Archive for month: January, 2016

ACCENNI / ALLUSIONS – Simone Cametti Room #103

29 Jan
January 29, 2016

11_25_FANPAGE_SIMONE CAMETTI

 

Simone Cametti, Rome, 1982

 

Diploma in Sculpture, Academy of Fine Arts RUFA, Rome University of Fine Art, Rome.

Sculpture and installation are decisive parts in the poetics of the artist,

along with other media such as photography,audio and video.

Simone Cametti begins with the observation of materials and their physical characteristics.

Marble, iron, organic elements. In each he investigates the color, mechanical properties,

luster, shape, with the specific desire to conceal the matter of departure, to transform it completely.

A subtle game that the artist uses to tell, in a silent and almost invisible manner, unpublished stories.

Little snippets of everyday life that hold the memories of past functional objects.

For some time he has turned his interests towards the study of landscape, while holding as the center

of its investigation the material intervention in space.

Literally shifting the gaze on the change of perception due to changes

in the physical environment, by the artist himself.

 

_MG_6768

 

S.O.S Performance & C-Print on Fine Art Baryta, 2012

S.O.S Performance & C-Print on Fine Art Baryta, 2012

 

These artworks are for sale.

ACCENNI / ALLUSSIONS

Photo by Alberto Blasetti

For information or private visits, please contact

Relais Rione Ponte : +39 06 9357 6629

Studio Pivot: info@studiopivot.it

LOGO STUDIO PIVOT SU SFONDO BIANCO

 

 

 

 

 

ACCENNI / ALLUSIONS – Gabriele Silli Room #102

17 Jan
January 17, 2016

11_25_FANPAGE_GABRIELE SILLI

 

Gabriele Silli  : Born in Rome, Italy,  in 1982 where he lives and works. He received his Degree in

Philosophy from La Sapienza University of Rome in 2009.

 

In 2004 founds with Giacomo Sponzilli and Carlo Gabriele Tribbioli the Mastequoia art group. His practice has pictorial roots and moves even through sculpture and performance.
Selected Solo Exhibitions: Esercizi di accanimento ottativo-digitali, Federica Schiavo Gallery, Rome, Italy 2014; Mastequoia op. 09-13. Rotterdam, Tokyo, Fès (with G. Sponzilli and C. G. Tribbioli), Viafarini DOCVA, Milan 2014; Mastequoia op. 09-13. Rotterdam, Tokyo, Fès (with G. Sponzilli and C. G. Tribbioli), Federica Schiavo Gallery, Rome 2014; Mastequoia op. 09-13. Rotterdam, Tokyo, Fès(with G. Sponzilli and C. G. Tribbioli), screening at Lo schermo dell’arte Film Festival, Florence & Filmstudio, Rome 2013; Forms of the Rock in a Night-Hymn #011 (with G. Sponzilli and C. G. Tribbioli), Galleria Otto Zoo, Milan 2011.

Selected Group Exhibitions: 

Arimortis, Museo del Novecento, Milan 2013 ; Far From Where We Came (with with G. Sponzilli and C.G. Tribbioli), Aaran Art Gallery, Tehran, Iran 2009; Pharaonesque (performance with G. Sponzilli and C.G. Tribbioli), V° Budapest Dance and Performance Festival, Hungary 2008; 1+1+1…, Fondazione Baruchello, Rome 2006;Selvatici bipedi – Otho – Melnikov! (performance with G. Sponzilli and C.G. Tribbioli), Mastequoia Theatre, Rotterdam, The Netherlands, 2006; Scegliere un oggetto, scegliere una parola e raccontare perchè (with Mastequoia), Fondazione Baruchello, Rome 2004 ; VII edizione del Festival Romapoesia (with Mastequoia), Rome 2004

 

Room #102 - Untitled, Oxidation by acid, collage,pigments on newspaper, 2014

Room #102 – Untitled, Oxidation by acid, collage,pigments on newspaper, 2014

 

Room #102 - Untitled, Oxidation by acid, collage,pigments on newspaper, 2014

Room #102 – Untitled, Oxidation by acid, collage,pigments on newspaper, 2014

 

 

These artworks are for sale.

ACCENNI / ALLUSSIONS

Photo by Alberto Blasetti

For information or private visits, please contact

Relais Rione Ponte : +39 06 9357 6629

Studio Pivot: info@studiopivot.it

LOGO STUDIO PIVOT SU SFONDO BIANCO

 

 

 

 

 

 

ACCENNI / ALLUSIONS – Veronica Della Porta Room #101 and Reception

10 Jan
January 10, 2016

11_25_FANPAGE_VERONICA DELLA PORTA

 

 

 

Veronica Della Porta was born in Modena in 1964, she lives and works in Rome.

