Events: Torino Artissima

Since surprise trips seem to be the theme for my Fall art calendar, I thought I would share some quick images from my most recent 10 hour trip to Turin, Italy. I went specifically to see (and be seen) at Artissima, the city's annual art fair.


Artissima is neither the largest nor the smallest of fairs. It is pretty mid-sized and includes a book and magazine area, a print shop, 4 different bars/cafes, a theater space called the House of Contamination, and a lecture space. This year was the fair's 15th anniversary.

I say "and be seen", because this was all courtesy of my internship at the Secretariat Schlemmer due to the fact that the fair hosted the reconstructions of Oskar Schlemmer's Bauhaus Dances, as interpreted by Debra McCall in 1984 in it's House of Contamination.

Instead of just showing close-ups of work that really struck a chord, I realized as I walked around the fair that to many people the concept of the art fair is very abstract. Therefore, this time I took some general pictures of the fair itself.

The day I went was the preview, so it was much less packed than it will be. Or at least, that is what the galleries hope. More people equals more prospective buyers.

After Basel and Berlin, I feel like I might actually be getting the hang of these fairs. However, as visually stimulating as they are, let's not forget that it is the galleries job to sell, sell, sell! Which is definitely the part I hate.

An exciting and entertaining part of these fairs is that they are the perfect opportunity for performance artists to venture out and "do their thing." In one of the pictures below you may notice a woman in a white dress. She was one such performance artist who strolled around the fair in a type of LSD induced serenity and randomly gave fair-goers amazing hugs.

As always, enjoy the pictures!

 

On wall: Germaine Kruip, Counter Composition II, 2007

On ground: Amaya Gonzales Reyes, Estrategias Formales, 2009

Parra & Romero, Madrid, Spain

Aida Ruilova, unknown

Kaufman Repetto, Milano, Italy

Per Barclap, Ballerina (Chatrine), 2001

Giorgio Persano, Torino, Italy

Masbedo, The Art of Happiness, 2010
Marco Noire Contemporary Art, Torino, Italy

Exhibition Review: Fondazione Pomodoro, Milan

View of 1st Floor of Exhibition (f.l.t.r.): 

Corrafo Bonomi Non omnis moriar (1997); Laura Renna Stormo vulgaris (2010);

Fabrizio Corneli Grande Volante VIII (2002); Gianni Dessi Confini 1 (2009)

Paolo Delle Monache Archeologia di un istante (2010)

Fabrizio Corneli Grande Volante VIII (2002)

Gehard Demetz Hitler Mao (2010)

Bertozzi & Casoni Madonna scheletrita (2008)

Loris Cecchini Wallwave Vibrations (quanta canticum) (2009)

I would have to say that this month has been a great time for me to really push myself into going to art events that have been outside my typical comfort zone. So why does the exhibition "The Italian Sculpture of the XXI Century" at the Fondazione Pomodoro fit into this?  

Simple. I am a 2-D girl. It's a sad fact, but that is the work I usually find easier to interpret and am most quickly drawn to. 


Of course, this is not true 100% of the time. There are plenty of sculptures that I have loved since my first art history courses at University of Dallas. However, I always found it easier to write about 2-D work, because in the university setting these images were better transmitted from pages of an art history book or the slide projector in class. Sculptures and installations lose most of their value in this forum. 

What was even more exciting was the rarity of attending an exhibition where I was in awe of so many diverse sculptures and installations. In fact, the entire execution of the show exceeded my expectations. The show, which officially began on the 20th of October and ends on the 20th of January, displayed the most contemporary and recent sculptures and installations by 80 Italian artists.

The Fondazione Pomodoro's architecture adds to the splendor of presenting the works in a space that truly celebrates 3-D works of art, both small and large. This interplay of scale was well balanced in the exhibition and an obvious consideration when viewing contrasting works such as Fabrizio Corneli's Grande Volante VIII (2002) and Paolo Delle Monache's Archeologia de un istante (2010). 

Political themes were also considered in works that presented tyrannical leadership by few and the corrosive pollution by many, as respectively portrayed in Gehard Demetz's Hitler Mao (2010) and Bertozzi and Casoni's Madonna Scheletrita (2008). I was particularly fond of Demetz's work, as I had met the Galerie Rubin’s owners (who loaned this work to the exhibition) in Berlin at Preview Berlin. I will talk more about this and Berlin in my upcoming Recaps. 


Madonna Scheletrita in particular allowed for some interesting conversations between me and some Sicilian friends with who had I had been accompanied to the show. It was nice discussing contemporary art with people who come from completely opposite professional spheres from me (and each other). 

