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Benedetta Manfriani

Visual Artist and singer

A visual artist and singer, over the years he has explored different techniques and languages – video, installations, photography, music, ceramics, graphics – giving life to multiform works. He collaborates with Tempo Reale, both in teaching and in the production of multimedia works, and with the Catalyst theatre company. He is currently artist in residence at MAD Murate Art District. As part of the RIVA Project he directed the sound performance Rivers in 2018, participating in a sound installation of Tempo Reale Festival in 2017. In 2016 he created CONfusion, a multi-ethnic vocal group made up of people from many countries around the world, working for the inclusion of migrants through music and performance, also active at the Puccini Theatre in Florence.

A visual artist and singer, over the years he has explored different techniques and languages – video, installations, photography, music, ceramics, graphics – giving life to multiform works. He collaborates with Tempo Reale, both in teaching and in the production of multimedia works, and with the Catalyst theatre company. He is currently artist in residence at MAD Murate Art District. As part of the RIVA Project he directed the sound performance Rivers in 2018, participating in a sound installation of Tempo Reale Festival in 2017. In 2016 he created CONfusion, a multi-ethnic vocal group made up of people from many countries around the world, working for the inclusion of migrants through music and performance, also active at the Puccini Theatre in Florence.

Mariko Hori

Artista

Born in Kobe, Japan. Based in Belgrade, Serbia or Amsterdam, the Netherlanbds.
The works of Mariko Hori, consisting mainly of installations, are study of alternative way of architecture without building, through modest but characteristic way of choice of objects
and placing them intentionally.
Her interests have been in ‘atmosphere’ and ‘Ma’, a Japanese word which takes the concept of negative space farther, to define a continuum which spans both space and time.   For example,  ‘the space -in between’  or  ‘pause in time’  might at first appear that there is nothing between the structures, but actually there is  ‘Ma’, emptiness,  blank space or time exist. And the space and the time have a very slight difference.
She has been researching about the way objects are being.  Particular attention is paid to the space between them as each objects carries with itself many places that each need their
space to unfold meaning. A particular ‘aura’  or  ‘atm




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Born in Kobe, Japan. Based in Belgrade, Serbia or Amsterdam, the Netherlanbds.
The works of Mariko Hori, consisting mainly of installations, are study of alternative way of architecture without building, through modest but characteristic way of choice of objects
and placing them intentionally.
Her interests have been in ‘atmosphere’ and ‘Ma’, a Japanese word which takes the concept of negative space farther, to define a continuum which spans both space and time.   For example,  ‘the space -in between’  or  ‘pause in time’  might at first appear that there is nothing between the structures, but actually there is  ‘Ma’, emptiness,  blank space or time exist. And the space and the time have a very slight difference.
She has been researching about the way objects are being.  Particular attention is paid to the space between them as each objects carries with itself many places that each need their
space to unfold meaning. A particular ‘aura’  or  ‘atmosphere’, that only things which have existed for a long time have, is made by time, space in flow. She describes this special atmosphere as ‘sense of existence’.
As  her  lifetime  practice,  she is trying  to find  the possibilities to  reproduce a certain atmosphere, the ‘sense of existence’ ( something beyond conceptual meaning ) and how to
share the feelings, qualia.
In spite of the fact that she studied architecture, she stopped liking  drawing – up new architectural plans since she was more attracted by aesthetic aspects of aged deterioration
and felt  that she will never be able to recreate the strong sense of enduring existence that old things have. It also appears to her  that modern societies are building  too many new
buildings which ultimately might end up as surplus.
She believes that one of the next steps for architecture is to try to create alternative spaces without buildings.  This ‘new way of architecture’ could be atmosphere itself, and in her
practice, she experiments with various materials  such as found objects, especially, which hold some kind of aura,  the air,  smells,  sounds,  lights,  dust,  as well as individual
imagination, in order to find the new potential experience which could be imaginative and real at the same time.

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La 7a edizione del Firenze Film Corti Festival

La 7a edizione del Firenze Film Corti Festival si sposta sul web: la  trasmissione sul sito del Festival di tutti e 35 i cortometraggi in concorso sarà on streaming gratuito sul sito firenzefilmcortifestival.com/festival-online

Alcuni ospiti, tra cui Alessandro Haber, Jesus Garcés Lambert, Elisabetta Pandimiglio, Wilma Labate, Gianluca Arcopinto, lasceranno un loro contributo, con videomessaggi di saluto e riflessione.
Sono inoltre previsti talk a distanza, come per il regista Giacomo Campiotti.

La 7a edizione del Firenze Film Corti Festival si sposta sul web: la  trasmissione sul sito del Festival di tutti e 35 i cortometraggi in concorso sarà on streaming gratuito sul sito firenzefilmcortifestival.com/festival-online

Alcuni ospiti, tra cui Alessandro Haber, Jesus Garcés Lambert, Elisabetta Pandimiglio, Wilma Labate, Gianluca Arcopinto, lasceranno un loro contributo, con videomessaggi di saluto e riflessione.
Sono inoltre previsti talk a distanza, come per il regista Giacomo Campiotti.

I locali MAD sono sottoposti a sanificazione e le postazioni prevedono distanziamento secondo le normative anti-Covid19.
L’accesso è consentito solo con mascherina.

 

La rassegna dedicata all’universo del cortometraggio in programma dal 27 al 30 ottobre a MAD – Murate Art District e alla Limonaia di Villa Strozzi.

Sarà un’edizione molto attenta al racconto dello stato dell’arte dell’industria del cinema duramente colpita dal Covid-19, con un occhio di riguardo verso q



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La 7a edizione del Firenze Film Corti Festival si sposta sul web: la  trasmissione sul sito del Festival di tutti e 35 i cortometraggi in concorso sarà on streaming gratuito sul sito firenzefilmcortifestival.com/festival-online

Alcuni ospiti, tra cui Alessandro Haber, Jesus Garcés Lambert, Elisabetta Pandimiglio, Wilma Labate, Gianluca Arcopinto, lasceranno un loro contributo, con videomessaggi di saluto e riflessione.
Sono inoltre previsti talk a distanza, come per il regista Giacomo Campiotti.

I locali MAD sono sottoposti a sanificazione e le postazioni prevedono distanziamento secondo le normative anti-Covid19.
L’accesso è consentito solo con mascherina.

 

La rassegna dedicata all’universo del cortometraggio in programma dal 27 al 30 ottobre a MAD – Murate Art District e alla Limonaia di Villa Strozzi.

Sarà un’edizione molto attenta al racconto dello stato dell’arte dell’industria del cinema duramente colpita dal Covid-19, con un occhio di riguardo verso quelle produzioni che si distinguono per il loro taglio autoriale, innovativo e contemporaneo”.
La Direttrice artistica e regista Teresa Paoli

In questa 7a edizione 35 cortometraggi in programma provenienti da 17 paesi diversi.
Incontri, proiezioni, eventi speciali nel pieno rispetto delle norme anti-contagio.

Tra i registi invitati anche Giacomo Campiotti, il regista sarà protagonista di un incontro intitolato “Il valore delle storie”(venerdì 30 ottobre ore 17:30, Limonaia di Villa Strozzi). Un’occasione per parlare di cinema, televisione, racconto audiovisivo, partendo dal suo percorso artistico, e dalla sua ricerca di storie di senso da portare sullo schermo. Già aiuto regista di Mario Monicelli, ha lavorato con Ermanno Olmi e ha firmato il film candidato ai Golden Globes come miglior film straniero “Come due coccodrilli”. Ha diretto serie italiane e internazionali per la televisione come “Zivago” con Keira Knightley e Sam Neil, “Giuseppe Moscati”, “Non è mai troppo tardi”, “Liberi di scegliere”, “Ognuno è perfetto”. È il regista della serie cult “Braccialetti Rossi”. In questo momento sta lavorando ad una nuova produzione sulla storia di Chiara Lubich.

A Campiotti si aggiunge la regista Wilma Labate, al Firenze Film Corti Festival con  “Arrivederci Saigon” (28 ottobre, ore 21 – Limonaia di Villa Strozzi) il film che racconta l’incredibile storia delle Stars, la giovanissima band italiana che dalla provincia toscana viene spedita inaspettatamente in Vietnam, a suonare nelle basi militari americane.

Nella stessa giornata – alla presenza del regista Giovanni Guidelli – la proiezione del cortometraggio realizzato col sostegno Bando Personalità illustri della Regione Toscana “Farinata: La Tredicesima Notte” e la proiezione di “Scuola Calcio”, film del collettivo Mina. Gianluca Arcopinto, produttore e organizzatore di più di cento film, e figura di riferimento del cinema indipendente italiano e la regista Elisabetta Pandimiglio, ne hanno curato la direzione artistica e saranno presenti al festival.

Da segnalare anche l’evento “Fare Cinema d’arte, con la proiezione del film “Io, Leonardo” e l’incontro con il regista Jesus Garces Lambert, che nel 2018 ha diretto il film “Caravaggio – L’anima e il sangue”, documentario più visto in sala nella storia del cinema italiano.

Per il secondo anno consecutivo il Firenze Film Corti Festival focalizza la sua attenzione sulle opere dei giovani. Attraverso la sezione del Festival denominata “Concorso Spazio giovani“, riservata agli studenti delle Accademie, delle Università, delle Scuole di cinema e degli Istituti superiori, sono pervenute opere di estremo interesse. Le opere finaliste potranno essere apprezzate via streaming giovedì 29 ottobre. L’iniziativa è realizzata in collaborazione con l’Accademia delle Belle Arti di Firenze

Per maggiori informazioni: firenzefilmcortifestival.com

 

I premi assegnati dalla giuria finale presieduta da Emanuela Mascherini e composta da Federico Berti (giornalista, scrittore di cinema), Simona De Simone/Nuanda Sheridan (regista), Stefano Mutolo (co-fondatore CNA Cinema e distributore) e Marta Savina (regista e sceneggiatrice):

Miglior Film di Finzione

IT’S ME di Andrea Casaseca
Per la capacità di raccontare in maniera matura il tema del bullismo, con un sapiente utilizzo di un valido cast di attori, mettendo in scena la linea sottile che separa l’innocenza dalla crudeltà.

Miglior regia. 

ATLAS di Maciej Kawalski
Per la regia ambiziosa e ben consapevole che dirige attori e sceglie inquadrature in maniera chirurgica a creare un’opera di matura consapevolezza del cinema breve.

Miglior opera prima

LOSING SIGHT di Jorgo Kokkinidis
Per la chiara e netta grammatica visiva fondata su un’attenta composizione delle inquadrature, l’uso dei colori e della luce, in un linguaggio documentaristico.

Miglior sceneggiatura

EXAM di Sonia K. Hadad
Per la capacità di rendere interessante e avvincente una narrativa apparentemente semplice, senza mai banalizzare le sfumature emotive della protagonista.

Miglior attore

Riccardo De Filippis
nel corto IL PRIMO GIORNO DI MATILDE di Rosario Capozzolo

Per il talento e la capacità di esprimere tutte le inquietudini nascoste nell’animo del personaggio protagonista, nel suo giorno più difficile.

Miglior attrice

Lucrezia Guidone
nel corto SOFFIO di Nicola Ragone
Per la grande abilità di dare voce ad un personaggio senza l’uso della parola. Gli ultimi cento passi di una donna che va incontro all’ultimo soffio di vita

Miglior documentario

IL RITRATTO DI MIA MADRE di Tavo Ruiz
Per il coraggio di andare fino in fondo su un tema doloroso, quasi respingente, ma essenziale da portare all’attenzione del pubblico. Per la qualità artistica e tecnica e per la rara capacità di descrivere  l’intero arco narrativo dei personaggi, mostrando non solo il dramma sanitario ed esistenziale al centro del racconto, ma anche la soluzione allo stesso.

Miglior film di animazione

LA GIOSTRA DI NINA di Valerio Berruti
Per la delicatezza, l’originalità dello sguardo e la maestria nell’uso dell’animazione, con un magico equilibrio costruito evitando eccessi di minimalismo, facili trucchi retorici e soluzioni narrative espositive.

Miglior Film Sperimentale

PANDEMIA di Yiannis Biliris
Per aver affrontato un tema di grande attualità da una particolare prospettiva. Per aver trasformato la quotidianità in un’opera dal forte impatto visivo, suggellandola con una colonna sonora perfettamente in grado di esaltarne il significato.

_______________________

Le sceneggiature premiate

Primo premio a FORGIVE ISMAIL di Mirza Ekinovic
Ambientato in un campo di rifugiati, per l’urgenza del tema trattato e l’eleganza nello sviluppo del racconto e dei suoi personaggi che non scadono mai nel banale o nello stereotipato.

Secondo premio a PORTRAIT OF A MEXICANA POET IN IOWA CITY di James Fitzmaurice
Per la capacità di restituire con sagacia, complessità e senso dell’intrattenimento la tempesta perfetta dell’incontro di menti eccellenti come Kurt Vonnegut e Raymond Carver in un momento di svolta della letteratura occidentale e del modo di raccontare enormi cambiamenti storici e sociali.

Terzo premio a LO SFRATTO di Tiziana Cristiano
Per la pulizia e la delicatezza con cui viene trattato il tema degli ultimi in maniera comica e surreale.

Menzione a NO FLY BIRD di Ivan Drago
Per l’originalità dell’idea e la delicatezza nel presentare una narrativa che si presta perfettamente ad un’animazione, con un occhio di riguardo per i più piccoli.

Menzione a EMMA SULLA RIVA DEL FIUME di Gianluca Papadia
Per aver saputo mettere al centro del racconto, l’affascinante mondo della pittura, con una abile alternanza spazio temporale. Un piccolo grande “mosaico” che coinvolge fino all’ultima sequenza.

Menzione a PAPPAGALLO BLUES di Milena Cappabianca
Per la delicatezza con cui racconta le nuances delle relazioni e dei sentimenti, utilizzando la musica come un contrappunto intessuto nella struttura stessa della storia.

Premio speciale ELENA BERTOLDI va  a SOTTO IL CIELO DI SPAGNA di Lidia Popolano
Per la maniacale ricostruzione storica di una pagina poco affrontata della nostra storia come la partecipazione italiana alla Guerra Civile Spagnola, inscritta nei canoni classici e solidi del racconto storico popolare tipico del cinema e della fiction italiana.

____________________________________________________

Le Menzioni speciali dell’Associazione Rive Gauche – Festival

Menzione Sceneggiatura:

THE SHELL di Hakal Unal. 
The shell è un viaggio a ritroso da parte di una pittrice di mezza età non sposata ed essenzialmente dedita alla madre. Viene per tutti il momento di fare i conti con se stesso, col proprio passato e con i conflitti interiori sopiti, ma non repressi. Il modo col quale viene descritta la storia di Shell è impeccabile ed un ritratto nel quale tutti possono ritrovarsi.

Menzioni  Film:

IL VESTITO di Massimo Ravallese
Apparentemente si potrebbe dire “storie di ordinaria immigrazione”. Ma in realtà Rive Gauche – Festival ha ravvisato, nel lavoro di Massimo Ravallese, una profondità di accenti e di toni e una dialettica serrata tra personaggi, chelo rendono sicuramente meritevole di una menzione speciale.

TO HER di Jacopo Ardolino 
una menzione speciale per il modo del tutto particolare e convincente col quale il film tratta il mito di Orfeo ed Euridice.
Infatti l’Autore, con coraggio e originalità sperimentale, conferisce al film una svolta determinata dall’incontro do Orfeo con il pittore e traccia un esito del film brillantemente conseguenziale.

IL QUADRO ALLE TUE SPALLE di Frida Bruno
L’Associazione ha trovato veramente interessante l’impianto psicologico che è alla base di questo film. L’autore, Frida Bruno, è riuscita a dare alla storia una scrittura cinematografica ad un tempo lineare e complessa: una storia, che si innesta nel tragico background del protagonista, che lascia interessanti interrogativi nella testa dello spettatore, assolvendo così ad uni dei compiti che, in genere, il cinema dovrebbe sempre tenere presente.

_________________________

Il programma

Martedì 27 Ottobre
15:30 INTRODUZIONE AL FESTIVAL

16:00 PROIEZIONE FILM IN CONCORSO
Anna, Dekel Berenson, Ucraina, 15 min.
A picture in the 21st century, Stefan Pecher, Austria, 4:21 min. Deaf love, Michele Bertini Malgarini, Italia, 15 min.
The Role, Farnoosh Samadi, Iran, 11:51 min.
Retratos de Mi madre, Tavo Ruiz, Messico, 11 min.
Newyork Rhapsody, Salvatore D’alia, USA, 14 min.
Tono Menor, Ivan Sainz Pardon, Spagna, 11 min.

