Tag Archive for: spazio arte

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 – 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 – Mario Rossi – Library

01 Dec
December 1, 2015
MARIO ROSSI

MARIO ROSSI

 

I was born in Naples (ItalyNaples) and now I live in Rome  the city  that I set off from  and the city I go back to. I’m involved in photography since the late seventies years gradually supporting the need for deeper search for a language to identify with.

My point of view is influenced by my painterly vision of a place, which I transform into a photograph. This interpretation derives from my personal study of the modern tradition of the abstract-figurative “-isms” typical of the early twentieth-century avant-garde movements in the arts.

Geometry is certainly an important aspect of my research.

“Forms and trace elements are repeated with an attention to mathematics and music.The composition is arranged in a pattern that produces harmony and refers to a symphonic score of lights and figures interspersed with fragments of stories surprised from analytical look and similar to choreographies”. (S.Petronici)

I have exhibited in several galleries in Rome, Milan, Venice, Florence, Lecce, Naples, Amsterdam, Paris, London, New York, Philadelphia and Berlin.

The artwork Travellers # 1 is present in the collections of the Philadelphia University of the Arts and of the France Public Library.

Mario Rossi "Travelers"

Mario Rossi “Travelers”

 

Main solo exhibitions

Evidence of shape, Officine Fotografiche, Rome, 2001; 

Museografie, International Festival of Rome, Acta International gallery, Rome, 2006;

Walking, Gallerati gallery, Rome, 2007;

Flussi Geometrici, Complesso di Vicolo Valdina, Camera dei Deputati, curated by Loris Schermi, Rome, 2014.

Main group exhibitions

Boundary areas, PrimoPianoLivinGallery, Lecce, 2008;

Fuori3, Gallerati gallery, Rome, 2008;

Expectations NY, The Invisible Dog, New York, 2010;

Affordable Art Fair, Amsterdam, 2011;

Intimate space/Urban space, BiBox Artspace, Biella, 2012;

Prix de la Découverte, Salon de la Photo, Paris, 2013;

The Photo Review, Gallery 1401, University of the Arts, Philadelphia, 2013;

Heist launch, Heist gallery, London, 2014;

Best shots Exhibition Tour, UK, 2014;

Out of norm, Werkkunst gallery, Berlino, 2015;

START Fair, Saatchi Gallery, London, 2015, with Studio Pivot

Main Awards

Honorable mention at the FNAC Attention Talent Photo for the work Evidence of shape, 2006;

selected author for competitions Premio Celeste and Celeste Prize International, Italy, 2009;

Swimming pool, selected artwork for the project Jpeggy, sponsored by AMACI and Telecom Italy, 2009;

overall winner in the category Photography and Digital Graphics in the 2010 edition of the Premio Celeste Italy;

finalist at the second edition of Donkey Art Prize, 2012;

winner at XVI International Art Award Massenzio, Roma, 2013;

winner at The Best Shots International UK, Richmond, 2013;

finalist at the International Fine Art Award at The Gran Prix de la Decouverte, Paris, 2013;

third place winner at The Photo Pholio Review, Philadelphia, 2013; 

honorable mention at Mifa I, Moscow, 2014.

 

Lounge Mario Rossi

Lounge  with Mario Rossi Artworks

 

Mario Rossi Expò mirrors #3 2015

Mario Rossi Expò mirrors #3 2015

 

Mario Rossi Expò mirrors #6 2015

Mario Rossi Expò mirrors #6 2015

 

Mario Rossi Expò mirrors #2 2015

Mario Rossi Expò mirrors #2 2015

 

Cured by Studio Pivot

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

 

Vernissage Keziat “Hybrids”

29 Sep
September 29, 2015

Sunday, September 13th ,2015

Relais Rione Ponte, boutique guesthouse located in the heart of Rome, which fundamental component is the fusion of art and hospitality,  renews its appointment with Modern Art,  opening its new spaces to the “Visions” of Italian artist Keziat.

Vernissage "Hybrids" KEZIAT

Vernissage “Hybrids” KEZIAT

 

Keziat “Hybrids”  opening on September 13th at 7:00 pm. “Drawings on paper, canvas, made with the simplicity of a pen, video animations and video installations that shows the constant presence of observers media; these are only some of the expressive ways which Keziat uses to unveil her ‘magical tale”. Amalia di Lanno

 

Keziat "La casa che cammina sopra le altre case" (2015) penna su tela /pen on canvas

Keziat “La casa che cammina sopra le altre case” (2015)
penna su tela /pen on canvas

 

Deluxe Double room with Connected (2014) pen and ink on tela

Deluxe Double room with Connected (2014) pen and ink on tela

 

Connected (2014) pen and ink on tela

Connected (2014) pen and ink on tela

Keziat (1973) gives life to imaginary creatures  and worlds. In her drawings ”other” realities break “the taboos of a merely retinol vision” (Andrè Breton) just as it happens in dreaming.

The reinventing of reality by Keziat doesn’t claim likelihood, rather it offers fantastic shelters to ponder over daily life often too arid and schizophrenic.” Emanuela De Notariis

 

L'albero dei Sogni (2009) Triptych, pen and ink on paper

L’albero dei Sogni (2009) Triptych, pen and ink on paper

 

Into the room (2015) Dittico penna e china su carta/ Diptych,pen and ink on paper.

Into the room (2015) Dittico penna e china su carta/ Diptych,pen and ink on paper.

