, derivazioni e differenze, tra figure di maestri riconosciuti e artisti delle generazioni successive. 

I quattordici artisti invitati sono: 

Francesco Arena, Massimo Bartolini, Gianfranco Baruchello, Elisabetta Benassi, Flavio Favelli, Luigi Ghirri, Piero Golia, Francesca Grilli, Marcello Maloberti, Fabio Mauri, Giulio Paolini, Marco Tirelli, Luca Vitone, Sislej Xhafa. 

Vice versa si presenta così come un’esplorazione dei caratteri fondanti della nostra identità culturale e artistica contemporanea articolata in un percorso tematico suddiviso in sette aree. Il doppio sguardo sul paesaggio, in cui il significato di luogo, sospeso tra visione e memoria, emerge dalle opere di Ghirri e di Vitone; il rapporto sofferto e contraddittorio con la storia declinato tra dimensione personale e collettiva si manifesta in Mauri e Arena che affrontano, attraverso il filtro del corpo e della dimensione performativa, i buchi irrisolti della storia. Ancora, il gioco dialettico e i continui slittamenti tra tragedia e commedia si ritrovano nei lavori di Golia e Xhafa sempre in bilico tra vita vissuta e vita immaginata; una dimensione presente anche nelle opere di Maloberti e Favelli che rendono sensibili gli sconfinamenti tra autobiografia e immaginario collettivo attraverso riferimenti alla cultura e alle tradizioni popolari. Una propensione dialettica è da sempre propria del lavoro di Giulio Paolini, che dialoga in mostra con Marco Tirelli sul tema dell’arte come illusione, come sguardo prospettico: un invito ad entrare in una dimensione ulteriore, costringendoci a restare in equilibrio sul confine tra realtà e rappresentazione. Il percorso della mostra ritrova questo gioco anche nella contrapposizione tra suono e silenzio, tra libertà di parola e censura, come nella ricerca di Massimo Bartolini e di Francesca Grilli, per terminare con le opere di Baruchello e Benassi in quella tensione tra frammento e sistema in cui l’umana ambizione ad archiviare e a classificare si scontra con l’impossibilità e il fallimento. 

Le mostra presenta opere per lo più prodotte appositamente per l’occasione: installazioni, sculture, dipinti, performance, interventi sonori e ambientali - all’interno e all’esterno del Padiglione - restituiscono alla nostra arte recente quella complessità vitale, fatta di intuizioni e contraddizioni, che, nel gioco del vice versa, trova uno dei suoi elementi fondanti, affermando il proprio statuto di originalità e il rilievo internazionale che le compete. 

L’immagine coordinata di vice versa – dal logo alla campagna di comunicazione, dagli inviti alla pannellistica fino al catalogo – sarà sviluppata da Mousse Agency. La pubblicazione che accompagna la mostra sarà edita in doppia lingua, italiano e inglese, e raccoglierà un’importante selezione di materiali inediti che documenteranno l’ideazione e l’elaborazione delle opere. Oltre alle sezioni dedicate ai singoli artisti, complete di schede tecniche e informazioni sulla loro ricerca, il catalogo rifletterà la struttura del percorso espositivo, con sette saggi dedicati a ciascuno dei dialoghi tematici in cui è suddiviso, a firma di importanti critici italiani e stranieri. 

Al fine di sostenere la mostra vice versa al Padiglione Italia alla 55. Esposizione Internazionale d’Arte della Biennale di Venezia, il curatore ha avviato un progetto di crowdfunding sulla scia di alcune recenti esperienze internazionali di successo come, ad esempio, nelle campagne Tous Mécènes del Louvre e Let’s Build a Goddamn Tesla Museum negli Stati Uniti. Vice versa sarà così un’occasione per sperimentare inediti percorsi di sostegno e modalità alternative di finanziamento e di partecipazione a un evento culturale. 

A partire dal 12 febbraio 2013 sarà lanciato il progetto di crowdfunding che permetterà a chiunque di partecipare attivamente e di sostenere in prima persona la manifestazione. 
Tale iniziativa sarà finalizzata al sostegno delle produzioni degli artisti; della mediazione culturale della promozione e comunicazione; dell’organizzazione di incontri con artisti e opinion leader; di un convegno finale sui temi del Padiglione. 
Lo spirito di partecipazione e il sostegno al progetto espositivo saranno riconosciuti con una serie di benefit corrispondenti ai target di supporto. 