18:00 PROIEZIONE FILM IN CONCORSO
Umbrella dance for Hong Kong, Wong King Fai, Hong Kong, 15 min. Making men, Antoine Paier, Belgio, 19:41 min.
Exam, Sonia k Hadad, Iran, 15 min.
Soffio, Nicola Rangone, Italia, 9:41 min.
Pandemia, Yannis Biliris, 4 min.
In the night, Tibault Buccellato, USA, 6 min

Mercoledì 28 Ottobre
15:00 PROIEZIONE FILM IN CONCORSO

15:00 PROIEZIONE FILM IN CONCORSO
Proiezione dei film finalisti del Concorso Spazio Giovani 2020.
Them, Robin Lochman, Germania, 15 min.
Materia Celeste, Andrea, Gatopoulos, Italia, 15 min. Coming Back Sunny, Noriko Yuasa, Giappone, 15 min. Danke Aus, Luca Amhofer, Austria, 06:48 min.
Depot Asmara, Beatrice Möller, Eritrea, 25 min.
Fifteen, Sébastien Blanc, UK, 15 min.

17:00 PROIEZIONE FILM IN CONCORSO
Il vestito, Massimo Ravallese, Italia, 15 min.
Extrasezon, Ioachim Stroe, Romania, 20 min.
Losing Sight, Jorgo Kokkinidis, Belgio, 36:08 min.

Giovedi 29 Ottobre
15:00 PROIEZIONE STREAMING OPERE FINALISTE DEL PREMIO CINEMATOGRAFICO SPAZIO GIOVANI 2020

18:00 PROIEZIONE FILM IN CONCORSO
Luce, Ciro Apicella, USA, 11 min.
I Resign, Jay Mohanm, USA, 7 min.
It’s me, Andrea Casaseca, Spagna, 11:34 min. Il terzo atto, Petrasso, Italia, 11:25 min.
La Giostra di Nina, Valerio Berruti, Italia, 11 min. Xy, Anna Karín Lárusdóttir, Islanda, 15:57 min. Delitto Naturale, Valentina Bertuzzi, Italia, 15 min.

Venerdì 30 Ottobre
09:30 CONCORSO SCENEGGIATURE / SCREENPLAY CONTEST

14:30 PROIEZIONE FILM IN CONCORSO
Il quadro alle tue spalle, Frida Bruno, Italia, 18 min.
Song Sparrow, Farzaneh Omidvarnia, Iran-DK, 12 min. Apocalypse, Andrea Cecconati, Italia, 19:12 min.
To Her, Jacopo Ardolino, Italia, 13 min.
Atlas, Maciej Matthew Kawalski, Polonia, 30 min.
Il primo giorno di Matilde, Rosario Capozzolo, Italia, 9:55 min.

 

LE SEDI DEL 7° FIRENZE FILMCORTI FESTIVAL:

MURATE ART DISTRICT – Piazza delle Murate
LIMONAIA DI VILLA STROZZI – Via Pisana 77
ACCADEMIA DI BELLE ARTI DI FIRENZE – Via Ricasoli 66

 

Scopri il programma completo >>

***

Il Festival è organizzato dall’Associazione Rive Gauche
Presidente: Marino Demata
Presidente del Firenze Film Corti Festival: Francesco Grifoni
Direttrice artistica del 7° Firenze Film Corti Festival: Teresa Paoli
Presidente della Giuria del 7° Firenze Film Corti Festival: Emanuela Mascherini
Vicepresidente del Firenze Film Corti Festival: Maria Rosaria Perill

Sono partner del Firenze Film Corti Festival:
MiBACT, Consiglio Regionale della Toscana, Fondazione Sistema Toscana, Comune di Firenze, Mus.e, MAD – Murate Art District, Accademia Belle Arti di Firenze, The Animattikon Project, INKTIP, Hollywood screenings Film Festival, Edinburgh Short Film Festival, Piemonte DocuMenteur FilmFest, Blue Danube FilmFestival.

LA STRUTTURA DEL FESTIVAL 2020
Presidente Rive Gauche – Festival: Marino Demata
Presidente 7FFF: Francesco Grifoni
Vice Presidente 7FFF: Maria Rosaria Perilli
Direttrice Artistica 7FFF: Teresa Paoli

LA GIURIA
Presidente Giuria 7FFF: Emanuela Mascherini
Federico Berti
Simona De Simone
Stefano Mutolo
Marta Savina

IL COMITATO SCIENTIFICO ARTISTICO
Massimo Becattini
Mimmo Calopresti
Valentina Gensini
Claudio Rocca

La 7a edizione del Firenze Film Corti Festival

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7° Firenze FilmCorti Festival | Premio Cinematografico Spazio Giovani 2020

Dieci giovani registi in gara per la seconda edizione del Premio Cinematografico "Spazio Giovani": chi saranno i primi tre classificati? Lo scopriamo in diretta dalla Sala del Cenacolo dell'Accademia, dopo aver assistito alla proiezione di tutti i corti in gara. L'evento si svolge nell'ambito del 7° Firenze FilmCorti Festival.

7° Firenze FilmCorti Festival | Premio Cinematografico Spazio Giovani 2020
7° Firenze FilmCorti Festival | Premio Cinematografico Spazio Giovani 2020

This content is avaiable only in this archive.

7a edizione del Firenze Film Corti Festival | LOSING SIGHT - Official Trailer

Documentario di Jorgo Kokkinidis

LOSING SIGHT - Official Trailer
Jorgo Kokkinidis
7a edizione del Firenze Film Corti Festival | LOSING SIGHT - Official Trailer

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7a edizione del Firenze Film Corti Festival | ANNA di Dekel Berenson,

Alla 7a edizione del Firenze Film Corti Festival trionfa come miglior opera in assoluto ANNA di Dekel Berenson, cortometraggio ambientato nell’Ucraina orientale devastata dalla guerra, che racconta la storia di una madre single anziana, disperatamente desiderosa di un cambiamento  radicale della propria vita.

ANNA di Dekel Berenson
7a edizione del Firenze Film Corti Festival | ANNA di Dekel Berenson,

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7X7 | Transcultural narratives from the Middle east and North Africa. Curated by Roi Saade | Monday-Myriam Boulos-Beirut

Evento speciale di punta di questa edizione di Middle East Now festival

The works of 7 talented young Middle Eastern photographers – Myriam Boulos, Sina Shiri, Abdo Shanan, Amir Hazim, Reem Falaknaz, Erdem Varol, Mouad Abillat – brought together to provide a personal visual perspective of their city – Beirut, Tehran, Algieri, Baghdad, Dubai, Istanbul, Marrakesh – on a specific day of the week.

The result, SEVEN BY SEVEN, is a collective voice and vision, and at the same time a set of personal and highly original points of view on the life of people in the Middle East, a visual narrative alternative to the media representation of these cities, very often negative and linked to the facts of news and geopolitics.

As an integral part of the project, the curator has created, exclusively for the festival, 7 newspapers that can be browsed in the exhibition: 7 newspapers in whose pages the story is developed through images of every day of a hypothetical week in the Middle East.

SEVEN BY SEVEN is also presented through a special online platf

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The works of 7 talented young Middle Eastern photographers – Myriam Boulos, Sina Shiri, Abdo Shanan, Amir Hazim, Reem Falaknaz, Erdem Varol, Mouad Abillat – brought together to provide a personal visual perspective of their city – Beirut, Tehran, Algieri, Baghdad, Dubai, Istanbul, Marrakesh – on a specific day of the week.

The result, SEVEN BY SEVEN, is a collective voice and vision, and at the same time a set of personal and highly original points of view on the life of people in the Middle East, a visual narrative alternative to the media representation of these cities, very often negative and linked to the facts of news and geopolitics.

As an integral part of the project, the curator has created, exclusively for the festival, 7 newspapers that can be browsed in the exhibition: 7 newspapers in whose pages the story is developed through images of every day of a hypothetical week in the Middle East.

SEVEN BY SEVEN is also presented through a special online platform – 7×7.middleastnow.it – which allows visitors to digitally explore the work of the 7 photographers and their visual account of the cities in which they live.

 

 

7X7 | Transcultural narratives from the Middle east and North Africa. Curated by Roi Saade | Monday-Myriam Boulos-Beirut

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7X7 | Transcultural narratives from the Middle east and North Africa. Curated by Roi Saade

Original project produced by Middle East Now Festival, conceived and curated by Roï Saade and co-produced by Murate Art District.

"In this era of revolutions, unrest, exclusion and individualism, photography can play a fundamental role in building bridges between communities in the Middle East and North Africa. The objective of this project is to explore the differences and similarities found in each city and celebrate their diversity and complexity". , Roï Saade.

7X7 | Transcultural narratives from the Middle east and North Africa. Curated by Roi Saade

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Myriam Boulos

Transcultural narratives from the Middle east and North Africa. Curated by Roi Saade

Myriam Boulos. Born in Beirut in 1992, she graduated in photography from the Academie Libanaise des Beaux Arts in 2015. She has taken part in international group exhibitions including Photomed, Beirut Art Fair, Berlin PhotoWeek, Mashreq to Maghreb (Dresden, Germany), Beyond boundaries (New York), C’est Beyrouth (Paris) and 3ème biennale des Photographes du monde arabe (Paris), and received the Byblos Bank Award for Photography in 2014. He uses his camera to interrogate the city and its people, and his photos are a mix of documentary and personal research.

Myriam Boulos. Born in Beirut in 1992, she graduated in photography from the Academie Libanaise des Beaux Arts in 2015. She has taken part in international group exhibitions including Photomed, Beirut Art Fair, Berlin PhotoWeek, Mashreq to Maghreb (Dresden, Germany), Beyond boundaries (New York), C’est Beyrouth (Paris) and 3ème biennale des Photographes du monde arabe (Paris), and received the Byblos Bank Award for Photography in 2014. He uses his camera to interrogate the city and its people, and his photos are a mix of documentary and personal research.

Available in:

7X7 | Transcultural narratives from the Middle east and North Africa. Curated by Roi Saade | Myriam Boulos | Mondays in Beirut

The works of 7 talented young Middle Eastern photographers on a specific day of the week

Myriam Boulos | Mondays in Beirut

7X7 | Transcultural narratives from the Middle east and North Africa. Curated by Roi Saade | Myriam Boulos | Mondays in Beirut

Available in:

7X7 | Transcultural narratives from the Middle east and North Africa. Curated by Roi Saade

As an integral part of the project, the curator has created, exclusively for the festival, 7 newspapers that can be browsed in the exhibition: 7 newspapers in whose pages the story is developed through images of every day of a hypothetical week in the Middle East.

7X7 | Transcultural narratives from the Middle east and North Africa. Curated by Roi Saade

This content is avaiable only in this archive.

Sina Shiri

Transcultural narratives from the Middle east and North Africa. Curated by Roi Saade

Sina Shiri. He was born in Rasht, Iran in 1991. He started photography at the age of 16 and has since worked in various Iranian press agencies and magazines as a photographer. Today he is a freelancer and focuses on social issues and themes.

Sina Shiri. He was born in Rasht, Iran in 1991. He started photography at the age of 16 and has since worked in various Iranian press agencies and magazines as a photographer. Today he is a freelancer and focuses on social issues and themes.

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7X7 | Transcultural narratives from the Middle east and North Africa. Curated by Roi Saade | Sina Shiri | Tuesday in Tehran

The works of 7 talented young Middle Eastern photographers on a specific day of the week

Sina Shiri | Tuesday in Tehran

7X7 | Transcultural narratives from the Middle east and North Africa. Curated by Roi Saade | Sina Shiri | Tuesday in Tehran

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7X7| Transcultural narratives from the Middle east and North Africa. Curated by Roi Saade | Sina Shiri | Tuesday in Tehran

As an integral part of the project, the curator has created, exclusively for the festival, 7 newspapers that can be browsed in the exhibition: 7 newspapers in whose pages the story is developed through images of every day of a hypothetical week in the Middle East.

7X7| Transcultural narratives from the Middle east and North Africa. Curated by Roi Saade | Sina Shiri | Tuesday in Tehran

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Abdo Shanan

Transcultural narratives from the Middle east and North Africa. Curated by Roi Saade

Abdo was born in 1982 in Oran, Algeria, to a Sudanese father and Algerian mother. He studied engineering at the University of Sirte, Libya, until 2006. In 2012 an internship at Magnum Photos Paris gave him the opportunity to reflect on his photographic approach and produce his first short story for the magazine “Rukh”. His photographs have been published in numerous international magazines and newspapers. In 2015 he received a nomination for the Magnum Foundation Emergency Fund, in 2019 he won the CAP (Contemporary African Photography) award for his project “Dry”, in the same year he was selected for Joop Swart Masterclass by World Press Photo.

Abdo was born in 1982 in Oran, Algeria, to a Sudanese father and Algerian mother. He studied engineering at the University of Sirte, Libya, until 2006. In 2012 an internship at Magnum Photos Paris gave him the opportunity to reflect on his photographic approach and produce his first short story for the magazine “Rukh”. His photographs have been published in numerous international magazines and newspapers. In 2015 he received a nomination for the Magnum Foundation Emergency Fund, in 2019 he won the CAP (Contemporary African Photography) award for his project “Dry”, in the same year he was selected for Joop Swart Masterclass by World Press Photo.

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7X7| Transcultural narratives from the Middle east and North Africa. Curated by Roi Saade | Abdo Shanan | Wednedays in Algiers

The works of 7 talented young Middle Eastern photographers on a specific day of the week

Abdo Shanan | Wednedays in Algiers

7X7| Transcultural narratives from the Middle east and North Africa. Curated by Roi Saade | Abdo Shanan | Wednedays in Algiers

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7X7| Transcultural narratives from the Middle east and North Africa. Curated by Roi Saade | Abdo Shanan | Wednedays in Algiers

As an integral part of the project, the curator has created, exclusively for the festival, 7 newspapers that can be browsed in the exhibition: 7 newspapers in whose pages the story is developed through images of every day of a hypothetical week in the Middle East.

7X7| Transcultural narratives from the Middle east and North Africa. Curated by Roi Saade | Abdo Shanan | Wednedays in Algiers

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Amir Hazim

Transcultural narratives from the Middle east and North Africa. Curated by Roi Saade

Amir Hazim is an artist and photographer based in Baghdad. He graduated from Baghdad College of Fine Arts and began his professional career in 2019, publishing in Arab News, The National and many others.

Amir Hazim is an artist and photographer based in Baghdad. He graduated from Baghdad College of Fine Arts and began his professional career in 2019, publishing in Arab News, The National and many others.

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7X7| Transcultural narratives from the Middle east and North Africa. Curated by Roi Saade | Amir Hazim | Thursdays in Baghdad

The works of 7 talented young Middle Eastern photographers on a specific day of the week

Amir Hazim | Thursdays in Baghdad

7X7| Transcultural narratives from the Middle east and North Africa. Curated by Roi Saade | Amir Hazim | Thursdays in Baghdad

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7X7| Transcultural narratives from the Middle east and North Africa. Curated by Roi Saade | Amir Hazim | Thursdays in Baghdad

As an integral part of the project, the curator has created, exclusively for the festival, 7 newspapers that can be browsed in the exhibition: 7 newspapers in whose pages the story is developed through images of every day of a hypothetical week in the Middle East.

7X7| Transcultural narratives from the Middle east and North Africa. Curated by Roi Saade | Amir Hazim | Thursdays in Baghdad

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Reem Falaknaz

Transcultural narratives from the Middle east and North Africa. Curated by Roi Saade

Reem Falaknaz documents with his artistic work the social and physical landscape of the United Arab Emirates and its inhabitants. In 2014 he took part in the prestigious Arab Documentary Photography Program, and his international participations include the United Arab Emirates Pavilion at the Venice Architecture Biennale 2016 and the Lahore Biennale in 2020.

Reem Falaknaz documents with his artistic work the social and physical landscape of the United Arab Emirates and its inhabitants. In 2014 he took part in the prestigious Arab Documentary Photography Program, and his international participations include the United Arab Emirates Pavilion at the Venice Architecture Biennale 2016 and the Lahore Biennale in 2020.

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7X7 | Transcultural narratives from the Middle east and North Africa. Curated by Roi Saade | Reem Falaknaz | Fridays in Dubai

The works of 7 talented young Middle Eastern photographers on a specific day of the week

Reem Falaknaz | Fridays in Dubai

7X7 | Transcultural narratives from the Middle east and North Africa. Curated by Roi Saade | Reem Falaknaz | Fridays in Dubai

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7X7 | Transcultural narratives from the Middle east and North Africa. Curated by Roi Saade | Reem Falaknaz | Fridays in Dubai

As an integral part of the project, the curator has created, exclusively for the festival, 7 newspapers that can be browsed in the exhibition: 7 newspapers in whose pages the story is developed through images of every day of a hypothetical week in the Middle East.