Perhaps the piece that I would want to own was Loris Cecchini's Wallwave Vibrations (Quanto Canticum) (2009), because, in the plainest terms, I thought it was a really visually interesting piece. I just liked it. 


Many times, art is as easy as that. 

Exhibition Review: Galleria Franco Toselli, Milano

Exhibition Poster

Bonomo Faita*, Mercurio e Venere (Mercury and Venus), 2008-2010

Bonomo Faita*,  Fuga per un Picnic, 2008-2010

Bonomo Faita*,  Self P, 2008-2010

With the thesis finished I have realized how much free time I have after work. After months of feeling guilty for watching that extra episode on iTunes or spending a few more minutes perusing Facebook and Google Reader (usually simultaneaoulsy), I now have no reason to worry about this 'lounging'. Alas, I still do.


That's why I was particularly grateful when the opportunity to attend a gallery opening in Milan passed my way. I knew it would be a rather long drive, but no one misses the movement of a big city as much as I do. And, surprisingly, since moving to this part of Northern Italy, the closest I have gotten to the fashion capitol is it's depressingly dismal Malpensa airport.


So, after work I ventured to put on my most trendy gallerista outfit (slim-pickings with most of my luggage ready for my Texas return), and set off for the big city.


Galleria Franco Toselli is located in la zona Sempione in Milan, Italy. Owned and run by artist Franco Toselli, the gallery is an intimate space.  The exhibition was Fuga per un Picnic, and showcased a collection of the works of 36 artists. The main room, which is more of a wide corridor, is a comfortable setting where the audience and several of the exhibiting artists were able to interact, converse, and share amusing anticdotes. Such was one experience with performance and visual artist Charlemagne Palestine, who was one of the first people I meant when I entered the gallery. With a witty remark and a boisterous laugh, both of which paired perfectly with his playful stuffed creatures, I was quickly put at ease.


I walked through the gallery feeling very light and child-like. Perhaps this is related to the rest of the images in the exhibition, none of which are somber, chaotic, or grotesque. With irony present in each of the works, it was the viewers job to interpret the many pieces that are associated with cultural statements and popular idioms, such as Bonoma Faita's images featured below. All in all I was impressed by the understated simplicity of the message transmitted. Even in the images I could not immediately understand, due mostly to a lack of cultural or historical basis, the compositions were intriguing nonetheless.


After the opening we all walked to a nearby restaurant for an Italian feast. It was interesting to sit at a table and talk to the gallery owner and several artists. The conversations and wine flowed throughout the next few hours, ranging from subject and vintage. What was perhaps most captivating was that no one was discussing the work. This was the art world I loved. Unassuming and fun.

* Unfortunately I did not have my camera for the exhibition opening, so these images were taken from a book published by Franco Toselli:

Bonomo Faita and Franco Toselli, Fuga Per un Picnic (Milan: Galleria Toselli Milano, 2010): 20-21; 26-27; 62-63.

Events and Art Festivals: Le Settimane Musicali di Stresa e del Lago Maggiore, Italy

Oh August... you are by far the least eventful month for the visual arts. 

For those of you new to the art scene, this is the time of year when the gallerists, dealers, curators, and art event coordinators all take a break from the (art) world. And boy is it felt. 

I wish I had some über-exciting gallery or museum event to discuss. I know that for those of you in Texas, Sicily, and other areas of the world lying closest to the equator, going to a museum would be a welcome relief from the triple-digit temperatures (Fahrenheit). However, for the rest of us, the current climate makes it the perfect summer month for vacations. As the tourists flow into the major cities: New York, London, Madrid, Paris, Rome...you get the idea, the citizens of these locales escape the chaos and 'heat.'

Aside from this lull in the arts, I am incredibly fortunate to be living near the city where open-air music concerts enliven August nights.  As of nearly 5 weeks ago I have been living and working in a small frazione called Oggebbio. In the middle of nowhere as it may be, I am afforded beautiful views of the Swiss Alps and Lago Maggiore. Besides being known as the most northern point of Italy (a far stretch from my Sicilian roots), Piemonte also hosts a wonderful event every summer called Le Settimane Musicali di Stresa, roughly translated the musical weeks of Stresa. Stresa is a little town, not too far from where I am, that is known as a  little epicenter of culture flooded once a year by hosts of music enthusiasts, who come for the classical music and the ambiance of Lago Maggiore.