She is an artist, scenographer and costume designer.

Before starting an autonomous creative path she collaborated with few artists like Mario

Schifano and Isabella Ducrot.

Her shoots are digital, black and white and unique prints.

 

SOLO EXHIBITION

2013 – s.t. foto libreria galleria, Rome, Italy

GROUP EXHIBITION

2014 – s.t. foto libreria galleria, Rome, Italy

ART FAIRS

Affordable Art Fair 2012, Rome, Italy

Setup Art Fair 2015, Bologna, Italy

 

Ferro 28 - Fine Art Inkjet on paper, 2011

Ferro 28 – Fine Art Inkjet on paper, 2011

 

Veronica Della Porta’s artworks testify the “beyond”.

The architecture beyond its use, studied in detail.

The space and the white lights beyond windows, the doors, the fissures.

The presence of the artists is concretized by the subtraction.

Veronica Della Porta excludes from her shoots what is essential to complete

reality.

 

 

Stanza 13-Fine Art Inkjet on paper, 2013

Stanza 13-Fine Art Inkjet on paper, 2013

 

In her artworks the everyday world that you can see from a window leaves

room for the silent but vibrant protagonism of the architectonic substance.

A photography becomes painting in Veronica’s hands thanks to a very careful

choice of the materials and kinds paper she decides to reproduce it on.

The print on bamboo or Japanese papers give uniqueness to her shoots

which are all unique pieces.

 

Spazio Arte Reception

Spazio Arte Reception

 

Spazio Arte Suite Living Room

Spazio Arte Suite Living Room

 

Vernissage November 12th, 2015 - Guests in the Suite

Vernissage November 12th, 2015 – Guests in the Suite

 

Suite

Suite  with ” Stanza 14″ – Fine Art Inkjet on paper,2013

 

 

ACCENNI / ALLUSSIONS

Photo by Alberto Blasetti

For information or private visits, please contact

Relais Rione Ponte : +39 06 9357 6629

Studio Pivot: info@studiopivot.it

LOGO STUDIO PIVOT SU SFONDO BIANCO

 

 

 

 

ACCENNI / ALLUSIONS – Giuseppe De Mattia Room #5

07 Jan
January 7, 2016

11_25_FANPAGE_GIUSEPPE DE MATTIA

 

Giuseppe De Mattia (Bari, 1980) studied cinema and urban planning. For several years his research has been centered on observation, the study and recovery of objects destined to be discarded; he recuperates, transforms and then photographs or films his finds, giving them a new life and purpose.

 

He strives to salvage and take care of what has been created by the passing of time in the form of scraps and waste. This approach is evident in both his personal work and through the duo-project created with Luca Coclite in January 2015, ‘Casa a Mare’ (curated by Claudio Musso). His research is often rooted in film archives such as ‘Home Movies’ (a family film archive in Bologna). With ‘Home Movies’, a long-term ongoing project, De Mattia develops work aimed at corroborating the theory that every film is unknowingly a photographic archive. This theory is both verified and theorized, firstly with ‘La coincidenza dello sguardo’ and subsequently with ‘Welt – Film’.

 

His modes of representation often involve the use of high-resolution scanners, photocopiers and traditional photographic apparatus; in general, every form of representational choice becomes part of his practice. All the objects chosen by De Mattia are part of an off-camera approach and action, centering his projects around the search for physical objects that in most cases do not appear in the final photographs, making the flea market a fitting birth-place for his research.

Most recently his work has found its final form through the use of photography, video, audio and drawing.

He is co-founder of the audio-visual duo ‘Fake Samoa’ alongside Nico Pasquini and has published books with Skinnerboox and Danilo Montanari Editore.

Giuseppe De Mattia lives and works in Bologna.

 

Room #5

 

Dust Collector

Opzione 1

La serie “Dust Collector”, di cui fanno parte queste due immagini, è un sistema che l’autore applica per rappresentare il tempo e la sua testimonianza. Ciò avviene portando alla luce i sedimenti, il deposito casuale della materia che compone l’atmosfera sugli oggetti. La polvere depositata su scarti di pellicola fotografica viene fissata e scansionata, restituendo altra forma alla materia, che appare come un cielo stellato.

Giuseppe De Mattia

Giuseppe De Mattia

 

Opzione 2

 I frammenti di pellicola sono stati utilizzati come “vetrini di contrasto” per fotografare i granelli di polvere che assumono una forma di costellazione casuale. Il lavoro presentato è una riflessione sul tempo e sullo spazio e sulla perdita del controllo su di essi.