7X7 | Transcultural narratives from the Middle east and North Africa. Curated by Roi Saade | Reem Falaknaz | Fridays in Dubai

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Erdem Varol

Transcultural narratives from the Middle east and North Africa. Curated by Roi Saade

Erdem Varol. Born in 1988, he lives in Istanbul. In 2017 Erdem published his first book “Free Fall” together with two fanzines, published in 2018 and 2019 respectively. He has held solo and group exhibitions in Turkey, Italy, France and elsewhere.

Erdem Varol. Born in 1988, he lives in Istanbul. In 2017 Erdem published his first book “Free Fall” together with two fanzines, published in 2018 and 2019 respectively. He has held solo and group exhibitions in Turkey, Italy, France and elsewhere.

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7X7 | Transcultural narratives from the Middle east and North Africa. Curated by Roi Saade | Erdem Varol | Saturdays in Instanbul

The works of 7 talented young Middle Eastern photographers on a specific day of the week

Erdem Varol | Saturdays in Instanbul

7X7 | Transcultural narratives from the Middle east and North Africa. Curated by Roi Saade | Erdem Varol | Saturdays in Instanbul

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7X7 | Transcultural narratives from the Middle east and North Africa. Curated by Roi Saade | Erdem Varol | Saturdays in Instanbul

As an integral part of the project, the curator has created, exclusively for the festival, 7 newspapers that can be browsed in the exhibition: 7 newspapers in whose pages the story is developed through images of every day of a hypothetical week in the Middle East.

7X7 | Transcultural narratives from the Middle east and North Africa. Curated by Roi Saade | Erdem Varol | Saturdays in Instanbul

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Mouad Abillat 

7X7 Transcultural narratives from the Middle east and North Africa. Curated by Roi Saade

Mouad Abillat is a Moroccan photographer and director. He has a degree in Audiovisual Technician and has also studied photography and screenwriting, which has influenced his style and led him to develop an interest in storytelling. By photographing young people on the streets of Marrakech with a unique and original style, he strives to portray the contradictions and fight against the stereotypes faced by the new generations today.

Mouad Abillat is a Moroccan photographer and director. He has a degree in Audiovisual Technician and has also studied photography and screenwriting, which has influenced his style and led him to develop an interest in storytelling. By photographing young people on the streets of Marrakech with a unique and original style, he strives to portray the contradictions and fight against the stereotypes faced by the new generations today.

Available in:

7X7 | Transcultural narratives from the Middle east and North Africa. Curated by Roi Saade | Mouad Abillat | Sundays in Marrakesh

The works of 7 talented young Middle Eastern photographers on a specific day of the week

Mouad Abillat | Sundays in Marrakesh

7X7 | Transcultural narratives from the Middle east and North Africa. Curated by Roi Saade | Mouad Abillat | Sundays in Marrakesh

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7X7 | Transcultural narratives from the Middle east and North Africa. Curated by Roi Saade | Mouad Abillat | Sundays in Marrakesh

As an integral part of the project, the curator has created, exclusively for the festival, 7 newspapers that can be browsed in the exhibition: 7 newspapers in whose pages the story is developed through images of every day of a hypothetical week in the Middle East.

7X7 | Transcultural narratives from the Middle east and North Africa. Curated by Roi Saade | Mouad Abillat | Sundays in Marrakesh

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Justin Randolph Thompson

co-founder and director Black History Month Florence

Justin Randolph Thompson is a new media artist, cultural facilitator and educator born in Peekskill, NY in ’79. Living between Italy and the US since 1999, Thompson is Co-Founder and Director of Black History Month Florence, a multi-faceted exploration of African and African Diasporic cultures in the context of Italy founded in 2016.
Thompson is a recipient of a Louise Comfort Tiffany Award, a Franklin Furnace Fund Award, a Visual Artist Grant from the Fundacion Marcelino Botin, two Foundation for Contemporary Arts Emergency Grants, A Jerome Fellowship from Franconia Sculpture Park and an Emerging Artist Fellowship from Socrates Sculpture Park. His life and work seek to deepen the discussions around socio-cultural stratification and hierarchical organization by employing fleeting temporary communities as monuments and fostering projects that connect academic discourse social activism and DIY networking strategies in annual and biennial gathering, sharing and gestures of collectivity.

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Justin Randolph Thompson is a new media artist, cultural facilitator and educator born in Peekskill, NY in ’79. Living between Italy and the US since 1999, Thompson is Co-Founder and Director of Black History Month Florence, a multi-faceted exploration of African and African Diasporic cultures in the context of Italy founded in 2016.
Thompson is a recipient of a Louise Comfort Tiffany Award, a Franklin Furnace Fund Award, a Visual Artist Grant from the Fundacion Marcelino Botin, two Foundation for Contemporary Arts Emergency Grants, A Jerome Fellowship from Franconia Sculpture Park and an Emerging Artist Fellowship from Socrates Sculpture Park. His life and work seek to deepen the discussions around socio-cultural stratification and hierarchical organization by employing fleeting temporary communities as monuments and fostering projects that connect academic discourse social activism and DIY networking strategies in annual and biennial gathering, sharing and gestures of collectivity.

 

 

Francesca Merz

Curatrice Il Diario Popolare | Progetto RIVA

Torinese di nascita, fiorentina di adozione. Cultural project manager, consulente strategico per lo sviluppo delle risorse culturali, storica e critica d’arte, da anni si occupa dell’ideazione, organizzazione e gestione di eventi culturali in tutto il mondo. Attualmente collabora con l’Associazione degli Amici dei Musei di Palazzo Davanzati e Casa Martelli a Firenze, è a capo dell’ufficio marketing della società Contemporanea Progetti, nella ideazione e gestione delle mostre internazionali, e si occupa con la sua associazione Fund4art, della strutturazione di progetti di marketing e innovazione territoriale, strategie d’ascolto della cittadinanza e consulenza nell’ambito della valorizzazione e gestione dei distretti culturali, nonché di promozione di eventi di divulgazione su temi umanitari. Proprio nell’ambito dei progetti di ascolto della cittadinanza e di studio delle memorie dei territori, si iscrive la sua passione giornalistica, scrive per Nena-News di Palestina

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Torinese di nascita, fiorentina di adozione. Cultural project manager, consulente strategico per lo sviluppo delle risorse culturali, storica e critica d’arte, da anni si occupa dell’ideazione, organizzazione e gestione di eventi culturali in tutto il mondo. Attualmente collabora con l’Associazione degli Amici dei Musei di Palazzo Davanzati e Casa Martelli a Firenze, è a capo dell’ufficio marketing della società Contemporanea Progetti, nella ideazione e gestione delle mostre internazionali, e si occupa con la sua associazione Fund4art, della strutturazione di progetti di marketing e innovazione territoriale, strategie d’ascolto della cittadinanza e consulenza nell’ambito della valorizzazione e gestione dei distretti culturali, nonché di promozione di eventi di divulgazione su temi umanitari. Proprio nell’ambito dei progetti di ascolto della cittadinanza e di studio delle memorie dei territori, si iscrive la sua passione giornalistica, scrive per Nena-News di Palestina principalmente, nonché per CuCo, Cultura Commestibile

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Yuval Avital

Musician and visual artist

Born in Jerusalem in 1977 and living in Milan, multimedia artist, composer and guitarist Yuval Avital develops his works in a variety of spaces, including public venues, industrial archaeological sites, theatres and museums, challenging the traditional crystallized categories that separate the arts. In his exhibitions, performances, immersive installations, total-operas, large-scale musical ‘rituals’, and concerts one can find dancers, contemporary music ensembles, masters of ancient cultures, recruited individuals or communities, multi-video projections, meditative tactile ambients, advanced technological instruments, archive materials, scientific data, Sound-Sculpture, painting and printed artworks.
Each of Avital’s artworks is a unique experiential, poetic and emotional microcosm with its own identity, fruit of a meticulous research carried out in a carefully coded language, confronting the reoccurring themes of archetype and structure; ancestral and currant global-era human c

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Born in Jerusalem in 1977 and living in Milan, multimedia artist, composer and guitarist Yuval Avital develops his works in a variety of spaces, including public venues, industrial archaeological sites, theatres and museums, challenging the traditional crystallized categories that separate the arts. In his exhibitions, performances, immersive installations, total-operas, large-scale musical ‘rituals’, and concerts one can find dancers, contemporary music ensembles, masters of ancient cultures, recruited individuals or communities, multi-video projections, meditative tactile ambients, advanced technological instruments, archive materials, scientific data, Sound-Sculpture, painting and printed artworks.
Each of Avital’s artworks is a unique experiential, poetic and emotional microcosm with its own identity, fruit of a meticulous research carried out in a carefully coded language, confronting the reoccurring themes of archetype and structure; ancestral and currant global-era human condition; nature and hybridity; ritual and science.
Avital’s sound and visual artworks have been presented in museums, art foundations, venues and art events such as MANIFESTA Biennial, GAM – Torino, MACRO Museum of Contemporary Art Rome; OSTRALE Dresden Biennial, La Fabbrica del Cioccolato Foundation in Switzerland, Saint Antoine Church Istanbul, Marino Marini Museum in Florence; National Science and Technology Museum “Leonardo da Vinci” in Milan.

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Parola di Artista Le Opere e i Giorni | Yuval Avital, musicista e artista visivo

With the column #LeOpereeiGiorni we invited artists, curators and intellectuals to share reflections on their work and the current moment.
Today we listen to Yuval Avital, musician and visual artist

Parola di Artista Le Opere e i Giorni |
Yuval Avital, musician and visual artist
Parola di Artista Le Opere e i Giorni | Yuval Avital, musicista e artista visivo

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Pietro Gaglianò

Curator

Pietro Gaglianò (1975) is an art critic and curator. After graduating in architecture he deepened the relationship between the aesthetics of power and individual freedoms, preferring the urban, architectural and social context as the scene of contemporary art practices. He has curated special projects and exhibitions in Italy and abroad. For years he has been experimenting with hybrid formats of the art verification space, in which laboratory and training experiences are grafted onto the traditional model of exhibition and conference.

Pietro Gaglianò (1975) is an art critic and curator. After graduating in architecture he deepened the relationship between the aesthetics of power and individual freedoms, preferring the urban, architectural and social context as the scene of contemporary art practices. He has curated special projects and exhibitions in Italy and abroad. For years he has been experimenting with hybrid formats of the art verification space, in which laboratory and training experiences are grafted onto the traditional model of exhibition and conference.

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Parola di Curatore, Le Opere e i Giorni | Pietro Gaglianò, curator

With the column #LeOpereeiGiorni we invited artists, curators and intellectuals to share reflections on their work and the current moment.
Today we listen to Pietro Gaglianò, curator

Parola di Curatore, Le Opere e i Giorni
Pietro Gaglianò, curatore
Parola di Curatore, Le Opere e i Giorni | Pietro Gaglianò, curator

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Luigi Presicce

Artist

Luigi Presicce (Porto Cesareo, 1976) lives in Florence. He attended the Academy of Fine Arts in Lecce, deliberately choosing not to discuss his thesis. His work has been influenced by his independent studies. In 2007 he attended the Advanced Course in Visual Arts (CSAV) at the Antonio Ratti Foundation in Como with Joan Jonas. In 2008, as part of Artist in Residence, he participated in the workshop in Viafarini in Milan with Kim Jones. In Milan, in 2008, with Luca Francesconi and Valentina Suma, he founded Brownmagazine and later Brown Project Space, for which he is responsible for programming. In 2011 with Giusy Checola and Salvatore Baldi he founded Archiviazioni in Lecce (exercises of investigation and discussion on the contemporary South). In 2012 he took part in Artists in Residence at MACRO in Rome, extending his invitation to nine other artists (Laboratorio). Since 2010, with Luigi Negro, Emilio Fantin, Giancarlo Norese and Cesare Pietroiusti he has been involved in the Lu Cafaus

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Luigi Presicce (Porto Cesareo, 1976) lives in Florence. He attended the Academy of Fine Arts in Lecce, deliberately choosing not to discuss his thesis. His work has been influenced by his independent studies. In 2007 he attended the Advanced Course in Visual Arts (CSAV) at the Antonio Ratti Foundation in Como with Joan Jonas. In 2008, as part of Artist in Residence, he participated in the workshop in Viafarini in Milan with Kim Jones. In Milan, in 2008, with Luca Francesconi and Valentina Suma, he founded Brownmagazine and later Brown Project Space, for which he is responsible for programming. In 2011 with Giusy Checola and Salvatore Baldi he founded Archiviazioni in Lecce (exercises of investigation and discussion on the contemporary South). In 2012 he took part in Artists in Residence at MACRO in Rome, extending his invitation to nine other artists (Laboratorio). Since 2010, with Luigi Negro, Emilio Fantin, Giancarlo Norese and Cesare Pietroiusti he has been involved in the Lu Cafausu project that promotes La festa dei vivi (reflecting on death) and with which he was invited by AND AND to dOCUMENTA13, Kassel. Since 2016 he has been a founding member of the Lac o le Mon Foundation in San Cesario di Lecce. With Francesco Lauretta since 2017 he has been part of the Scuola di Santa Rosa, a free school of drawing en plein air based in Florence and New York. He has been selected for the 2018 Studio Program at Artists Allianc Inc, New York and TAD Residency at Monastero del Carmine, Bergamo. He conceived and curated in 2018 and 2019 the Symposium of Painting at the Lac o le Mon Foundation, a residence/platform focused on Italian painting of the last thirty years.

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Parola di Artista, Le Opere e i Giorni | Luigi Presicce, artist

With the column #LeOpereeiGiorni we invited artists, curators and intellectuals to share reflections on their work and the current moment.
Today we listen Luigi Presicce, artist

Parola di Artista, Le Opere e i Giorni
Luigi Presicce, artista
Parola di Artista, Le Opere e i Giorni | Luigi Presicce, artist

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Bendetta Manfriani

Artista visiva e cantante | Residenza d'Artista e Progetti

Bendetta Manfriani
Artista visiva e cantante
Bendetta Manfriani

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Parola di Artista, Le Opere e i Giorni | Benedetta Manfriani, visual artist and singer

With the column #LeOpereeiGiorni we invited artists, curators and intellectuals to share reflections on their work and the current moment.
Today we listen to Benedetta Manfriani, visual artist and singer

Parola di Artista, Le Opere e i Giorni
Benedetta Manfriani, artista visiva e cantante
Parola di Artista, Le Opere e i Giorni | Benedetta Manfriani, visual artist and singer

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Benedetta Manfriani su Mediterranea # Habitus/Ethos

Mediterranea # Habitus/Ethos
Installazione multimediale e performativa di Benedetta Manfriani
Sound design Agnese Banti
Performers Coro CONfusion.

Benedetta Manfriani Mediterranea # Habitus/Ethos
Artista visiva e cantante | Residenza d'artista e Progetti
Benedetta Manfriani su Mediterranea # Habitus/Ethos

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Benedetta Manfriani su Togli il tuo piede dalle nostre gole

Artista visiva e cantante | Residenza d'artista e Progetti

Benedetta Manfriani su Togli il tuo piede dalle nostre gole
Artista visiva e cantante | Residenza d'artista e Progetti
Benedetta Manfriani su Togli il tuo piede dalle nostre gole

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L'arte prende casa nelle scuole

Residenza d'artista nelle scuole

Le aule (non utilizzate) diventano atelier e gli artisti offrono laboratori gratuiti ai ragazzi
Il progetto ideato da MAD Murate Art District in collaborazione con l’Assessorato all’istruzione del Comune di Firenze e Regione Toscana, è partito per l’anno scolastico 2018/2019 all’Istituto comprensivo Oltrarno e all’Istituto comprensivo Poliziano. I primi due artisti coinvolti sono stati Rossella Liccione e Francesco Pellegrino

A novembre 2018 ha inaugurato un importante progetto pilota di collaborazione tra artisti del territorio e gli istituti scolastici fiorentini partendo da un progetto della Associazione MUS.E con l’Istituto Comprensivo Oltrarno (Dirigente prof.ssa Paola Salmoiraghi), promosso dal Comune di Firenze (Direzione Istruzione).