The Stresa Festival (in short) is a few weeks long classical music concert which begins with Musical Meditations from July 30th to August 7th. However the most critical weeks in Stresa are during the Visions concerts, which begin on August 22nd and last until September 5th this year. During this period there is concert every night (and on some occasions 2). The composers range from Beethoven and Strauss to Gershwin and Dvořák.

As far as international classical music festivals go, this is ranks in the leagues of the summertime festivities in Lucerne (Switzerland), among others. Unfortunately, regular concert tickets are not free and often sold out (opening night is fully booked). However, Groups (4+) and those under 26 can get tickets for a mere 5 and 10 euro, respectively. If you plan on going  you might be in luck to find an available non-balcony seat for 25 euro. I hope to score some tickets to Jokes, Bach's Sonatas + Partitas (I & II), New Worlds, or Il Matrimonia Segreto.

With or without tickets, I will still make it my duty to visit Stresa during the concert and hope some of the music floats to my ears. I know this is not going along with my usual theme, but if you feel a lack of art in your life during the summer months, then you very often have to think outside the box.  

Now if we could just do something about this rain...

Gallery and Exhibition Review: Palermo, Sicily

Art should not always be a planned event. Nor can it be. Sometimes you stumble on to something and it's just wonderful. Last weekend was one such circumstance. It seemed like the universe understood that I was too stressed to go visit a gallery, so it brought one to me.

As happens every Sunday, I headed to the local church here to spend a little time away from the hustle and bustle of the city, to retreat into my own thoughts. I was pleasantly surprised by an impromptu gallery exhibition taking place in the parish community center. A non-profit organization, the Religiosi Camilliani of Palermo, was fundraising by selling photographs by Marina Scardavi. The exhibition, Bimbi del Mondo (Children of the World), portrayed  just that. 

As we shuffled from the nave of Maria Ss. Assunta in Mondello-Valdesi to the small gallery space in a back room, the program director stated "you aren't in church anymore, feel free to discuss the work." I smiled, but noticed no one took the words to heart. For once, Sicilians were left speechless. This was most likely due to the nature of the images. To say that the photographs were touching would be understating their value. Scardavi was able to create a relationship between the viewer and the "Bimbi" without being trite. She didn't ridicule the children by focusing solely on their poverty. In fact, most of the images did not even reference this lack of wealth. Images of happiness were juxtaposed next to those of suffering. 


I knew I was in a different space, no longer in the sacred confines of the church, but I thought that choosing this location was very appropriate. The emphasis of the photographs lay in their ability to show innocence, happiness, tranquility, and quiet suffering. The audience was a group of people who had been sitting in quiet meditation for the better part of an hour. Upon viewing the images, I was already at a prime place to begin contemplation, undisturbed by the chaos of the outside world. It was thought-provoking and moving.


This was a happening in every sense of the term. The exhibition was pure in its intensions and did not fail to pleasantly surprise. 

Events and Art Festivals: Corpus Christi, Texas

What:  Festival of the Arts 

               "Chalk it up for the Arts"

Where: Art Center of Corpus Christi

                 100 N. Shoreline

                 Corpus Christi, Texas

When: 26th-28th of March 2010

Times: Friday: 5:30-8PM, Saturday: 10AM-7PM, Sunday: 10AM-5PM 

I am a big fan of two very fun things, festivals and chalk. So, it should come as no surprise that I chose to write about the latest event taking place in Texas this coming weekend. Held at the Art Center of Corpus Christi, the festival begins with a ceremony and reception to officially open the exhibition. The festival's main attraction is the Italian Street Painting done by returning artists Julie Kirk and Melanie Stimmell. There are also many other art exhibitions, demonstrations, and performances (on Saturday and Sunday) free to the public. Not to mention the several arts activities for kids, including printmaking, mosaic making, and collage making labs. This is a great opportunity to see how great collaboration between different arts programs can make for a really fun event. So for those of you near enough, get out to Corpus Christi for some art time near the beach! 

Below are some examples of previous Italian Street Painting at the 2007 Festival of the Arts in Corpus. As always, get out there and enjoy the art!

Bella Via, Festival of the Arts 2007

Homere et Son Guide, Festival of the Arts 2007

Gallery and Exhibition Reviews: Antonello Blandi Exhibition in Palermo, Sicily

Notte Siciliana (Sicilian Night)

Mixed Media on Canvas, 100 x 100 cm

Da Palermo A Palermo (From Palermo to Palermo)

Mixed Media on Canvas, 100x 100 cm

I recently moved back to my hometown of Palermo in Sicily, primarily, with hopes of living in a quiet place where I could finish my MA thesis. But also to reconnect with my roots and discover what the art scene is like in Palermo. Since my family is still very much established in the city, I had the opportunity to visit the exhibition reception for a local artist. Antonello Blandi mixes three concepts in his paintings.  He begins by taking a traditional theme here in Sicily, the local landscape (known as Paesaggi in Italian, because it mixes the village-scape within the land). He then adds in an eclectic and arbitrary element: impressionist, abstract, surrealist, etc. All of which are depicted in vibrant colors taken from the Mediterranean setting. 