La raccolta fondi, che avrà la durata di 90 giorni, sarà inaugurata con eventi a Roma, Milano, Londra e New York, per poi proseguire sul web (

domenica 3 febbraio 2013

Presentazione italiana

Il prossimo Mercoledì 6 Febbraio ci sarà presso il Complesso Monumentale di San Michele a Ripa a Roma la conferenza stampa del curatore del Padiglione Italiano Bartolomeo Pietromarchi che presenterà il progetto e gli artisti. 

venerdì 1 febbraio 2013

Edward Munch per la Norvegia

La Norvegia quest'anno organizzerà nella galleria della Fondazione Bevilacqua la Masa in Piazza San Marco una mostra su una serie di opere di Edward Munch dal titolo "Beware of the Holy Whore: Edvard Munch and the Dilemma of Emancipation" e un film di Lene Berg

Ecco il comunicato stampa

Beware of the Holy Whore: Edvard Munch and the Dilemma of Emancipation' is a project organised by the Office for Contemporary Art Norway (OCA) and Fondazione Bevilacqua La Masa in Venice, as the official Norwegian representation at the 55th International Art Exhibition, La Biennale di Venezia in 2013. The exhibition, which includes a series of rarely exhibited works by Edvard Munch in addition to a newly commissioned film by Lene Berg, revolves around emancipation as an issue always vexed with contradiction – between the realm of freedom and the consequences of the isolation that often accompany the pursue of  a qualitatively different, ‘alternative’ life. In his Essay on Liberation, Herbert Marcuse notes  that the striving toward a ‘new sensibility’ involves a psychedelic, narcotic release from the rationality of an established system, as well as from the logic that attempts to change that system. Such new sensibility, which resides in the gap between the existing order and true liberation, might lead to a radical transformation – and in this shift art functions as a technique through which to reconstruct reality from its illusion, its imitation, its harmony, towards a matter not yet given, still to be realised. 
The impulse to operate in the margins – on the outside trying to break in or on the inside redefining the context – is one of the key driving forces in the history of art, and is also at the centre of 'Beware of the Holy Whore: Edvard Munch and the Dilemma of Emancipation'. The exhibition, curated by Marta Kuzma, Director, OCA, Angela Vettese, President, Fondazione Bevilacqua La Masa and Pablo Lafuente, Associate Curator, OCA, will bring together rarely exhibited works from the collection of the Munch Museum in Oslo with Lene Berg’s new film Ung Løs Gris (Dirty Young Loose, 2013), in order to explore the relationship between art, its social context and changing gender relationships, both in the age of emancipation in which Munch lived and today.
At the beginning of the 20th century, sexual norms and traditional gender roles were questioned amid new psychological theories of sex and politics and a struggle for women’s equality. Challenged by such developments, Munch faced the alienation that characterised the Christiania Bohemia, a society bidding for emancipation but trapped in ‘reality’, struggling between two options: assimilating shared values, or going beyond them in order to construct a new frame for perception. Munch’s emphatic treatment of these themes from 1902 to 1908, before entering the asylum, reflected an internal ambiguity and anguish. Munch described this period as an ‘eternal civil war’, after which his work moved to a more distanced treatment of subjects, in social caricatures in which he offers an ironic critique of an increasingly capitalist and permissive society. In Social Studies: Cause and Effect, made shortly after, Munch also reflected upon the conditions of artistic production and its reception, via patronage, sales, criticism and public opinion, opening new dimensions for his work, from a psychological perspective into social and historical realms.
These issues are echoed in Lene Berg’s Dirty Young Loose, a film that concentrates on three stereotypical characters who are interrogated about their roles as either victims or perpetrators in a complex situation. The film explores the interpretation of human behaviour based on preconceived concepts and established norms. Just like the exhibition as a whole, the film presents the deconstruction of an original scene which functions as a catalyst for  a revision of the politics of liberation, of gender struggle and of internal conflict – the dilemma of emancipation.
For further information on this project, please contact Antonio Cataldo, OCA’s Senior Programme Coordinator. 

‘Beware of the Holy Whore: Edvard Munch and the Dilemma of Emancipation’ will take place from 31 May to 22 September 2013 at Galleria di Piazza San Marco of Fondazione Bevilacqua La Masa. It is made possible by 
the support of Fritt Ord and with the cooperation of the Munch Museum in Oslo.