L’iniziativa ha visto le strutture scolastiche mettere a disposizione un’aula non utilizzata per accogliere un artista contemporaneo che lavora quotidianamente a scuola. L’artista ospitato, ha offerto un laboratorio gratuito


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Le aule (non utilizzate) diventano atelier e gli artisti offrono laboratori gratuiti ai ragazzi
Il progetto ideato da MAD Murate Art District in collaborazione con l’Assessorato all’istruzione del Comune di Firenze e Regione Toscana, è partito per l’anno scolastico 2018/2019 all’Istituto comprensivo Oltrarno e all’Istituto comprensivo Poliziano. I primi due artisti coinvolti sono stati Rossella Liccione e Francesco Pellegrino

A novembre 2018 ha inaugurato un importante progetto pilota di collaborazione tra artisti del territorio e gli istituti scolastici fiorentini partendo da un progetto della Associazione MUS.E con l’Istituto Comprensivo Oltrarno (Dirigente prof.ssa Paola Salmoiraghi), promosso dal Comune di Firenze (Direzione Istruzione).

L’iniziativa ha visto le strutture scolastiche mettere a disposizione un’aula non utilizzata per accogliere un artista contemporaneo che lavora quotidianamente a scuola. L’artista ospitato, ha offerto un laboratorio gratuito per gli studenti dell’Istituto coinvolgendo di settimana in settimana classi diverse. Il progetto intendeva creare una situazione virtuosa di scambio tra scuole e artisti. Le strutture scolastiche che hanno messo a disposizione aule non utilizzate come studi d’artista, hanno accolto l’artista selezionato ad abitare quotidianamente la scuola e offrire un laboratorio settimanale gratuito per gli studenti.

La condivisione di spazi e ambienti ha creato una relazione tra artista e “abitanti della scuola” siano essi alunni, personale docente, di segreteria o collaboratori scolastici, dando vita ad una piccola comunità sperimentale aperta ad esperienze laboratoriali altamente innovative. Tali esperienze laboratoriali sono state guidate, seguite e monitorate da Mus.e, che ha supportato e incoraggiato progetti inediti e sperimentali.

Durante l’anno scolastico 2019/2020 il progetto è stato implementato portando a cinque il numero delle scuole coinvolte. MAD ha proposto cinque diverse residenze:

Rossella Liccione presso l’Istituto Comprensivo Poliziano
Francesco Pellegrino presso l’Istituto Comprensivo Oltrarno
Fosca presso l’Istituto Comprensivo Pirandello
Casey Kaufmann e Alessandro Cassigoli presso L’Istituto Comprensivo Vespucci
Torrick Ablack, in arte Toxic presso la Scuola Secondaria di primo grado “Dino Compagni”

Il progetto è stato realizzato in collaborazione con l’Assessorato all’Istruzione del Comune di Firenze e Regione Toscana nell’ambito di Toscanaincontemporanea 2018 e Toscanaincontemporanea 2019, con il sostegno di Fondazione Cassa di Risparmio Firenze.

L'arte prende casa nelle scuole

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Toxic

Street artist

Nato nel Bronx nel 1965 da famiglia caraibica. Come molti altri ragazzi di quel quartiere turbolento, cercava di esprimere la sua rabbia giovanile attraverso una forma spontanea di affermazione d’identità: disegnando graffiti sui malconci muri di case tutte uguali, plumbee ed anonime o sui vagoni malandati e squallidi della metropolitana. Insieme ad alcuni dei suoi “colleghi” di maggior talento, viene notato e nel momento in cui so lancia il Graffitismo come forma d’arte a pieno titolo, Toxic è nel gruppo dei migliori. Compagno di strada di leggende dell’arte contemporanea come Basquiat, Haring, Rammelzee, A One ed altri, Toxic ha partecipato alla crescita di questa corrente artistica underground che dalle strade più povere della metropoli americana è poi approfata in alcune gallerie famose, transitando anche per la Factory di Andy Warhol, e in innumerevoli mostre museali. Toxic ha continuato a lavorare su tele (e muri), trasferendosi in Europa (Francia e Italia). Protago

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Nato nel Bronx nel 1965 da famiglia caraibica. Come molti altri ragazzi di quel quartiere turbolento, cercava di esprimere la sua rabbia giovanile attraverso una forma spontanea di affermazione d’identità: disegnando graffiti sui malconci muri di case tutte uguali, plumbee ed anonime o sui vagoni malandati e squallidi della metropolitana. Insieme ad alcuni dei suoi “colleghi” di maggior talento, viene notato e nel momento in cui so lancia il Graffitismo come forma d’arte a pieno titolo, Toxic è nel gruppo dei migliori. Compagno di strada di leggende dell’arte contemporanea come Basquiat, Haring, Rammelzee, A One ed altri, Toxic ha partecipato alla crescita di questa corrente artistica underground che dalle strade più povere della metropoli americana è poi approfata in alcune gallerie famose, transitando anche per la Factory di Andy Warhol, e in innumerevoli mostre museali. Toxic ha continuato a lavorare su tele (e muri), trasferendosi in Europa (Francia e Italia). Protagonista ormai di numerose mostre, attualmente Toxic vive e dipinge in Toscana.

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Rosa Jijón 

Artist

Rosa Jijón (born in Quito, Ecuador in 1968, based in Rome from 2000). She is Visual artist, activist, cultural mediator and Cultural Secretary of the IILA, ​​Italo-Latin American Institute. She was Director of the CAC, Centro de Arte Contemporaneo di Quito, Ecuador (2013-2015). She has been part of the project “Women’s Letters” (Cartas de Mujeres) UN Women, as artistic coordinator and documentary film maker and also of the “Sa’r san Project”, which involved through art children of the Roma community in Rome, Italy. Her artistic research is focused on several photographic projects and sociological research, relating to the situation of men and women immigrants in Italy. She represented Ecuador at 54 Venice Biennial (2011).

Rosa Jijón (born in Quito, Ecuador in 1968, based in Rome from 2000). She is Visual artist, activist, cultural mediator and Cultural Secretary of the IILA, ​​Italo-Latin American Institute. She was Director of the CAC, Centro de Arte Contemporaneo di Quito, Ecuador (2013-2015). She has been part of the project “Women’s Letters” (Cartas de Mujeres) UN Women, as artistic coordinator and documentary film maker and also of the “Sa’r san Project”, which involved through art children of the Roma community in Rome, Italy. Her artistic research is focused on several photographic projects and sociological research, relating to the situation of men and women immigrants in Italy. She represented Ecuador at 54 Venice Biennial (2011).

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Parola di Curatore, Le Opere e i Giorni | Rosa Jijón, artist

With the column #LeOpereeiGiorni we invited artists, curators and intellectuals to share reflections on their work and the current moment.
Today we listen to Rosa Jijón, artist

Parola di Curatore, Le Opere e i Giorni
Rosa Jijón, artistA
Parola di Curatore, Le Opere e i Giorni | Rosa Jijón, artist

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L'arte prende casa nelle scuole | Toxic

Residenza d'artista nelle scuole di Toxic

Firenze, da culla del Rinascimento a promotrice della street art, conferma nel tempo la sua vocazione all’arte in ogni sua forma ed espressione, offrendo anche una mappa on line in continuo aggiornamento. La Scuola Dino Compagni con l’opera di Toxic è stata parte di questo grande museo a cielo aperto.
La street art è rappresentazione della società contemporanea, è un linguaggio fatto di simboli e significati non sempre svelati ma che arriva diretta allo sguardo di chi la incontra, è’ racconto contemporaneo, storytelling in tempo reale. Un polo didattico e culturale completo, che si può immaginare come un microcosmo perfetto, nel quale ogni elemento costituisce parte integrante e fondamentale del tutto. Questa è la visione di Toxic espressa in VERITAS attraverso la rappresentazione dei 4 elementi acqua, fuoco, aria, terra, che costituiscono la composizione di ogni sostanza esistente. “è la prima scuola in città pensata e costruita con gli spazi e la funzionalità di un

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Firenze, da culla del Rinascimento a promotrice della street art, conferma nel tempo la sua vocazione all’arte in ogni sua forma ed espressione, offrendo anche una mappa on line in continuo aggiornamento. La Scuola Dino Compagni con l’opera di Toxic è stata parte di questo grande museo a cielo aperto.
La street art è rappresentazione della società contemporanea, è un linguaggio fatto di simboli e significati non sempre svelati ma che arriva diretta allo sguardo di chi la incontra, è’ racconto contemporaneo, storytelling in tempo reale. Un polo didattico e culturale completo, che si può immaginare come un microcosmo perfetto, nel quale ogni elemento costituisce parte integrante e fondamentale del tutto. Questa è la visione di Toxic espressa in VERITAS attraverso la rappresentazione dei 4 elementi acqua, fuoco, aria, terra, che costituiscono la composizione di ogni sostanza esistente. “è la prima scuola in città pensata e costruita con gli spazi e la funzionalità di un centro civico avanzato”.
La scuola secondo Plutarco non deve riempire le menti come un vaso, ma accendere il fuoco per il gusto della ricerca e l’amore della VERITÀ come potente mezzo per rendere l’uomo libero. Questo è stato il messaggio scelto da Toxic per la sua opera, VERITAS, che ha occupato circa 400 metri quadri di parete esterna della Dino Compagni.
Da sempre Toxic con la sua arte contribuisce attivamente a progetti di beneficenza e di valorizzazione artistica di spazi urbani come la nuova scuola di Campo di Marte.

L'arte prende casa nelle scuole | Toxic

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Rossella Liccione

Artista visivo

Rossella Liccione vive ed opera a Firenze presso il suo laboratorio artistico, collaborando con l’Accademia di Belle Arti di Firenze, affiancando i docenti nella Scuola di decorazione, dove ha conseguito il diploma Accademico di I livello in decorazione e successiva specializzazione di II livello in “Arti Visive e Discipline dello Spettacolo” ed un Master in Textile. L’Artista elabora un linguaggio di geometrie irregolari che sfruttano la luce e la trasparenza per esaltare l’intensità del colore.

Rossella Liccione vive ed opera a Firenze presso il suo laboratorio artistico, collaborando con l’Accademia di Belle Arti di Firenze, affiancando i docenti nella Scuola di decorazione, dove ha conseguito il diploma Accademico di I livello in decorazione e successiva specializzazione di II livello in “Arti Visive e Discipline dello Spettacolo” ed un Master in Textile. L’Artista elabora un linguaggio di geometrie irregolari che sfruttano la luce e la trasparenza per esaltare l’intensità del colore.

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L'arte prende casa nelle scuole | Rossella Liccione

Residenza d'artista nelle scuole di Rossella Liccione

Rossella Liccione durante la propria residenza d’artista a scuola ha lavorato con i ragazzi ed i docenti dell’Istituto Comprensivo Oltrarno durante l’anno scolastico 2018/2019 e presso l’Istituto Comprensivo Poliziano durante l’anno scolastico 2019/2020.

‘Emozione = Identità, è stato il titolo scelto per questo progetto di residenza d’artista. Vi è il tentativo, in questa esperienza, di riappropriarsi del proprio io, ovvero, io allievo emozionandomi comunico le diverse sensazioni, attraverso i colori le forme e le infinite combinazioni, interagendo con un materiale palpabile, facile da lavorare, come il pvc. Attraverso questo processo creativo, emerge il singolo “allievo” con le sue caratteristiche, la sua creatività, così da riconoscersi ed identificarsi attraverso tale espressione, per poter essere “se stessi” in mezzo al gruppo, per condividere il proprio elaborato, ed essere parte integrando del lavoro di squadra. I canali scelti per q

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Rossella Liccione durante la propria residenza d’artista a scuola ha lavorato con i ragazzi ed i docenti dell’Istituto Comprensivo Oltrarno durante l’anno scolastico 2018/2019 e presso l’Istituto Comprensivo Poliziano durante l’anno scolastico 2019/2020.

‘Emozione = Identità, è stato il titolo scelto per questo progetto di residenza d’artista. Vi è il tentativo, in questa esperienza, di riappropriarsi del proprio io, ovvero, io allievo emozionandomi comunico le diverse sensazioni, attraverso i colori le forme e le infinite combinazioni, interagendo con un materiale palpabile, facile da lavorare, come il pvc. Attraverso questo processo creativo, emerge il singolo “allievo” con le sue caratteristiche, la sua creatività, così da riconoscersi ed identificarsi attraverso tale espressione, per poter essere “se stessi” in mezzo al gruppo, per condividere il proprio elaborato, ed essere parte integrando del lavoro di squadra. I canali scelti per questa esperienza sono stati “i sensi”, punto focale di tutto il processo creativo, indipendenti dalle materie coinvolte per svolgere i laboratori con i ragazzi della scuola Machiavelli. La particolarità dell’esperienza è stata quella di lavorare con le diverse materie, così da allargare i punti di vista e comprendere che da una singola esperienza di emozioni, pensieri, il lavoro unico e personale di ogni allievo, apre a nuovi mondi. Un semplice elaborato di forme e colori può diventare una melodia, può esprimersi attraverso la poesia, combinare con le regole della matematica, esprimersi con un’altra lingua, etc…etc…. La sperimentazione di coinvolgere le diverse materie scolastiche, nell’attività creativa, ha dato risultati molto positivi. Semplicemente meraviglioso, lo stupore dei ragazzi nel vedere, che ciò di cui avevo esposto verbalmente all’inizio, di questa straordinaria esperienza, è stato possibile realizzarlo, e soprattutto che i principali attori erano loro. L’esperienza laboratoriale è cominciata ascoltando la musica, con gli occhi chiusi, per potersi emozionare, ed esprimere tale sensazione attraverso i colori e le sue combinazioni, creando svariate forme con il pvc, dando un nome o un titolo a ciascun elaborato. L’esperienza “si conclude” con la performance della “Campana della Vita”, gioco performativo, svolto nel giardino della scuola, dove ogni singolo allievo indossava degli auricolari, con gli occhi chiusi, e ascoltando la musica, doveva attraversare sette quadrati di diverso materiale, simulando il gioco della campana. In questo processo si attivano e prendono vita tutti i sensi: dall’udito al tatto alla vista, e inconsciamente, quando siamo in uno stato di pace interiore e serenità e gratificazione si attivano anche “l’olfatto e il gusto”, l’immaginazione, crea sogni, e ci porta in uno stato di sazietà, e dove l’aria che respiriamo ha il profumo della bellezza e dell’armonia’. Rossella Liccione

L'arte prende casa nelle scuole | Rossella Liccione

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Francesco Pellegrino

musician and visual artist

Francesco Pellegrino is a multimedia artist and musician; his works include electroacoustic music, performances and installations. As a musician he performs in electroacoustic concerts for various instruments (including sax, trumpet, clarinet and various objects) and live electronics; he plays in the electroacoustic trio3D3, with Maurizio Montini and Andrea Venturoli. As an artist he creates installations with a strong sound component, immersive environments, invitations to contemplation. His installations have been exhibited in Florence, Livorno, Stockholm, Mexico City, Chongquing and others.

Francesco Pellegrino is a multimedia artist and musician; his works include electroacoustic music, performances and installations. As a musician he performs in electroacoustic concerts for various instruments (including sax, trumpet, clarinet and various objects) and live electronics; he plays in the electroacoustic trio3D3, with Maurizio Montini and Andrea Venturoli. As an artist he creates installations with a strong sound component, immersive environments, invitations to contemplation. His installations have been exhibited in Florence, Livorno, Stockholm, Mexico City, Chongquing and others.

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Parola di Artista, Le Opere e i Giorni | Francesco Pellegrino, musician e Visual artist

With the column #LeOpereeiGiorni we invited artists, curators and intellectuals to share reflections on their work and the current moment.
Today we listen to Francesco Pellegrino, musician e Visual artist

Parola di Artista, Le Opere e i Giorni
Francesco Pellegrino, musicista e artista visivo
Parola di Artista, Le Opere e i Giorni | Francesco Pellegrino, musician e Visual artist

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Janine Gaëlle Dieudji

co-founder and director Black History Month Florence

Janine Gaëlle Dieudji is a bi-national French and Cameroonian graduate of Culture and International Relations from Lyon 3 University in France. She also holds a Master Degree in Political Science from Paris 2 Panthéon Assas University.

She’s been living in Florence, Italy, for the past six years, a city she has since fallen in love with. This is how Florence became home to her and the place where she started to build her career as an art professional. She considers herself as a ‘multi­local’ by believing that we belong to all the places we have lived in. Home is where the mind can create and feel rested at the same time. This is what the life journey is made for, exploring to become the person we decide to be.

Janine Gaëlle Dieudji is a bi-national French and Cameroonian graduate of Culture and International Relations from Lyon 3 University in France. She also holds a Master Degree in Political Science from Paris 2 Panthéon Assas University.

