Tag Archive for: piazza navona

Palazzo Braschi: “Artemisia Gentileschi and her times”

27 Apr
April 27, 2017

CURRENT EXHIBITION

One of the most passionate and beloved artists of her period: Artemisia Gentileschi.

 

When: From November 30th,  2016  until May 7th, 2017

Where: Palazzo Braschi – Museo di Roma Piazza di S. Pantaleo, 10, 00186 Roma

 

More info and tickets:

http://en.museodiroma.it/mostre_ed_eventi/mostre/artemisia_gentileschi_e_il_suo_tempo

MARCO ANGELINI ABSTRACT CONFIGURATIONS

28 Mar
March 28, 2017

MARCO ANGELINI
ABSTRACT CONFIGURATIONS
Opening March 7th, h. 7 pm
March 8th 2017 – June 26th 2017

Relais Rione Ponte, in collaboration with Emmeotto gallery, is pleased to announce the exhibition project by the artist Marco Angelini titled Abstract Configurations.

 

356c

356. untitled – cm 100 x 100 – mixed technique on canvas – 2015 – ph Carolina Farina

 

The research of Marco Angelini begins from matter, an essential element of endless possibilities where chromatic surface, thanks to the combination of shapes and colors, becomes the connective tissue of heterogeneous modes of expression: the ultimate goal of the work is the exemplification of an idea, a thought, a dream.

The artist, in this exhibition, retraces twelve year of his career conducted between New York, Warsaw and Rome, a selection of thirty – eight works, exquisitely furnished in the spaces of the Relais, it will channel the viewer into a chromatic universe that is, in the first instance, an aesthetic audacity connected to painting.

Material and colors are intertwined, space acquires, via the withdrawal method object, a third dimension that catches the eye and it is stated as a logical continuity between figuration and abstraction, the eternal conflict that carries with any explicit representation of the tangible world.

 

352. untitled - cm 100 x 100 - mixed technique on canvas - 2015 - ph Carolina Farina

352. untitled – cm 100 x 100 – mixed technique on canvas – 2015 – ph Carolina Farina

 

“The artwork does not define more as the only comprehensive source of delight for a privileged class, with a special sensitivity, but it is an omnipresence of renewable plastic stimuli, necessary to collective equilibrium”. In Vasarely’s words we find a centuries-old idea: the shape is an element of an hidden reality, a stronger visible appearance. Angelini’s works fit on the heels of the avanguard that is no longer exclusively the preserve of abstract art, his research gets its roots into the concept of “pure visibility”, an aesthetic vision in which the composition is constructed through the significant forms.

The artist’s pictorial itinerary is closely related to the study of society, the seduction of reality breaks into Angelini’s paintings through the objects of our everyday life, whose original function is transformed distorting the meaning and spouting a cognitive process that it is never an end in itself, but which manifests itself as a cornerstone of an intellectual approach.

The dichotomy between abstraction and figuration is a junction point, which possesses the characteristics of an optical experience on the borders between sociology and aesthetics action. If the ultimate end of art is to query the community, Angelini’s work fulfills this task emphasizing the need to circumvent the mere decorative matrix of the picture and let the content has a specific gravity in his quest. “The shape of my painting is the content,” the statement by Ellsworth Kelly is as timely as ever, index of how an artwork can create a new point of view, where the visible becomes the intangible existence.

 

MARCO ANGELINI (1971, Rome)

He studies the phenomenon of the city and considers the ways in which cities inscribe people into dynamic processes of constant transformation.His reference point is formed by his cultural and educational background in sociology. Cities create scenarios in which unconscious impulses are made manifest and placed into interaction through and with technology and the radical new possibilities it creates. In this way, cities become the nucleus and ideal habitat for paradoxes and human contradictions. Marco Angelini turns the painted surface into the meeting place of different shapes and materials, signs, and meanings. His work is an expressive research dominated by matter and different kind of materials, mostly recycled: iron, aluminum, paper, cellophane, polystyrene, nails, screws, recording tapes, photographic films, just to name a few. To this surface the Artist applies pigments, powders, glues, metals, and plastics in order to create artworks characterized by a suspended balance, by a pregnant silence and rarefied atmospheres, as well as an immediately recognizable style. In Marco Angelini’s art, matter – far from embodying graveness – becomes a genuine, transfigured emblem of lightness, transparency and levitation. Marco Angelini is distant from ideological critics or positions and he believes strongly that Art has to play a decisive role in society, to make things visible once more, to generate attention and create new opportunities for sharing, communication and interrogation. The works of Marco Angelini were acquired by several collectors in Rome, Milan, London, Warsaw, New York, Melbourne, Washington and one of them is part of the prestigious private collection of the Fondazione Roma (Palazzo Sciarra).