 

Giuseppe De Mattia

Giuseppe De Mattia

 

 

ACCENNI / ALLUSSIONS

In collaboration with Matèria Gallery

Photo by Alberto Blasetti

For information or private visits, please contact

Relais Rione Ponte : +39 06 9357 6629

Studio Pivot: info@studiopivot.it

LOGO STUDIO PIVOT SU SFONDO BIANCO

 

ACCENNI / ALLUSIONS – Giulia Marchi Room #4

05 Jan
January 5, 2016

11_25_FANPAGE_GIULIA MARCHI

 

 

 

Prima di Essere Schiuma Saremo Indomabili Onde

 By Gemma Padley

 

It’s easy to believe that chance, that most slippery and unpredictable of occurrences, happens entirely of its own accord. Mostly this is indeed the case, where no amount of planning and toiling would have made the slightest bit of difference to the outcome. But what if chance occurs not exclusively as a result of a mysterious and unfathomable aligning of the stars, but because of hard work, thorough research, and fastidious preparation? For Italian artist Giulia Marchi, the latter is true; a great deal of time, thought and effort goes into the creation of her images, long before the physical ‘making’ stage occurs. Yet, during this intensive preparation process, unexpected but fortuitous moments occur. Her latest body of work is a case in point. Poetically titled Prima di Essere Schiuma Saremo Indomabili Onde (Before Becoming Foam We Shall Be Indomitable Waves), the images in this series look effortless, as though they have been plucked from the elements – earth, air, water. But Marchi has spent months planning how each image will look, and nothing, in this sense, is left to chance. Hours if not days of research have gone into the creation of these images.

 

For Prima di Essere Schiuma Saremo Indomabili Onde, as is the case with much of Marchi’s work, the artist draws on literature, specifically writings by Julian Barnes, Gustave Flaubert, Herman Melville and Italian poet and translator Cesare Pavese. Marchi scoured texts such as Flaubert’s Parrot by Barnes, and Melville’s literary classic Moby Dick for choicest quotes, which she then combined to create new associations. Her aim was not to respond literally to the texts, but to use combinations of quotes as a springboard to create new imaginary worlds, which she then realised through photography. This is where chance paid a visit. Sometimes a pairing of quotes would leap out at Marchi, sparking an idea for an image, she says. And coincidentally, Marchi discovered that Pavese translated Moby Dick into Italian in 1932, unbeknownst to her when she turned to these writers for inspiration. Without the tireless reading and re-reading, the endless culling of quotes and re-aligning of them with others, these beautiful moments may not have come to pass. Chance here, is a result of consistent hard work – and a little serendipity too of course.

 

In this sense, it could be said that for Marchi creativity does not exist in a vacuum; her inspirations are the products of an affiliation to the literary creations of others. But to mention this is not to do down Marchi’s creativity; rather it is a nod to the skill with which she dexterously manoeuvres her chosen quotes to create new meanings, and from these, formulate her own unique and otherworldly visual creations. A voracious reader, and a former literature student, Marchi has long found inspiration in words. For her previous project, Multiforms, also published by Danilo Montanari Editore, the artist drew on autobiographical writings by Mark Rothko, and short stories by Jorge Luis Borges, among other writers, while for 17:17, in which Marchi collaborated with Italo-Palestinian artist Mustafa Sabbagh, she was inspired by Oscar Wilde’s The Disciple and numerous interrelated titles.

 

Born in Rimini in 1976, Marchi worked on her most recent series over a period of a year. The title is a quote by Pavese, but it is Flaubert’s Parrot, a novel that offers glimpses into the famous French writer’s life and being through a separate narrative, and Moby Dick, Herman’s seafaring tale, which provided the main inspiration. Flaubert’s writings such as his diaries also formed part of her research as she endeavoured to get to know each author in the widest possible way. In some of the quotes selected by Marchi we can clearly trace a link to her ethereal images. For example: “amongst those who go to sea there are the navigators who discover new worlds, adding continents to the earth and stars to the heavens,” writes Barnes; a similar sense of wonder, the thrill of the journey, of discovery, is implicit in Marchi’s blue-washed images of skies and landscapes that resemble alien lands. And when we read the above quote in relation to one from Moby Dick, we begin to understand where Marchi is coming from: “It was a clear steel-blue day,” writes Melville. “The firmaments of air and sea were hardly separable in that all-pervading azure.” These words are pure poetry, from which Marchi creates a visual poetry that is uniquely her own. In her images we can almost see, smell and touch these new worlds the authors describe, with their roots in the earth and links to the heavens, stitched together to create a seamless exquisite vista between sea and sky. The quotes may be invisible in the images, but their presence is palpable – we cannot help but feel the weight of words in Marchi’s images, where text serves as an essential backdrop to the visual. Put another way, the work could be described as a meeting point for these unrelated texts, which come together to form beautiful but inexplicable associations.