She’s been living in Florence, Italy, for the past six years, a city she has since fallen in love with. This is how Florence became home to her and the place where she started to build her career as an art professional. She considers herself as a ‘multi­local’ by believing that we belong to all the places we have lived in. Home is where the mind can create and feel rested at the same time. This is what the life journey is made for, exploring to become the person we decide to be.

Sporcarsi le mani per fare un lavoro pulito

Black History Month Florence 2020

An exhibition that examines the implementation of social obligations towards dirty work, the shortcomings of cultural assimilation, the silencing of histories and the politics of respectability.

The artists in the exhibition each draw upon experiences of a periods of permanence in Italy that pushes them to engage the cities of Rome, Umbertide, Milan and Florence as sites for cultural production with the need to engage history while not falling victim to it.

Activist Pape Diaw, in a 2013 interview spoke of “…sporcarsi le mani per fare un lavoro pulito “, literally getting our hands dirty to do a clean job. This contradiction is at the core of a social context where dirty work is engaged in to maintain a status governed by the politics of respectability and social policing.

The exhibition, curated by Black History Month Florence, as part of the 5th edition of BHMF, in collaboration with Villa Romana (Florence), Civitella Ranieri Foundation (Umbertide) and Galleria Continua (San Gim

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An exhibition that examines the implementation of social obligations towards dirty work, the shortcomings of cultural assimilation, the silencing of histories and the politics of respectability.

The artists in the exhibition each draw upon experiences of a periods of permanence in Italy that pushes them to engage the cities of Rome, Umbertide, Milan and Florence as sites for cultural production with the need to engage history while not falling victim to it.

Activist Pape Diaw, in a 2013 interview spoke of “…sporcarsi le mani per fare un lavoro pulito “, literally getting our hands dirty to do a clean job. This contradiction is at the core of a social context where dirty work is engaged in to maintain a status governed by the politics of respectability and social policing.

The exhibition, curated by Black History Month Florence, as part of the 5th edition of BHMF, in collaboration with Villa Romana (Florence), Civitella Ranieri Foundation (Umbertide) and Galleria Continua (San Gimignano), presents the work of 6 international artists who have used the Italian context as a place of artistic production. A series of transversal works leads to a reworking of stereotyped notions of Made in Italy that tend to exclude Afro-descendents, revealing colonial attitudes and inviting and breaking preconceptions.

An insistence on personal narratives as an override to the flattened projections of Blackness, the construction of bridges between a colonial past and a neo-colonial contemporary reality and the ethereality of monumentality all infuse these works with a meditation on the past as a marker of what’s to come.

Together they form a harmonic melody that is discordant with the prescribed, centralized, consumed narrative but finds just enough alignment to relay its power to enrich the age-old tune

Sporcarsi le mani per fare un lavoro pulito

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Sporcarsi le mani per fare un lavoro pulito

Black History Month Florence 2020

Sporcarsi le mani per fare un lavoro pulito

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M’barek Bouhchichi

Visual artist

Born in 1975, Akka, Morocco, he lives and works in Tahanaout next to Marrakech where he teaches art. Using painting, sculpture, drawing or even video, M’barek Bouhchichi develops his work through a tentative language grounded on the exploration of the limits between our internal discourse and its extension towards the outer world, the actual, the other. He places his works at the crossroad between the aesthetic and the social, exploring associated fields as possibilities for self-definition.

Recently, his work has been exhibited as a solo show Les mains noires (Kulte, Rabat, Morocco, 2016), as collective exhibition Documents bilingues (MUCEM, Marseille, France, 2017), as well as Le Maroc contemporain (Institut du Monde Arabe, Paris, France, 2014), Between walls (Le 18, Marrakech, Morocco, 2017).

Born in 1975, Akka, Morocco, he lives and works in Tahanaout next to Marrakech where he teaches art. Using painting, sculpture, drawing or even video, M’barek Bouhchichi develops his work through a tentative language grounded on the exploration of the limits between our internal discourse and its extension towards the outer world, the actual, the other. He places his works at the crossroad between the aesthetic and the social, exploring associated fields as possibilities for self-definition.

Recently, his work has been exhibited as a solo show Les mains noires (Kulte, Rabat, Morocco, 2016), as collective exhibition Documents bilingues (MUCEM, Marseille, France, 2017), as well as Le Maroc contemporain (Institut du Monde Arabe, Paris, France, 2014), Between walls (Le 18, Marrakech, Morocco, 2017).

M’barek Bouhchichi

Terre - Sporcarsi le mani per fare un lavoro pulito

M’barek Bouhchichi

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Adji Dieye

Photographer

Adji Dieye is an ItaloSenegalese photographer born in Milan in 1991. She graduated in New Technologies for Art at the Academy of Fine Arts of Brera in Milan. Over the past years she has been traveling between Milan and Dakar, focusing her research on the influence of advertisement in the African visual culture. Her work explores different facets of West African societies; the influence of advertising in the construction of a national identity and the syncretic spirituality that remains central to African communities.

Adji Dieye’s artistic practice pushes the boundaries of photography in an attempt to investigate the archetypes that constitute African visual cultures. In her research, the continent is never considered an end in itself; instead, it represents a bridge towards further investigations into broader social and geopolitical realities.

Adji Dieye is an ItaloSenegalese photographer born in Milan in 1991. She graduated in New Technologies for Art at the Academy of Fine Arts of Brera in Milan. Over the past years she has been traveling between Milan and Dakar, focusing her research on the influence of advertisement in the African visual culture. Her work explores different facets of West African societies; the influence of advertising in the construction of a national identity and the syncretic spirituality that remains central to African communities.

Adji Dieye’s artistic practice pushes the boundaries of photography in an attempt to investigate the archetypes that constitute African visual cultures. In her research, the continent is never considered an end in itself; instead, it represents a bridge towards further investigations into broader social and geopolitical realities.

Adji Dieye

Red fever - Sporcarsi le mani per fare un lavoro pulito

Sasha Huber

Photographer, video artist, performer

Sasha Huber (CH/FI) is a visual artist of Swiss-Haitian heritage, born in Zurich, Switzerland in 1975. She lives and works in Helsinki, Finland. Huber’s work is primarily concerned with the politics of memory and belonging, particularly in relation to colonial residue left in the environment. Sensitive to the subtle threads connecting history and the present, she uses and responds to archival material within a layered creative practice that encompasses performance-based interventions, video, photography, and collaborations. Huber is also claiming the compressed-air staple gun, aware of its symbolic significance as a weapon, while offering the potential to renegotiate unequal power dynamics. She is known for her artistic research contribution to the Demounting Louis Agassiz campaign, aiming at dismantling the glaciologist’s lesser-known but contentious racist heritage. This long-term project (since 2008) has been concerned with unearthing and redressing the little-known history

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Sasha Huber (CH/FI) is a visual artist of Swiss-Haitian heritage, born in Zurich, Switzerland in 1975. She lives and works in Helsinki, Finland. Huber’s work is primarily concerned with the politics of memory and belonging, particularly in relation to colonial residue left in the environment. Sensitive to the subtle threads connecting history and the present, she uses and responds to archival material within a layered creative practice that encompasses performance-based interventions, video, photography, and collaborations. Huber is also claiming the compressed-air staple gun, aware of its symbolic significance as a weapon, while offering the potential to renegotiate unequal power dynamics. She is known for her artistic research contribution to the Demounting Louis Agassiz campaign, aiming at dismantling the glaciologist’s lesser-known but contentious racist heritage. This long-term project (since 2008) has been concerned with unearthing and redressing the little-known history and cultural legacies of the Swiss-born naturalist and glaciologist Louis Agassiz (1807-1873), an influential proponent of “scientific” racism who advocated for segregation and “racial hygiene”. Huber has had solo exhibitions such as at the Hasselblad Foundation (Project Room) in Gothenburg and participated in numerous international exhibitions, including the 56th la Biennale di Venezia in 2015 (collateral exhibition: Frontier Reimagined), the 19th Biennale of Sydney in 2014, and in the 29th Biennial of São Paulo in 2010.

Sasha Huber

The Firsts-Edmonia Lewis - Sporcarsi le mani per fare un lavoro pulito

Delio Jasse

Photographer

Delio Jasse was born in 1980 in Luanda, Angola and lives and works in Milan. In his photographic work, he often interweaves found images with clues from past lives (found passport photos, family albums) to draw links between photography – in particular the concept of the ‘latent image’ – and memory.

Jasse is also known for experimenting with analogue photographic printing processes, including cyanotype, platinum and early printing processes such as ‘Van Dyke Brown’, as well as developing his own printing techniques.

Recent exhibitions include: MAXXI, Rome (2018); Villa Romana, Florence (2018); Biennale dell’immagine, Lugano (solo, 2017); Walther Collection, Neu-Ulm (2017); SAVVY Contemporary, Berlin (2017); Bamako Encounters, Bamako (2017); Lagos Biennial, Lagos (2017); Tiwani Contemporary, London (solo, 2016); Walther Collection Project Space, NY (2016); Dak’art Biennale international exhibition (2016); and the Angolan Pavilion, 56th Venice

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Delio Jasse was born in 1980 in Luanda, Angola and lives and works in Milan. In his photographic work, he often interweaves found images with clues from past lives (found passport photos, family albums) to draw links between photography – in particular the concept of the ‘latent image’ – and memory.

Jasse is also known for experimenting with analogue photographic printing processes, including cyanotype, platinum and early printing processes such as ‘Van Dyke Brown’, as well as developing his own printing techniques.

Recent exhibitions include: MAXXI, Rome (2018); Villa Romana, Florence (2018); Biennale dell’immagine, Lugano (solo, 2017); Walther Collection, Neu-Ulm (2017); SAVVY Contemporary, Berlin (2017); Bamako Encounters, Bamako (2017); Lagos Biennial, Lagos (2017); Tiwani Contemporary, London (solo, 2016); Walther Collection Project Space, NY (2016); Dak’art Biennale international exhibition (2016); and the Angolan Pavilion, 56th Venice Biennale (2015). He was one of three finalists in the BES Photo Prize (2014) and won the Iwalewa Art Award in 2015.

Delio Jasse

Pontus - Sporcarsi le mani per fare un lavoro pulito

Amelia Umuhire

Video artist, director

Amelia Umuhire, born 1991 in Kigali Rwanda, lives as an artist and filmmaker in Berlin. In 2015 she wrote and filmed her first web series, Polyglot, in which she follows young deracinated London- and Berlin-based Rwandese artists with her camera. The series has been shown at numerous festivals, including the Festival D’Angers, the Tribeca Film Festival and the Geneva International Film Festival, where it was named Best International Web Series in 2015. Her short film Mugabo is an experimental short film set in Kigali. It explores the question of how to return to one´s homeland and how to deal with the past. In 2017 it was awarded Best Experimental Film at the Blackstar Film Festival and is currently touring festivals in North America and amongst others screened at MOCA Los Angeles, the MCA Chicago, the Ann Arbor Film Festival and the Smithsonian African American Film Festival. In 2018 Amelia Umuhire produced the radio feature Vaterland for the German radio station Deutschlandfun

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Amelia Umuhire, born 1991 in Kigali Rwanda, lives as an artist and filmmaker in Berlin. In 2015 she wrote and filmed her first web series, Polyglot, in which she follows young deracinated London- and Berlin-based Rwandese artists with her camera. The series has been shown at numerous festivals, including the Festival D’Angers, the Tribeca Film Festival and the Geneva International Film Festival, where it was named Best International Web Series in 2015. Her short film Mugabo is an experimental short film set in Kigali. It explores the question of how to return to one´s homeland and how to deal with the past. In 2017 it was awarded Best Experimental Film at the Blackstar Film Festival and is currently touring festivals in North America and amongst others screened at MOCA Los Angeles, the MCA Chicago, the Ann Arbor Film Festival and the Smithsonian African American Film Festival. In 2018 Amelia Umuhire produced the radio feature Vaterland for the German radio station Deutschlandfunk Kultur. It tells the story of her father Innocent Seminega as a young student, teacher, husband and father until his death at the hands of the Hutu extremists. In February this year Umuhire had her first solo exhibition at Decad Berlin.

Amelia Umuhire

Untitled - Sporcarsi le mani per fare un lavoro pulito

Amelia Umuhire

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Nari Ward

Fotografo, video artista, scultore

Nari Ward (nato nel 1963 a St. Andrew, Giamaica; vive e lavora a New York) è noto per le sue installazioni scultoree composte da materiale di scarto trovato e raccolto nel suo quartiere. Ha riutilizzato oggetti come passeggini, carrelli della spesa, bottiglie, porte, televisori, registratori di cassa e lacci delle scarpe.

Ward ricontestualizza questi oggetti trovati in giustapposizioni stimolanti che creano significati metaforici complessi per affrontare questioni sociali e politiche che circondano la razza, la povertà e la cultura del consumo. Lascia intenzionalmente aperto il significato del suo lavoro, consentendo allo spettatore di fornire la propria interpretazione.

Mostre personali del suo lavoro sono state organizzate presso l’Institute of Contemporary Art, Boston (2017); SocratesSculpture Park, New York (2017); The Barnes Foundation, Philadelphia (2016); Pérez Art Museum Miami (2015); Savannah College of Art e Design Museum of Art, Savannah, GA (2015); Museo d’ar

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Nari Ward (nato nel 1963 a St. Andrew, Giamaica; vive e lavora a New York) è noto per le sue installazioni scultoree composte da materiale di scarto trovato e raccolto nel suo quartiere. Ha riutilizzato oggetti come passeggini, carrelli della spesa, bottiglie, porte, televisori, registratori di cassa e lacci delle scarpe.

Ward ricontestualizza questi oggetti trovati in giustapposizioni stimolanti che creano significati metaforici complessi per affrontare questioni sociali e politiche che circondano la razza, la povertà e la cultura del consumo. Lascia intenzionalmente aperto il significato del suo lavoro, consentendo allo spettatore di fornire la propria interpretazione.

Mostre personali del suo lavoro sono state organizzate presso l’Institute of Contemporary Art, Boston (2017); SocratesSculpture Park, New York (2017); The Barnes Foundation, Philadelphia (2016); Pérez Art Museum Miami (2015); Savannah College of Art e Design Museum of Art, Savannah, GA (2015); Museo d’arte della Louisiana State University, Baton Rouge, LA (2014); The Fabric Workshop and Museum, Philadelphia (2011); Massachusetts Museum of Contemporary Art, North Adams, MA (2011); Isabella Stewart Gardner Museum, Boston (2002); e Walker Art Center, Minneapolis, MN (2001, 2000).