Antonello Blandi

Giorgio Matranga Eventi presenta: Scaramanpittando* 

Villa Niscemi

Opening Reception: 6th of March 2010 18:30PM

Exhibition from 5th of March until 11th of March 2010

Opening hours: M-F 9:30-13:30 & 16:30-19:30 S/Sun 9:30-12:30

Website Link


Situated along the walls of the front room, sprinkled across the courtyard, and on easels in the back room were displayed Blandi’s brightly colored paintings. The exhibition at the Villa Niscemi is very different from those I have experienced in the UK and the US. For instance, the exhibition stays open for less than a week in this location, and then the works are moved to a gallery. As odd as this seems, it actually is a great way to get loads of people to come to see the works in a historical, but homelike atmosphere.

The brightly colored paintings were highlighted against the wooden walls in the front room and  the stucco walls in the back room. Unfortunately, the Antipasto table and influx of people traveling through to the main gallery space overshadowed the paintings placed on easels in the courtyard. Which is a shame, because of all the paintings, I believe these were the most captivating in technique and subject. Another interesting aspect is that there is no information available listed about the paintings. Although this meant the work was appreciated for its aesthetic value alone, it did make it very difficult to talk to the artist about a particular piece. 

Blandi implements many of the tools of his trade as a graphic designer to highlight Sicilian icons in bright colors and simple shapes. He then adds to this style by drawing upon art historical influences. Da Palermo A Palermo is reminiscent of Van Gogh's Bedroom in Arles (1888), but it also retains a Surrealist characteristic. When I asked the artist about his decisions to place the city's buildings on top of objects, I received a blunt, albeit slightly disillusioning answer. Without reserve the artist proclaimed that while some artists create work to satisfy philosophical or idealistic concerns, he paints to paint. He also realizes that his audience has diverse aesthetic tastes. For instance, some people like scenes with water or boats, while others might prefer chairs. As an older artist, he has realized that art is as much about originality and invention as it is about meeting the practical needs of both the artist and the viewer. 

Alba Siciliana (Sicilian Dawn)

Mixed Media on canvas, 100 x100 cm

Untitled 

Lithography Poster

*Note: Scaramanpittando is a conjunction of two words: scaramanzia and dipingere. Scaramanzia mean superstition, while dipingere means to paint. This link will bring you to the event page, check out the photos from the opening reception. 

Styles and Movements: Macchiaioli

I'm back to the art blogging world. This week I am going to begin with another a Modern art movement, the Macchiaioli. Enjoy!

Giovanni Fattori, Cowboys of the Maremma Driving the Herds, 1893

Oil on canvas, 200 x 300 cm, Livorno, Museo Civico Fattori

Telemaco Signorini, On a Hill in Settignano, 1885

Oil on Canvas, 37 x 50 cm, Private Collection

Macchiaioli was a style related to the Impressionism and similarly criticized by the academy. Formed by a group of Florentine and Neapolitan painters in Florence, their painting style featured the paint rather than narratives. They painted in a sketch manner that highlighted their “initial impressions of nature,” in color, light, and shadows, primarily painting outdoors.[1] The group’s name, Macchiaioli, refers to the painter’s effort to emphasize the areas of light and shade by marking the painting with spots. These marks or stains of color were referred to as “macchie.” Preceding the French Impressionists, the Macchiaioli began with a group of artists in the 1850s that were tired of the stifling academies and sought to reinvigorate Italian painting. Influenced by the old masters (Caravaggio) as well as the French Barbizon School, the Macchiaioli (including artist Telemaco Signorini) changed Italian painting. Undervalued during its time, the movement lasted from 1860 to 1890.

For more information refer to:

Broude, Norma. The Macchiaioli: Italian Painters of the Nineteenth Century. London: Yale University Press, 1987.

Steingräber, E., & Matteucci, G. The Macchiaioli: Tuscan Painters of the Sunlight : March 14-April 20, 1984. New York: Stair Sainty Matthiesen in association with Matthiesen, London, 1984.

Turner, J. Grove Dictionary of Art. USA: Oxford University Press, 1996.

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[1] See Encyclopedia Britannica