 

If Marchi excavates texts to create her images, on another level she works as a sculptor might, drawing on a mix of natural and manmade raw materials – sand, wood, concrete and branches, to name just a few – to craft the scenes depicted in her photographs. Many of the images seem to explore the nature of surface, as though the artist were examining specimens with the aid of a magnifying glass. What she reflects back to us are the depths of unknowable truths, which tantalise and entice, but ultimately give nothing away.

 

It is difficult to pinpoint what the images in Prima di Essere Schiuma Saremo Indomabili Onde are about, but this ambiguity is entirely intentional. Devoid of context, the images, which play with abstraction, depict in-between, lunar-esque places – non-descript, tranquil yet unsettling – rootless and timeless, but always intriguing. The geographical locations are not important, neither, really, is the subject matter (although Marchi treats both with the utmost respect). More important is the essence of each image, its intangibility; not what it represents but the mood it evokes. Unconcerned with conveying specific meaning, Marchi is happiest leaving her images open to interpretation.

 

In keeping with her meticulous and hands-on approach to the work, Marchi created a handcrafted book that features her chosen quotes and serves as a vital link between the images in Prima di Essere Schiuma Saremo Indomabili Onde and the texts where it all began, which are at the heart of the series. She used old paper and submerged the book in water to make it look as though it had come from the sea – a joining of reality and fiction in a fitting embrace. Presenting the quotes in this way also highlights their importance to Marchi for whom words and images are equal in status – both an invaluable, inseparable part of her artistic creation.

 

Room #4

Room #4

 

Giulia Marchi

0,1 Prima di Essere Schiuma Saremo Indomabili Onde Photographic Print, 2015

 

Giulia Marchi

205 Prima di Essere Schiuma Saremo Indomabili Onde Photographic Print, 2015

 

Giulia Marchi

30,2 Prima di Essere Schiuma Saremo Indomabili Onde Photographic Print, 2015

 

Giulia Marchi

77 Prima di Essere Schiuma Saremo Indomabili Onde Photographic Print, 2015

 

ACCENNI / ALLUSSIONS

In collaboration with Matèria Gallery

Photo by Alberto Blasetti

For information or private visits, please contact

Relais Rione Ponte : +39 06 9357 6629

Studio Pivot: info@studiopivot.it

LOGO STUDIO PIVOT SU SFONDO BIANCO

 

 

 

ACCENNI / ALLUSIONS – Andrea de Fusco Room #3

02 Jan
January 2, 2016

11_25_FANPAGE_ANDREA DE FUSCO

 

In the flags of coloured cloth, waving on the top of mountains, counts their chirping, meaning their noisily trembling in the wind. The acoustic zeal of these moving flags fills the space and not necessarily towards meeting a god, though they are printed on the prayers.

The flags make the space pop to stimulate the air. To hang a flag in a high place, on a windy day, when the wind blows, the air is sublimated because it is enhanced by the tickling of wobbling. Therefore, the irritation of the flags do not ascend to heaven, but have an impact in the environment they fill. Above all, they are interposed tabs to the open space, the empty space is supplied with a reed. The flags are languages​, the wind is bellows for the reeds. This organic does a querulous racket, because it produces whistles shaking the edges of the cloth, as strident organs enervated by the wind. All the pinched of the shivering tissue is an undismayed acoustic buzz.

Here we document a music in its resonant scenery, so it is n organological search, not panoramic. Vibratory phenomena are caught in the silent space and in the horizon of the echo, not a view, because the hung flags are portrayed as musical organs.
There is an acoustic fertility inside the flags, even when at rest, generating a range of tiny noises. Through the fray the edges of the flags are ventilated margins that make rustling noises. The clamor of these beats sound is reduced to a noise measurement of a hiss, like a buzzing bee. The sense of a screech just humming is a roar expressed in a tingling, because the most striking voice of all is reduced to a rattle.

The musical protection of the world  is made with whispers, the cosmos is defended by murmurs, not by great music.

 

Khardung La Pass II - Analog Photography, 2015

Khardung La Pass II – Analog Photography, 2015

 

Khardung La Pass I - Analog Photography, 2015

Khardung La Pass I – Analog Photography, 2015

 

Room #3

Room #3

 

Khardung La Pass - Analog Photography, 2015

Khardung La Pass – Analog Photography, 2015

 

 

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