Nari Ward

Immigrist Male Figure Wall Tryptich - Sporcarsi le mani per fare un lavoro pulito

Justin Randolph Thompson su BHMF 2020

Artista e Direttore Black History Month Florence | Residenza d'artista e Mostra 2020

Justin Randolph Thompson
Artista e Direttore Black History Month Florence | Residenza d'artista e Mostra 2020
Justin Randolph Thompson su BHMF 2020

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Sporcarsi le mani per fare un lavoro pulito BHMF 2019 Introduction by the curator

Justin Randolph Thompson, co-founder and director Black History Month Florence

Sporcarsi le mani per fare un lavoro pulito BHMF 2020 Introduction
Sporcarsi le mani per fare un lavoro pulito BHMF 2019 Introduction by the curator

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Sporcarsi le mani per fare un lavoro pulito BHMF 2019 Concept by the curator

Justin Randolph Thompson, co-founder and director Black History Month Florence

Justin Randolph Thompson, co-founder and director Black History Month Florence
Sporcarsi le mani per fare un lavoro pulito BHMF 2019 Concept by the curator

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Sporcarsi le mani per fare un lavoro pulito BHMF 2019 Justin Randolph Thompson about Amelia Umuhire

Justin Randolph Thompson, co-founder and director Black History Month Florence

Justin Randolph Thompson su Amelia Umuhire
Sporcarsi le mani per fare un lavoro pulito BHMF 2019 Justin Randolph Thompson about Amelia Umuhire

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Sporcarsi le mani per fare un lavoro pulito BHMF 2019 Justin Randolph Thompson about Sasha Huber

Justin Randolph Thompson, co-founder and director Black History Month Florence

Justin Randolph Thompson su Sasha Huber
Sporcarsi le mani per fare un lavoro pulito BHMF 2019 Justin Randolph Thompson about Sasha Huber

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Sporcarsi le mani per fare un lavoro pulito BHMF 2020

Janine Gaëlle Dieudji su M'Barek Bouhchichi

Janine Gaëlle Dieudji su M'Barek Bouhchichi
Sporcarsi le mani per fare un lavoro pulito BHMF 2020

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Sporcarsi le mani per fare un lavoro pulito BHMF 2019

Janine Gaelle Dieudji about Adji Dieye

Janine Gaelle Dieudji su Adji Dieye
Sporcarsi le mani per fare un lavoro pulito BHMF 2019

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Sporcarsi le mani per fare un lavoro pulito BHMF 2019

Janine Gaelle Dieudji about Delio Jasse

Janine Gaelle Dieudji su Delio Jasse
Sporcarsi le mani per fare un lavoro pulito BHMF 2019

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Piero Mottola

Florentine Voices

Piero Mottola is an experimental artist and musician, professor of Sound Design and Ornamental Plastic at the Accademia di Belle Arti of Rome. Director of the LER Laboratorio di Estetica del Rumore, He formed himeself within the Eventualist Theory at the Centro Studi Jartrakor in Rome, where in 1988 he held his first solo exhibition with interactive experiments “Improvement-Degradation” and “Bello-Brutto”. He investigates the subjectivity and free interpretation of the user to visual and sound structures through experiments and measurements. He has been invited by several international universities to give lectures and to carry out master’s degrees on the relationship between noise and emotion. The results of these researches have been published in the book Passeggiate emozionali, dal rumore alla Musica Relazionale (Emotional Walks, from noise to Relational Music), presented in several Italian and international universities and in the cultural transmissions of the Italian rad

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Piero Mottola is an experimental artist and musician, professor of Sound Design and Ornamental Plastic at the Accademia di Belle Arti of Rome. Director of the LER Laboratorio di Estetica del Rumore, He formed himeself within the Eventualist Theory at the Centro Studi Jartrakor in Rome, where in 1988 he held his first solo exhibition with interactive experiments “Improvement-Degradation” and “Bello-Brutto”. He investigates the subjectivity and free interpretation of the user to visual and sound structures through experiments and measurements. He has been invited by several international universities to give lectures and to carry out master’s degrees on the relationship between noise and emotion. The results of these researches have been published in the book Passeggiate emozionali, dal rumore alla Musica Relazionale (Emotional Walks, from noise to Relational Music), presented in several Italian and international universities and in the cultural transmissions of the Italian radio and television, Rai Uno, Rai Radio Tre and Radio Cultura Argentina. These researches have also been presented in several national and international museums: MAMBA, Museo Arte Moderno, Buenos Aires (2013); Galleria Nazionale d’Arte Moderna, Rome (2013); MACRO, Museo d’arte contemporanea, Rome (2015, 2017; 2018); Museo Hermann Nitsch-Fondazione Morra, Napoli (2009, 2015, 2019); MAC Museo d’arte contemporanea, Santiago del Cile (2016); Beijing Institute of Graphic Communication (2017); Istituto di Cultura Italiano, Pechino (2017); Museo della Certosa di S. Lucia, Rome (2018); Museo della Certosa di S. Martino, Castel S. Elmo, Naples (2018, 2019); CCK Kirchner Cultural Center, Buenos Aires (2019); Istituto Italiano di Cultura, Buenos Aires (2019).

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Florentine Voices

Piero Mottola

The work, composed by the artist following an investigation into the emotional reactions of the Florentine community, returns a composite and fluctuating emotional portrait of the City.

The “Voices” project is an itinerant, in progress and experimental research aimed at investigating the evocative and musical potential of the voice of ordinary people, in different geographical areas of the planet.

The research, so far carried out at Valencia, Lisbon, Tenerife, Rome, Santiago de Chile, Leipzig, Warsaw, Havana, Buenos Aires, Wuhan, Shanghai, Beijing, now reaches Florence. To the citizens participating in the experiment, convened with a public call, were asked to associate ten emotional parameters (fear, anguish, agitation, anger, sadness, astonishment, excitement, pleasure, joy, calm) with sounds and noises produced exclusively with the voice and the body. The hundreds of sound fragments obtained were catalogued and twisted into compositions created using the Acoustic Autocorrelator,

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The work, composed by the artist following an investigation into the emotional reactions of the Florentine community, returns a composite and fluctuating emotional portrait of the City.

The “Voices” project is an itinerant, in progress and experimental research aimed at investigating the evocative and musical potential of the voice of ordinary people, in different geographical areas of the planet.

The research, so far carried out at Valencia, Lisbon, Tenerife, Rome, Santiago de Chile, Leipzig, Warsaw, Havana, Buenos Aires, Wuhan, Shanghai, Beijing, now reaches Florence. To the citizens participating in the experiment, convened with a public call, were asked to associate ten emotional parameters (fear, anguish, agitation, anger, sadness, astonishment, excitement, pleasure, joy, calm) with sounds and noises produced exclusively with the voice and the body. The hundreds of sound fragments obtained were catalogued and twisted into compositions created using the Acoustic Autocorrelator, a device capable of create random algorithms of emotional-acoustic walks for acoustic environments.

The three cells on the first floor present an excursus of  Mottola’s work which takes us back to the origins of the experiments of the 1980s and the early 1990s about the concept of “Improvement, Worsening” aesthetic and the categories of “Beautiful, Ugly”, in which the artist reflected on measuring the creative process with relational practices through the direct involvement of the public.

The chromatic exuberance of the most recent works, exhibited in the last cell, reveals the research process of the artist, aimed at restore visual scores responding to the search for aesthetic enjoyment expressed by the user, capable of stimulating the construction of an incentive work to arouse different and profound interpretations on the emotional level.

 

Florentine Voices

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Florentine Voices, Piero Mottola

Florentine voices, continues in Florence the itinerant and in progress experimental research conducted by the artist Piero Mottola aimed at investigating the evocative and musical potential of the voice of ordinary people in different geographical areas of the planet. 

Florentine Voices, Piero Mottola

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Florentine Voices

Piero Mottola

Florentine Voices | Piero Mottola
Florentine Voices

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China Project 2019

China Project 2019 - Progetto RIVA

Il progetto di residenze di artisti cinesi in Italia si è rinnovato nel 2019 con due nuovi artisti selezionati per un periodo di residenza che è andato dal 7 ottobre al 1 novembre 2019 e che rientrava nel Progetto RIVA curato e diretto da Valentina Gensini, in collaborazione con Zhong Art International, realizzato in co-progettazione e con il contributo di Sensi Contemporanei nell’ambito dell’accordo di programma quadro tra Regione Toscana, Mibac Direzione Generale Cinema e Agenzia per la Coesione Territoriale.

I due artisti selezionati nel 2019 sono stati Xiang Zhang e Yanrong Liu.
È stato possibile visitare gli artisti nel loro studio 30 e il 31 ottobre 2019 e seguire così il lavoro che hanno portato avanti durante il loro periodo di residenza, con la possibilità di conversare con loro anche grazie alla collaborazione di Zhong Art International.


Il progetto di residenze di artisti cinesi in Italia si è rinnovato nel 2019 con due nuovi artisti selezionati per un periodo di residenza che è andato dal 7 ottobre al 1 novembre 2019 e che rientrava nel Progetto RIVA curato e diretto da Valentina Gensini, in collaborazione con Zhong Art International, realizzato in co-progettazione e con il contributo di Sensi Contemporanei nell’ambito dell’accordo di programma quadro tra Regione Toscana, Mibac Direzione Generale Cinema e Agenzia per la Coesione Territoriale.

I due artisti selezionati nel 2019 sono stati Xiang Zhang e Yanrong Liu.
È stato possibile visitare gli artisti nel loro studio 30 e il 31 ottobre 2019 e seguire così il lavoro che hanno portato avanti durante il loro periodo di residenza, con la possibilità di conversare con loro anche grazie alla collaborazione di Zhong Art International.

China Project 2019

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Xiang Zhang

Scultore

Zhang Xiang. Nasce nel 1982 a Dazhou, provincia di Si Chuan. Si è diplomato in Scultura all’Accademia di Belle Arti di Sichuan con un Master in Scultura nel 2010, ha studiato come Visiting Scholar al Academy of Art liberty vision of The Hague. Attualmente è docente di Scultura dell’Accademia di Belle Arti di Sichuan, Direttore del cross-media studio, membro della Chongqing Sculpture Society e anche corrispondente speciale della Chinese Sculpture Society. Le sue opere sono state collezionate dal China Sculpture Society, dal Hubei Museum of Art, dal The Gallery Magazine e anche collezionisti privati.

Zhang Xiang. Nasce nel 1982 a Dazhou, provincia di Si Chuan. Si è diplomato in Scultura all’Accademia di Belle Arti di Sichuan con un Master in Scultura nel 2010, ha studiato come Visiting Scholar al Academy of Art liberty vision of The Hague. Attualmente è docente di Scultura dell’Accademia di Belle Arti di Sichuan, Direttore del cross-media studio, membro della Chongqing Sculpture Society e anche corrispondente speciale della Chinese Sculpture Society. Le sue opere sono state collezionate dal China Sculpture Society, dal Hubei Museum of Art, dal The Gallery Magazine e anche collezionisti privati.

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China Project 2019 - Xiang Zhang

China Project 2019 - Progetto RIVA

China Project 2019 - Xiang Zhang

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Yanrong Liu

Pittrice

Nasce nel 1987 a Hangzhou, provincia di Zhejiang. Attualmente lavora e vive a Chongqing e Hangzhou, è docente nel Dipartimento di Grafica, dell’Accademia di Belle Arti di Sichuan. La direzione della sua ricerca artistica si concentra su “tempo e spazio”, con “oggetti” e “luce” come materie principali. Attua modalità di azione artistica diverse dalla mostra attraverso la scrittura e la pittura.  

Nasce nel 1987 a Hangzhou, provincia di Zhejiang. Attualmente lavora e vive a Chongqing e Hangzhou, è docente nel Dipartimento di Grafica, dell’Accademia di Belle Arti di Sichuan. La direzione della sua ricerca artistica si concentra su “tempo e spazio”, con “oggetti” e “luce” come materie principali. Attua modalità di azione artistica diverse dalla mostra attraverso la scrittura e la pittura.  

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China Project 2019 - Yanrong Liu

China Project - Progetto RIVA

China Project 2019 - Yanrong Liu

This content is avaiable only in this archive.

6a edizione del Firenze Film Corti Festival

Dal 30 maggio al 2 giugno e dal 16 al 19 ottobre a Murate Art Ditrict si svolgerà l’ormai tradizionale e sempre più atteso secondo appuntamento con il FilmCorti Festival a Firenze.
Giunto alla sua 6° edizione, e forte dei grandi successi delle precedenti edizioni, il Firenze FilmCorti Festival riapre al pubblico nella seconda sessione dedicata ai cartoni animati e film per le scuole, alle sceneggiature e ai film innovativi e sperimentali.

Dal 30 maggio al 2 giugno si svolgerà l’ormai tradizionale e sempre più atteso appuntamento con i film corti a Firenze.

Giunto alla sua 6° edizione, e forte dei grandi successi delle precedenti edizioni, il Firenze FilmCorti Festival si aprirà al pubblico giovedì 30 maggio mattina per proseguire fino a domenica 2 giugno, quando in serata saranno premiati i migliori film in concorso, prescelti dalla Giuria presieduta dal regista Mimmo Calopresti, su 700 film iscritti da tutto il mondo. Il primo elemento di novità è costituito dalla istituzione dello Spazio Giovani: una sezione inedita costruita in partnership con Murate Art District e Accademia di Belle Arti di Firenze, in cui, durante le 4 mattinate del Festival, giovani registi provenienti dall’Accademia e dalle scuole di cinema, potranno mostrare le loro opere al pubblico.

Altro elemento di novità assoluta è la proiezione del nuovo straordinario docufilm “Cantiere 2 agosto. Cronaca di una strage”, con la presenza

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Dal 30 maggio al 2 giugno si svolgerà l’ormai tradizionale e sempre più atteso appuntamento con i film corti a Firenze.

Giunto alla sua 6° edizione, e forte dei grandi successi delle precedenti edizioni, il Firenze FilmCorti Festival si aprirà al pubblico giovedì 30 maggio mattina per proseguire fino a domenica 2 giugno, quando in serata saranno premiati i migliori film in concorso, prescelti dalla Giuria presieduta dal regista Mimmo Calopresti, su 700 film iscritti da tutto il mondo. Il primo elemento di novità è costituito dalla istituzione dello Spazio Giovani: una sezione inedita costruita in partnership con Murate Art District e Accademia di Belle Arti di Firenze, in cui, durante le 4 mattinate del Festival, giovani registi provenienti dall’Accademia e dalle scuole di cinema, potranno mostrare le loro opere al pubblico.

Altro elemento di novità assoluta è la proiezione del nuovo straordinario docufilm “Cantiere 2 agosto. Cronaca di una strage”, con la presenza degli autori e delle più importanti cariche istituzionali del Consiglio Regionale dell’Emilia Romagna e della Regione Toscana.
Nel corso della prima serata, sarà consegnato ad Angelo Tantaro, vice Presidente del Festival, il prestigioso premio “Tatiana Pavlova 2019”  per i meriti della rivista Diari di cineclub, di cui è Direttore.
Il Festival sarà un’occasione importante per incontri, dibattiti, visioni con ospiti di grande prestigio, da David Riondino, ai registi Matteo Belli, Paolo Sassanelli, Antonietta De Lillo, che presenteranno le loro opere più recenti in prima visione in Toscana e che saranno introdotti dalla nuova Direttrice Artistica del Festival, l’attrice e regista Cristina Puccinelli 

PROGRAMMA DEGLI EVENTI SPECIALI MAGGIO

  Giovedì 30 maggio
15.00  Incontro su “Cinema e altre arti visuali” con la partecipazione di Valentina Gensini, Direttrice Artistica de Murate Art District, Claudio Rocca Direttore dell’Accademia di Belle Arti di Firenze Marino Demata Presidente del Firenze FilmCorti Festival

17.30 Panel CNA cinema e audiovisivo, Toscana e CNA agroalimentare Dialogo tra settori per la valorizzazione del territorio 20.00 Consegna Premio Nazionale “Tatiana Pavlova 2019” a Diari di Cineclub. Riconoscimento Nazionale per la Divulgazione dell’Arte Contemporanea

20.30 David Riondino presenta  “Corti di carta. Digressione su sonetti, strambotti e affini”. 

Venerdì 31 maggio  
18.30 “Voci-Volto” incontro col regista Matteo Belli sulla voce dell’attore.

20.30 Proiezione del Docufilm “Cantiere 2 agosto. Cronaca di una strage” alla presenza di Simonetta Saliera, Presidente dell’Assemblea legislativa Emilia-Romagna, Matteo Belli, regista, Cinzia Venturoli, storica, Paolo Bolognesi, Presidente dell’Associazione  Parenti delle vittime Eugenio Giani, Presidente del Consiglio della Regione Toscana, Stefania Ippoliti Presidente Italia Film Commission, Valentina  Gensini, Direttrice Artistica de Le Murate. Progetti Arte Contemporanea.    

Sabato 1 giugno
18.30 Proiezione de film “Il signor Rotpeter” di Antonietta De Lillo con la partecipazione della regista

20.30     Proiezion del film lungometraggio “Due piccoli italiani” di Paolo Sassanelli con la partecipazione del regista 20.31

Domenica 2 giugno
17.00 Incontro con il Festival di Edimburgo, proiezione dei film fuori concorso dal Festival di Edimburgo

18.00 Incontro col regista Mimmo Calopresti, Presidente della Giuria del 6° Firenze FilmCorti Festival

20.00 Sul palco, in Piazza de Le Murate, la Cerimonia delle Premiazioni e a seguire spettacolo musicale con il gruppo Nuove Trasparenze.

La giuria che ha selezionato i film in vista della partecipazione alla sessione autunnale è stata composta da Paola Dei, scrittrice e psicoterapeuta, Oronzo Luciano Vittorio Ricci, pittore, Ruben Chaviano, violinista, Vittoria Angela Romei, pittrice. Inoltre l’architetta e scrittrice Alessandra Cotoloni, la scrittrice Giulia Zoppi, il poli strumentista Stefano Macrillò, lo scrittore e critico letterario Francesco Ricci e un nome del cinema come Giacomo De Bastiani. Saranno presenti il 18 ottobre durante e premiazioni della sezione dei film sperimentali.

Due le menzioni speciali che il Festival ha deciso di assegnare in modo eccezionale in questa edizione. La prima per i Video d’Arte viene assegnata a Nicola Raffaetà per il cortometraggio Equilibrio e la seconda lezione speciale per il Book Trailer a Francesco Grifoni per I signori del silenzio. 