In collaboration with Emmeotto Arte
www.emmeotto.net

logo_emmeotto

 

 

 

A special thank for the participation during the opening
Azienda Vinicola Bisol
www.bisol.it

RELAIS RIONE PONTE
20, Giuseppe Zanardelli, Rome
Only by appointment
Phone +39 06 93576629
info@relaisrioneponte.com
www.relaisrioneponte.com

 

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

 

 

ACCENNI / ALLUSIONS – Beatrice Cerocchi Room #1

26 Nov
November 26, 2015
ACCENNI / ALLUSIONS BEATRICE CEROCCHI

ACCENNI / ALLUSIONS BEATRICE CEROCCHI

 

Beatrice Cerocchi was born in Rome in 1989 where she lives and works.

She took a degree in Architecture in Rome at the university “Roma Tre” and then she went to Milan to take a post graduation course at MiMaster where she obtained a master in editorial illustration.
In 2012 she won the second prize at the contest Talent Next at Pisa Book Festival and she was selected at Secret7″ contest.

Her works have been featured on The New York Times, Liber Magazine and Picame Mag.

 

Room #1

Room #1

 

Via di Monte Giordano, 28

Via di Monte Giordano, 28

 

Vicolo Domizio,8

Vicolo Domizio,8

 

Piazza di Montevecchio, 15 a

Piazza di Montevecchio, 15 a

 

Room #1

Room #1

 

Vicolo del Fico

Vicolo del Fico

 

Arco della Pace

Arco della Pace

 

Via dei Coronari,155

Via dei Coronari,155

 

Room #1

Room #1

 

Vicolo delle Vacche, 11

Vicolo delle Vacche, 11

 

Piazza di Montevecchio,17

Piazza di Montevecchio,17

 

Vicolo del Curato, 12

Vicolo del Curato, 12

 

Via dei Coronari, 225

Via dei Coronari, 225

 

Vicolo di Montevecchio,19A

Vicolo di Montevecchio,19A

 

Via Vecchiarelli,6B

Via Vecchiarelli,6B

 

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

 

Piazza Navona

07 Aug
August 7, 2015

Perhaps the most famous baroque square in Rome, built in the late 17th century by Pope Innocent X° Pamphilji, on the site of the stadium that the emperor Domitian had built in the first century and which perfectly preserves the shape of the arena. The stadium was meant for athletic competitions, which the Romans called Agones, hence the old name ‘Circus Agonalis’, which could accommodate 30,000 spectators. Later the name of the place that was named ‘in agone’ and then for corruption ‘Navona‘.

Piazza Navona

During the middle ages the piazza had no particular relevance for Romans’ life, whereas starting from the Renaissance it became very popular thanks to the transfer of the daily market, selling vegetables, meat and much more. It became a meeting point of selling and soon also of celebrations and processions.

The Spaniards of the Church of San Giacomo (now the Church of our Lady of the Sacred Heart) were the first at introducing the procession of Easter morning, and very soon all the celebrations which up to that moment had taken place between Testaccio, via del Corso and many other sites in the city, moved to Piazza Navona.

Moreover, at the end of sixth century, Pope Gregory XIII Boncompagni wanted the fountains that adorn the two ends of the square to be placed there, the fountain of the Moor and the fountain of Neptune, both designed by Giacomo Della Porta, as well as a trough.

But the true luck of the square was the advent of Pope Innocent X Pamphilji in the mid 1600 who started a real reconstruction. At first he commissioned the architect Girolamo Rainaldi to build the family Palace, now the Embassy of Brazil, back in time house of one of the most famous and powerful women in Rome: the ‘Pimpaccia’ — Donna Olimpia Maidalchini, wife of the brother of the Pope, soon widow who gained the trust of the Pope and became so wealthy to become the mistress of the city.

His greatest credit was to convince the Pope Innocent X to commission Gian Lorenzo Bernini the fountain of the four rivers, still the most famous monument of the square along with the Church of Sant’Agnese in Agone by Francesco Borromini, built on the site of the martyrdom of a young Christian, and many others like her who lost their lives during the persecution of the Empire of Domitian, in his own stadium.

Piazza Navona Summer time

Piazza Navona Summer time

Piazza Navona balconies

Piazza Navona balconies

After the glorious Baroque, Piazza Navona became one of the most popular places in Rome. In 1870 it was paved with the famous ‘cobblestones’.

Today it is still a place for people to meet, with many artists who daily exhibit and sell their works, but also-and above all-with the Christmas market and the feast of the Epiphany, with the historic ‘Befana’ that everyone waits on the night of January 6.

 

Stadio di Domiziano

Una vista dello Stadio di Domiziano

Text by Mary Di Giamberardino

Undergrounds of Rome

13 May
May 13, 2015

Over two thousand of years of Roman History can be tracked back in the subterranean spaces of its roads, palaces and churches.

Exploring the hidden undergrounds of Piazza Navona, the Crypt Balbi, the Basilica of Saint Crysogonus and Saint Cecil, you will be able to catch the real urban development of Rome. A palimpsest not to be missed and also a chance to cover the secrets of Trastevere.

Stadio di Domiziano

Stadio di Domiziano

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