 

Keziat-2979

http://www.keziat.net/

Spazio Arte – Keziat

22 Aug
August 22, 2015
La Rivoluzione di Milo -Keziat

La Rivoluzione di Milo -Keziat

BIOGRAPHY

Born in San Severo (Italy) in 1973, Keziat Terracciano, alias Keziat, approaches the world of visual arts at an early age. In 1998 she graduates at the Academy of Fine Arts in Foggia (Apulia) and begins to collaborate with galleries and publishing houses in Italy and abroad. Since then Keziat has presented her works in Venice, Rome, Paris, New York, Hong Kong, Amsterdam, Porto, San Francisco, Chicago, Los Angeles, Washington, Florence, Milan, Ljubljana, Luxembourg, Singapore.

From 1996 to 2003 Keziat creates mainly paintings on canvas characterized by the representation of lunar, fantastic and mysterious worlds. From 2003 to 2008 she focuses on woman figures in an intimate, erotic and grotesque vein. During these years she draws numerous cartoons and illustrations for major publishing companies such as Enciclopediae Britannica (Chicago), Synergebooks (New York), 123Publishing House (Hong Kong), Altar Magazine (New York) and Clock Magazine (Los Angeles). Since 2006 Keziat collaborates with Violipiano Arts creating and producing interdisciplinary performance of music, dance, theater and visual arts. Projects such as Music for Your Eyes, Archi Liberi, Silenzio Assoluto or Fiddler in the Loop are the result of a constant research in the world of animation and video art.

Visionaria, her latest cycle of works, begins in 2009 with several black & white ink drawings on big sheet of paper and canvas. Subsequently it is enriched by various video animations, installations and performances. Her works become an introspective journey, a contemporary vision that of the world filtered through the lens of imagination. In 2010 the video animation Memoria di un Folle wins the fifth edition of MAGMART, the international video art festival presented in collaboration with PAN, Palazzo delle Arti di Napoli; made in stop motion, it is acquired by the permanent collection of CAM, the Contemporary Art Museum of Casoria (Italy). In 2012 and 2013 Visionaria becomes an international exhibition project; five solo shows with different themes and curators in five different spaces such as the MAT  Museo dell’Alto Tavoliere of San Severo (Italy), the Cultural Center Elsa Morante in Rome (Italy), Casa Italiana Zerilli-Marimo’ in New York, the Sabiana Paoli Art Gallery in Singapore and the Italian Cultural Institute of Amsterdam. Recently she has crafted a video animation logo for Hollywood company Umano Productions which will open all their films.

 

Keziat Biografia

Keziat Biografia

 

www.keziat.net

 

KEZIAT “HYBRIDS”

22 Aug
August 22, 2015

 

Hybrids

Hybrids

The word vision, besides meaning the physiologic act of seeing, means also something fantastic, extraordinary due to a prodigious event or a hallucination.

The prodigious event for an artist is art: it identifies with his own life and expresses his worked out vision of the world: ”vision” in the sense of a whole of thoughts and feeling flowing from his relation with reality. This is the case of Keziat.

If in every culture miracles are carried out by gods, demiurges or persons endowed with extraordinary capacities, we can assent that the artist is a demiurge of the imaginary, a creator of fictions worlds, a worker-out of reality. In his works he makes the observer discover elements in which he can recognize a part of himself and of his story or provokes questions which reveal other ways of looking at reality.

Then the miracle is showing art as an extra-ordinary relation.

In her works Keziat gives life to imaginary creatures  and worlds. In her drawings ”other” realities break “the taboos of a merely retinol vision” (Andrè Breton) just as it happens in dreaming. They show us polymorphous beings and animals genetically modified by fantasy or unusually expressive fishes peering at us from inside computer screens and broken tv sets. The screen instead of the face (expressiveness, communication) and of the mind (rationality and emotion) lays emphasis on the limit between real and virtual. On which we more and more often walk like rope-walkers and let our thoughts be oriented by television and computer. Electronic boxes, where the whole world seems contained, actually the deceitful mirrors showing manipulated parts of reality.

The reinventing of reality by Keziat doesn’t claim likelihood, rather it offers fantastic shelters to ponder over  daily life often too arid and schizophrenic. There are worlds peopled  by birds in the Lewis Carroll way with long legs and trumpet shaped beaks playing soothing melodies.

In the china ink triptych “The tree of dreams”, next to the musician bird, there is a screen reminding  us of anxious nightmare reality. In the central panel  the tree leaves become fishes flying and chasing one another to give life to the outline of a city which in its turn becomes hat and hair of a person emerging from inside an egg, a kind of Platonic cave.

The short animation “Memoria di un folle” /“A madman’s recollection”  is made up of a series of drawings with the same characters as on paper artworks. The world of the artist is all in her head, in her look open to the visionary, madness which gives birth to “the omnipotence of dreams”. Like the snail in the video let us yield  to day-dreaming, let us go into the world  of Keziat’s wonders where every why has multiple never definitive answers.

Just as in a dream, but with wide open eyes.

Emanuela De Notariis

www.keziat.net

 

KEZIAT “HYBRIDS” 13 September – 11 November 2015

Vernissage 13 September 7.00 pm

Relais Rione Ponte, via Giuseppe Zanardelli, 20 ( 00186) Rome

L'Albero dei sogni

L’Albero dei sogni

 

 

Spazio Arte – Andreas Senoner

22 Jun
June 22, 2015
It would be so nice

It would be so nice

Andrea Senoner (born 1982) recalls the wooden tradition from Alto Adige at the same time lightening it and enhancing it by inserting unusual materials and objects, such as feathers or iron cages. The frontal poses of his sculptures evokes an ancient sacredness which clashes with the disturbing human nature brought out from the wood grains. This human nature tells of a loneliness and an inadequacy which can be mitigated only by alter egos.

I, who had so many dreams by andreas senoner

I, who had so many dreams by andreas senoner

Andreas Senoner

Andreas Senoner

 

UA-51675232-1