Il terzo posto del podio è di  In brief di Carlo Perissi
L’autore riesce a trattare il tema grandioso dell’evoluzione attraverso le linee essenziali di un poetico sguardo, che da una parte narra il macrocosmico ciclo di vita dell’universo e dall’altra affianca il microcosmico battito di ciglia dell’esistenza simbolica delle tre generazioni, battito che ha in se il senso dell’amore. Il linguaggio ha potuto contare su una fotografia emblematica e un commento musicale che ha saputo presentare la tradizione e l’innovazione attraverso l’utilizzo della sonorità antica del santur, strumento di origine mediorientale, affiancato da un uso non invadente dei suoni tecnologici.”

Il secondo premio va a Antonio La Camera, presente assieme a Francesco Sottile, che ha interpretato il ruolo del protagonista centrale e creato le musiche del film, per Nel ritrovo del silenzio.
La struttura (quiete-rottura delle quiete- ricomposizione della quiete), il ritmo (ora pausato, ora vertiginoso), la potenza espressionistica delle immagini (ad esempio il sangue che dai timpani scende sul collo, ad esempio l’indistinta confusione del centro cittadino), la musica che asseconda alla perfezione la narrazione visiva. Tutto, ma proprio tutto, concorre a fare di Nel ritrovo del silenzio, una intensa e riuscitissima testimonianza artistica della condizione dell’uomo moderno.

primo classificato, il coreano Takeshi Kushida, per il suo lavoro Koe/Voice.
La giuria ha ritenuto infatti di assegnare il primo premio assoluto al film Koe/Voice “perché il regista ha dato vita a un film delicato che colpisce per le sue immagini che ti entrano dentro e ti inchiodano davanti a quelle sensazioni di musicalità. Un inno al valore dell’ascolto, al ritrovare un silenzio interiore inteso nella sua accezione più bella e ampia. La necessità di ritrovare se stessi dentro un mondo caotico, colmo di rumore e veloce. Ritrovare la piacevolezza dell’ascolto di se stessi.”

 

Il programma degli incontri:

16 ottobre ore 10.00 – 15.00
Animazione e film delle scuole

Animazione. In concorso:
To my children – Shwan Dler Qaradaki – min. 20,00
Dodici minuti di pioggia – IT – Fabio Teriaca – min. 05,58
Il bisonte – IT – Diego Piacenti – min. 03,05
Paper Kite – Bulg. – min. 08,00
SugarLove – IT – Laura Luchetti – min. 09,00
The nap – IT – Adolfo di Molfetta –min. 08,15
Time in the forest – Mex – Juan Paulin – min. 06,33

Film realizzati dalle scuole:
Cambia_menti – Secondaria di primo gr. Dante Alighieri – Modugno (Bari) – min.10,00
Enea e Didone – Primaria Rodari – Cecina (LI) – min. 19,58
La nascita di Roma – Primaria Rodari Cecina (Li) – min. 20,00
Elia & il capo – IT Anel Syzdykova – FRame School – min. 04,14

Film dal Festival Animattikon di Cipro (Fuori concorso)
Disappear – NL – Hndrikus De Vaan – min. 04,07
May be it’s me – Cyp. – Dimiytri Simou – min. 06,10

Proclamazione dei vincitori e premiazioni

17 ottobre ore 15.00 – 20.00
Programma Sceneggiature finaliste

Illustrazione delle sceneggiature e Intervista con gli autori:

Don – IT – Alberto Battistutti
Ferretti brothers vs Real Madrid – IT – Roberto Costantini e Luca Labarile
From the face of an angel – USA – Frank Vespe
Ascolta come batte forte il tuo cuore – IT – Giuseppe Rasi
Hisack Henderson – IT – Fabio Quatela
Al termine della notte – IT – Daniel Coffaro
La matematica dell’eco – IT – Davide Lo Schiavo
La strada segnata – IT – Michele Iovine
Brennhausen – USA – Diana Cignoni
Farfallina bella e bianca – IT – Chiara Rossi
Come l’impronta di un quadro – IT – Lidia Popolano
Cronaca nera per le muse – IT – Alma Carrano
Anatomy of a Crime Scene – USA – Candice Delevante
Il prezzo – IT – Raffaele Putorti
Italians without a cause – IT – Lucia Braccalenti
Koko – Usa – J Scott Vajner & Anjani K Pandey
La venditrice di stoffe – IT – Daniela Giordano
Made in America – USA – B K (Anonimo)
Ogni cosa deve finire – IT – Matteo Mantero
House of Jade – Usa – Tomek P. Chenczke)
Mind the gap – IT – Gianluca Papadia
No man’s land – UK – Tom Canning
Rabbit still hiding – Tur – Hakan Ünal
Sabato – IT – Cristina Toccafondi
Say nothing – Usa – Jon Freda
Supermarket love story – IT – Mark Petrasso
The butterfly – IT – Lorenzo Breschi
The Haunting of Reactor Five – USA – Robert Cox

Ore 19.30 – Proclamazione dei vincitori e premiazioni

18 ottobre ore 15.00 – 20:00
Programma Film Innovativi e Sperimentali

ore 15.00 – Proiezioni Film in concorso:

Connecting… – Ger. – Stefan Ghedina – min. 17,28
A bad habit – IT – Luca D’Onofrio – min. 04,52
Before you go – IT – Laura Pellegrini – min. 03,45
I signori del silenzio – IT – Francesco Grifoni – min. 3,51
In brief – IT – Carlo Petrassi – min. 06,32
Kaleidoscape – IT – Daniele Pauletto – min. 06,08
Koe/Voice – Jap. – Takeshi Kushida – 09,00
Firstly T – Pol. – Jacek Jędrzejczak – min. 04,12
Hate dialogues – Ger. – Rupert Jorg – min. 04,33
Equilibrio – IT – Nicola Raffaetà – min. 09,43

Ore 16.30 – Proiezione fuori concorso
Il sole si riprese il giorno – IT – Alessandro Fiero – min. 17,01

Ore 17.00 – Proiezioni Film in concorso
Memoria Data – Usa/IT – Lori Felker – min. 12,00
Merry go round – UKR – Ihor Podolchak – min.
Patient 1642 – Usa – Tommaso Frangini – min. 04,45
Phosphens – Bel. – Frank Ravel – min. 05,00
Portrait – Usa – Robert Peche – min. 0,52
Le porte – IT – Antonio D’Aquila – min. 15,25
Medium rare – IT – Luca Cioci – min. 04,35
Nel ritrovo del silenzio – IT – Antonio La Camera – min. 06.05
Transience – Colum. – David Barrera – min. 27,00
Orpheus and Eurydice – IT – Lorenzo Breschi – min. 01.00

Ore 19.30 Proclamazione dei vincitori . Premiazioni.

6a edizione del Firenze Film Corti Festival

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Gabriele Dini

Scultore e artista installativo

Nato a Viareggio, Gabriele Dini dopo aver concluso gli studi presso il dipartimento di Nuove Tecnologie dell’Arte dell’Accademia di Belle Arti di Carrara, segue un biennio di specializzazione presso il Royal College of Art di Londra. Tra il 2017 e il 2019 ha partecipato a quattro residenze d’artista, la prima nel 2017 presso il MAC Museum of Contemporary Art, Istituto Italiano di Cultura, in Cile; nel 2018 viene ospitato dal Siena Art Institute, poi la Fondazione Pistoletto di Biella e infine le Murate Art District e il Sichuan Arti Institute nel 2019. Molte le sue esposizioni, tra le quali alcune personali, a palazzo Ridolfi a Firenze nel 2019, con Iconosmash, ad Asciano in provincia di Siena l’anno seguente, presso il Museo Archeologico Palazzo Corboli, con dormancy; infine a Carrara nel 2017, la Tekè Gallery ospita Augmented fragility. Nel 2014 vince il Thames Barrier Award a Londra e nello stesso anno riceve l’Augustus Martin Award presso il Royal College of Art di Londr

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Nato a Viareggio, Gabriele Dini dopo aver concluso gli studi presso il dipartimento di Nuove Tecnologie dell’Arte dell’Accademia di Belle Arti di Carrara, segue un biennio di specializzazione presso il Royal College of Art di Londra. Tra il 2017 e il 2019 ha partecipato a quattro residenze d’artista, la prima nel 2017 presso il MAC Museum of Contemporary Art, Istituto Italiano di Cultura, in Cile; nel 2018 viene ospitato dal Siena Art Institute, poi la Fondazione Pistoletto di Biella e infine le Murate Art District e il Sichuan Arti Institute nel 2019. Molte le sue esposizioni, tra le quali alcune personali, a palazzo Ridolfi a Firenze nel 2019, con Iconosmash, ad Asciano in provincia di Siena l’anno seguente, presso il Museo Archeologico Palazzo Corboli, con dormancy; infine a Carrara nel 2017, la Tekè Gallery ospita Augmented fragility. Nel 2014 vince il Thames Barrier Award a Londra e nello stesso anno riceve l’Augustus Martin Award presso il Royal College of Art di Londra.

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China Project 2019 - Every fragment is a gift

Residenza d'artista in Cina di Gabriele Dini

In antropologia, l’idea che i valori sociali di una civiltà siano imbevuti nei materiali è ben nota e consolidata da ampie ricerche su scambi e regali come parte di rituali del passato. I banchetti etruschi cosi’ come i protocolli descritti nei primi testi cinesi ci aiutano a comprendere come le cose trascendano la loro funzione dall’ utile al simbolico. Cosi’, quando intatti e quando in detriti, i frammenti degli oggetti in ceramica arrivano fino a noi come un dono fatto da mondi che vengono da lontano su cui continuare a intessere storie fatte di associazioni, classificazioni tipologiche, narrative personali, connessioni storiografiche.

Il progetto artistico e’ stato finalizzato alla produzione di una serie di opere ispirate dalla civilta’ etrusca e quella cinese, che si formano su credenze e tradizioni legate alla ceramica, ai suoi processi e al valore del dono.

Nel 2014 e’ stata scoperta in Cina una lavorazione della ceramica finora sconosciuta chiamata ‘Coal-Clay

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In antropologia, l’idea che i valori sociali di una civiltà siano imbevuti nei materiali è ben nota e consolidata da ampie ricerche su scambi e regali come parte di rituali del passato. I banchetti etruschi cosi’ come i protocolli descritti nei primi testi cinesi ci aiutano a comprendere come le cose trascendano la loro funzione dall’ utile al simbolico. Cosi’, quando intatti e quando in detriti, i frammenti degli oggetti in ceramica arrivano fino a noi come un dono fatto da mondi che vengono da lontano su cui continuare a intessere storie fatte di associazioni, classificazioni tipologiche, narrative personali, connessioni storiografiche.

Il progetto artistico e’ stato finalizzato alla produzione di una serie di opere ispirate dalla civilta’ etrusca e quella cinese, che si formano su credenze e tradizioni legate alla ceramica, ai suoi processi e al valore del dono.

Nel 2014 e’ stata scoperta in Cina una lavorazione della ceramica finora sconosciuta chiamata ‘Coal-Clay Composite Ceramics’ che utilizza impasti e metodologie simili a quelle del bucchero etrusco. Ci sono due botteghe a conduzione familiare che tramandano questa tradizione alle generazioni successive: Zeng Qinghong workshop in Yingjing, e Huang Bin Xue in Gaoxian County, entrambi nella provincia di Sichuan.

China Project 2019 - Every fragment is a gift

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Giulio Saverio Rossi

Artista visivo

Nasce a Massa nel 1988, ma vive e lavora a Torino. Nel 2012 si laurea con lode presso l’Accademia di Belle Arti di Venezia, per poi seguire un master in printmaking presso la Fondazione il Bisonte per lo studio dell’arte grafica di Firenze e concludere gli studi nel 2016 con lode presso l’Accademia di Belle Arti di Torino. Ha partecipato a vari progetti di residenza d’artista, tra cui nel 2019 al China Project curato da Le Murate Art District di Firenze. Tra le sue esposizioni, si contano sette personali, nel 2019 presso il Sichuan Fine Arts Institute, Nuova scuola delle nuvole e della nebbia, nello stesso anno si inaugura Studiovisit 2019 presso Casa di Masaccio – Centro per l’arte contemporanea, nel 2018 a Torino con Chiasmo presso Alley Summer. Giorgio Galotti, e nello stesso anno è presente al CAR DRDE di Bologna con Ogni cosa rappresa; nel 2017 espone al K+D poject di Torino, con Bordi/Borders/Bords#1, nel 2015 a Bologna No subject presso LOCALEDUE, e infine è presen

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Nasce a Massa nel 1988, ma vive e lavora a Torino. Nel 2012 si laurea con lode presso l’Accademia di Belle Arti di Venezia, per poi seguire un master in printmaking presso la Fondazione il Bisonte per lo studio dell’arte grafica di Firenze e concludere gli studi nel 2016 con lode presso l’Accademia di Belle Arti di Torino. Ha partecipato a vari progetti di residenza d’artista, tra cui nel 2019 al China Project curato da Le Murate Art District di Firenze. Tra le sue esposizioni, si contano sette personali, nel 2019 presso il Sichuan Fine Arts Institute, Nuova scuola delle nuvole e della nebbia, nello stesso anno si inaugura Studiovisit 2019 presso Casa di Masaccio – Centro per l’arte contemporanea, nel 2018 a Torino con Chiasmo presso Alley Summer. Giorgio Galotti, e nello stesso anno è presente al CAR DRDE di Bologna con Ogni cosa rappresa; nel 2017 espone al K+D poject di Torino, con Bordi/Borders/Bords#1, nel 2015 a Bologna No subject presso LOCALEDUE, e infine è presente al Castello Malaspina di Massa con Thaumàzein. Nel 2019 vince il premio Be the difference with art a Bassano del Grappa, nel 2018 riceve il premio Francesco Fabbri, nel 2017 il premio Combat Prize per la pittura, nel 2016 riceve l’Academy Now e il Combat Prize.

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China Project 2019 - Nuova scuola delle nuvole e della nebbia

Residenza d'artista in Cina di Giulio Saverio Rossi

Il progetto Nuova scuola delle nuvole e della nebbia si sviluppa a partire dalla pratica del disegno, inteso come elemento che si trova alla base sia della tradizione rinascimentale che dell’evoluzione artistica in Cina.

Durante le quattro settimane di residenza si è creato una scuola temporanea dedicata al disegno continuo delle nuvole così come appaiono in cielo. Partendo dai recenti studi che teorizzano la possibilità che le nuvole scompaiano definitivamente dai nostri cieli a causa del riscaldamento globale si è elaborato una continua mappatura delle nuvole, tesa da un lato a raccogliere la forma del transitorio, dall’altro a creare una mappatura visiva non più basata sulla conoscenza del suolo ma sulle nuvole.

Il progetto ha creato un incontro ideale fra le due identità coinvolte nella residenza, la Toscana e La Cina, che trova una propria affermazione all’interno del medium del disegno inteso duplicemente sia come accettazione dell’effimero della forma che del suo t

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Il progetto Nuova scuola delle nuvole e della nebbia si sviluppa a partire dalla pratica del disegno, inteso come elemento che si trova alla base sia della tradizione rinascimentale che dell’evoluzione artistica in Cina.

Durante le quattro settimane di residenza si è creato una scuola temporanea dedicata al disegno continuo delle nuvole così come appaiono in cielo. Partendo dai recenti studi che teorizzano la possibilità che le nuvole scompaiano definitivamente dai nostri cieli a causa del riscaldamento globale si è elaborato una continua mappatura delle nuvole, tesa da un lato a raccogliere la forma del transitorio, dall’altro a creare una mappatura visiva non più basata sulla conoscenza del suolo ma sulle nuvole.

Il progetto ha creato un incontro ideale fra le due identità coinvolte nella residenza, la Toscana e La Cina, che trova una propria affermazione all’interno del medium del disegno inteso duplicemente sia come accettazione dell’effimero della forma che del suo tentativo di fermarla sulla carta tentando, in un gesto simbolico e paradossale, di impedire la scomparsa delle nuvole.

E’ stato chiesto di partecipare sia a persone senza una particolare preparazione artistica, sia ad artisti cinesi emergenti o affermati che si renderanno disponibili su invito diretto a diventare membri della Scuola.

China Project 2019 - Nuova scuola delle nuvole e della nebbia

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Bettina Buck

Sui Generis | Autoritratti

Bettina Buck (Cologne 1974, Berlin 2018) graduated from the Kunsthochschule für Medien in Cologne and then obtained a Masters in Fine Art from Goldsmiths, University of London.  Her research focuses on the notion of sculpture as duration and collapse, chance and transformation. Selected exhibitions: 2018 Raumfolgen, Schloß Burgau, Düren; 2016 City Dance Köln; All Italy is silent German Academy of Villa Massimo and Royal Academy of Spain, Rome 2014 Another Interlude, Performance, Galleria Nazionale d’Arte Moderna, Rome, To continue. Notes towards a Sculpture Cycle: Scale, Nomas Foundation, Rome; 2012 A House of Leaves, David Roberts Art Foundation, London; 2011 V&A cycle (performance), performance, Postmodernism: Style and Subversion 1970-1990: Friday Late: The Postmodern Look, V&A, London; 2010 Platzhalter, Galerie Monitor, Rome; 2007 Reaparecidos, Museo de la Ciudad, Quito. Between 2009 and 2017 she created five Invite projects, a series of exhibitions structured as

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Bettina Buck (Cologne 1974, Berlin 2018) graduated from the Kunsthochschule für Medien in Cologne and then obtained a Masters in Fine Art from Goldsmiths, University of London.  Her research focuses on the notion of sculpture as duration and collapse, chance and transformation. Selected exhibitions: 2018 Raumfolgen, Schloß Burgau, Düren; 2016 City Dance Köln; All Italy is silent German Academy of Villa Massimo and Royal Academy of Spain, Rome 2014 Another Interlude, Performance, Galleria Nazionale d’Arte Moderna, Rome, To continue. Notes towards a Sculpture Cycle: Scale, Nomas Foundation, Rome; 2012 A House of Leaves, David Roberts Art Foundation, London; 2011 V&A cycle (performance), performance, Postmodernism: Style and Subversion 1970-1990: Friday Late: The Postmodern Look, V&A, London; 2010 Platzhalter, Galerie Monitor, Rome; 2007 Reaparecidos, Museo de la Ciudad, Quito. Between 2009 and 2017 she created five Invite projects, a series of exhibitions structured as a dialogue between her own practice and that of an artist with whose work she felt a relationship of intimacy and confrontation: Cologne, 2009; Berlin 2011; London, 2012; Exeter, 2013; Berlin, 2017.

 

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Chiara Camoni

Sui Generis | Autoritratti

Chiara Camoni (Piacenza, 1974) lives and works in Fabbiano, Alta Versilia. Graduated in Sculpture at the Brera Academy of Fine Arts, she worked for some years with the Institute for the Dissemination of Natural Sciences in Naples. Together with other artists she founded the Magra – Museum of Contemporary Art in Granara. With Cecilia Canziani she is developing the cycle of seminars La Giusta Misura, started at the Murate Progetti Arte Contemporanea in Florence. Recent exhibitions include: Zenzic, with Anna Barham, curated by Caterina Avataneo, Arcade Gallery, London; Sisters, MIMA – Middlesbrough Institute of Modern Art, Middlesbrough; La Vita Materiale. Otto stanze, otto storie, curated by Marina Dacci, Palazzo da Mosto, Reggio Emilia; Il disegno del disegno, curated by Saretto Cincinelli, Museo Novecento, Florence.

Chiara Camoni (Piacenza, 1974) lives and works in Fabbiano, Alta Versilia. Graduated in Sculpture at the Brera Academy of Fine Arts, she worked for some years with the Institute for the Dissemination of Natural Sciences in Naples. Together with other artists she founded the Magra – Museum of Contemporary Art in Granara. With Cecilia Canziani she is developing the cycle of seminars La Giusta Misura, started at the Murate Progetti Arte Contemporanea in Florence. Recent exhibitions include: Zenzic, with Anna Barham, curated by Caterina Avataneo, Arcade Gallery, London; Sisters, MIMA – Middlesbrough Institute of Modern Art, Middlesbrough; La Vita Materiale. Otto stanze, otto storie, curated by Marina Dacci, Palazzo da Mosto, Reggio Emilia; Il disegno del disegno, curated by Saretto Cincinelli, Museo Novecento, Florence.

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Sui Generis | Autoritratti

Chiara Camoni / Bettina Buck with the words of Cecilia Canziani and a lecture by Chiara Frugoni

Chiara Frugoni’s research has been a source of inspiration throughout the whole project with similarities between the place and the reflections of the seminar and the themes she dealt with, on  Chiara of Assisi and on the role of the convent as a place not only of exclusion, but also of emancipation.

The course was developed in three moments: collective readings, a public lecture and finally, to give a rhythm to the thought, the collective action of the work at the loom, to which – over the course of the months – many different hands of craftswomen, artists and curators have alternated, leaving traces of their work, creating a carpet that is also the fulcrum of the exhibition. Since it is not possible to narrate the seminars in the form of an exhibition, Self-portraits represents an attempt to redistribute, through a series of works and further moments of in-depth study, the sense of a constructed path of relationships between people and areas of knowledge, with the

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Chiara Frugoni’s research has been a source of inspiration throughout the whole project with similarities between the place and the reflections of the seminar and the themes she dealt with, on  Chiara of Assisi and on the role of the convent as a place not only of exclusion, but also of emancipation.

The course was developed in three moments: collective readings, a public lecture and finally, to give a rhythm to the thought, the collective action of the work at the loom, to which – over the course of the months – many different hands of craftswomen, artists and curators have alternated, leaving traces of their work, creating a carpet that is also the fulcrum of the exhibition. Since it is not possible to narrate the seminars in the form of an exhibition, Self-portraits represents an attempt to redistribute, through a series of works and further moments of in-depth study, the sense of a constructed path of relationships between people and areas of knowledge, with the words of books and the works of different and distant authors.

The works by Chiara Camoni and Bettina Buck in the exhibition invite us to reflect on the relationship between body and space, on the way bodies build environments, gestures generate worlds, worlds tell relationships, and relationships are a way to reinvent the ways of being together, producing, exhibiting.
The gestures and voices of those who participated in the meetings are guarded and represented by a carpet presented in the exhibition and woven under the supervision of the weaver Paola Aringes.

Around this object, which is also a place, a corpus of unpublished works by Chiara Camoni makes room for the works made by Bettina Buck between 2010 and 2017.

United by a common reflection on sculpture and a dialogical attitude, the works of the two artists offer themselves as points of view on each other’s work.

 

Sui Generis | Autoritratti

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Sui Generis | Autoritratti

Prende il via da un ciclo di incontri dedicati all’identità di genere. I pensieri e le azioni condivisi negli incontri hanno costituito la genesi del progetto che si formalizza ora in un singolare percorso espositivo. 

Sui Generis | Autoritratti

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Mohammad Alfaraj

Photographer, video artist

Mohammad Alfaraj’s (b. 1993 in Al Hassa, KSA, where he lives and works), practice centers around his exploration of the relationship between forms and concepts, is visible through superimposed stories in his photographic collages, regrouping and contrasting fiction and non-fiction subjects. Alfaraj’s work also often uses natural materials found in his hometown and combines them with children games and stories from people working the land, as an attempt to create states of co-existence between man and nature with an undertone of hope. A socio-environment activist at heart, his short documentary Lost, 2015 (which was awarded first place in the student category at the Saudi Film Festival), captures the latent state of the notion of temporality for the stateless Arabs living as refugees in their place of birth, and the dehumanizing effect this plays. This “un-homely” context portrays the poisonous beauty of nature when lived as a nemesis under political paralysis.

Alfaraj g

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Mohammad Alfaraj’s (b. 1993 in Al Hassa, KSA, where he lives and works), practice centers around his exploration of the relationship between forms and concepts, is visible through superimposed stories in his photographic collages, regrouping and contrasting fiction and non-fiction subjects. Alfaraj’s work also often uses natural materials found in his hometown and combines them with children games and stories from people working the land, as an attempt to create states of co-existence between man and nature with an undertone of hope. A socio-environment activist at heart, his short documentary Lost, 2015 (which was awarded first place in the student category at the Saudi Film Festival), captures the latent state of the notion of temporality for the stateless Arabs living as refugees in their place of birth, and the dehumanizing effect this plays. This “un-homely” context portrays the poisonous beauty of nature when lived as a nemesis under political paralysis.

Alfaraj graduated with a BA in mechanical engineering from KFUPM in 2017. His recent solo show; Still Life and Plastic Dreams, Athr Gallery, Jeddah KSA (2020), and group shows include I Love You Urgently, 21,39 SAC, Jeddah, KSA (2020), Durational Portrait; A brief overview of video art in Saudi Arabia, Athr Gallery, Jeddah, KSA (2020), Sharjah Islamic Festival, Sharjah, UAE (2019). His work has also been shown at the Sharjah Art Foundation; Le Murate Pac, Florence (2019); Athr Gallery, Jeddah (2018); 21,39 Jeddah Arts (2017, 2019); Saudi Film Festival, Dammam (2015) and Dubai International Film Festival (2014). Alfaraj worked as a programmer in both the Saudi Film Festival and the poetry house festival in Dammam.

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The glass between us

Top exhibition of Middle East Now Festival 2019

Mohammad Alfaraj’s first solo exhibition, The Glass Between Us, is an experimentation on sound and image, viewing life through the lens of a child. His new body of work searches for the surprising and the unexpected in daily life, creating a huge mosaic formed by humans and their peers. Presenting works prepared in advance by the artist in Saudi Arabia, alongside new work made with children in Florence during a series of workshops, the exhibition presents a sensory and visual experience that may be simple in form, but depends on a fundamental and important subject around which it tried to create a dialogue.

Middle East Now, MAD Murate Art District and Crossway Foundation Residency in collaboration with PIA Palazzina Indiano Arte della Compagnia Virgilio Sieni.

Mohammad Alfaraj’s first solo exhibition, The Glass Between Us, is an experimentation on sound and image, viewing life through the lens of a child. His new body of work searches for the surprising and the unexpected in daily life, creating a huge mosaic formed by humans and their peers. Presenting works prepared in advance by the artist in Saudi Arabia, alongside new work made with children in Florence during a series of workshops, the exhibition presents a sensory and visual experience that may be simple in form, but depends on a fundamental and important subject around which it tried to create a dialogue.

Middle East Now, MAD Murate Art District and Crossway Foundation Residency in collaboration with PIA Palazzina Indiano Arte della Compagnia Virgilio Sieni.

The glass between us

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The glass between us

Mostra di punta del Middle East Film Festival 2019

The glass between us

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Michelangelo Pistoletto

Visual artist

Michelangelo Pistoletto was born in Biella in 1933. He began to exhibit his work in 1955 and in 1960 he had his first solo show at Galleria Galatea in Turin. An inquiry into self-portraiture characterizes his early work. In the two-year period 1961-1962 made the first Mirror Paintings, which directly include the viewer and real time in the work, and open up perspective, reversing the Renaissance perspective that had been closed by the twentieth-century avant-gardes. These works quickly brought Pistoletto international acclaim, leading, in the sixties, to one-man shows in important galleries and museums in Europe and the United States. The Mirror Paintings are the foundation of his subsequent artistic output and theoretical thought.
In 1965 and 1966 he produced a set of works entitled Minus Objects, considered fundamental to the birth of Arte Povera, an art movement of which Pistoletto was an animating force and a protagonist. In 1967 he began to work outside traditional exhibition spac

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Michelangelo Pistoletto was born in Biella in 1933. He began to exhibit his work in 1955 and in 1960 he had his first solo show at Galleria Galatea in Turin. An inquiry into self-portraiture characterizes his early work. In the two-year period 1961-1962 made the first Mirror Paintings, which directly include the viewer and real time in the work, and open up perspective, reversing the Renaissance perspective that had been closed by the twentieth-century avant-gardes. These works quickly brought Pistoletto international acclaim, leading, in the sixties, to one-man shows in important galleries and museums in Europe and the United States. The Mirror Paintings are the foundation of his subsequent artistic output and theoretical thought.
In 1965 and 1966 he produced a set of works entitled Minus Objects, considered fundamental to the birth of Arte Povera, an art movement of which Pistoletto was an animating force and a protagonist. In 1967 he began to work outside traditional exhibition spaces, with the first instances of that “creative collaboration” he developed over the following decades by bringing together artists from different disciplines and diverse sectors of society.
In 1975-76 he presented a cycle of twelve consecutive exhibitions, Le Stanze, at the Stein Gallery in Turin. This was the first of a series of complex, year-long works called “time continents”. Others are White Year (1989) and Happy Turtle (1992).
In 1978, in a show in Turin, Pistoletto defined two main directions his future artwork would take: Division and Multiplication of the Mirror and Art Takes On Religion. In the early eighties he made a series of sculptures in rigid polyurethane, translated into marble for his solo show in 1984 at Forte di Belvedere in Florence. From 1985 to 1989 he created the series of “dark” volumes called Art of Squalor. During the nineties, with Project Art and with the creation in Biella of Cittadellarte – Fondazione Pistoletto and the University of Ideas, he brought art into active relation with diverse spheres of society with the aim of inspiring and producing responsible social change. In 2003 he won the Venice Biennale’s Golden Lion for Lifelong Achievement. In 2004 the University of Turin awarded him a laurea honoris causa in Political Science. On that occasion the artist announced what has become the most recent phase of his work, Third Paradise.
In 2007, in Jerusalem, he received the Wolf Foundation Prize in the Arts, “for his constantly inventive career as an artist, educator and activist whose restless intelligence has created prescient forms of art that contribute to fresh understanding of the world.”
In 2010 he wrote the essay The Third Paradise, published in Italian, English, French and German. In 2012 he started promoting the Rebirth-day, first worldwide day of rebirth, celebrated every year on 21st December with initiatives taking place all around the world.
In 2013 the Louvre in Paris hosted his personal exhibition Michelangelo Pistoletto, année un – le paradis sur terre. In this same year he received the Praemium Imperiale for painting, in Tokyo.
In May 2015 he received a degree honoris causa from the Universidad de las Artes of Havana in Cuba. In the same year he realizes a work of big dimensions, called Rebirth, situated in the park of the Palais des Nations in Geneva, headquarters of the UN.
In 2017 the text written by Michelangelo Pistoletto Ominitheism and Demopraxy. Manifesto for a regeneration of society was published.
Between 2018 and 2020 the activity of the Third Paradise has further intensified, in particular through the development of an international network of Embassies and Forums. In these same years he has been particularly active in various South American countries, with personal exhibitions and a series of initiatives linked to the Third Paradise.

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Viaggio a Firenze nel segno del Terzo Paradiso

Presentazione del libro "Ominiteismo e Demopraxia. Per una rigenerazione della società" di Michelangelo Pistoletto

Michelangelo Pistoletto – Viaggio a Firenze nel segno del Terzo Paradiso a cura di MAD Murate Art District, Accademia di Belle Arti di Firenze, Associazione Nottola di Minerva, Chiarelettere e Cittadellarte

 

A MAD Murate Art District un appuntamento con Manifesto per una rigenerazione della società: dialogo tra Michelangelo Pistoletto, Lorenzo Fazio, direttore editoriale di Chiarelettere, e Paolo Naldini, direttore di Cittadellarte-Fondazione Pistoletto.

Michelangelo Pistoletto ha presentato il 1 aprile 2019 il suo libro “Ominiteismo e Demopraxia. Per una rigenerazione della società” (Chiarelettere editore srl), un manuale per una trasformazione responsabile della società che apre una preziosa occasione di dialogo: esercitata da ognuno nelle piccole occupazioni del quotidiano, ed accolta come pratica di ogni piccola comunità, la demopraxia potrà ispirare relazioni più complesse all’interno della società civile e della dialettica tra artisti, cittadini,

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Michelangelo Pistoletto – Viaggio a Firenze nel segno del Terzo Paradiso a cura di MAD Murate Art District, Accademia di Belle Arti di Firenze, Associazione Nottola di Minerva, Chiarelettere e Cittadellarte

 

A MAD Murate Art District un appuntamento con Manifesto per una rigenerazione della società: dialogo tra Michelangelo Pistoletto, Lorenzo Fazio, direttore editoriale di Chiarelettere, e Paolo Naldini, direttore di Cittadellarte-Fondazione Pistoletto.

Michelangelo Pistoletto ha presentato il 1 aprile 2019 il suo libro “Ominiteismo e Demopraxia. Per una rigenerazione della società” (Chiarelettere editore srl), un manuale per una trasformazione responsabile della società che apre una preziosa occasione di dialogo: esercitata da ognuno nelle piccole occupazioni del quotidiano, ed accolta come pratica di ogni piccola comunità, la demopraxia potrà ispirare relazioni più complesse all’interno della società civile e della dialettica tra artisti, cittadini, imprenditori, giovani in formazione.

La due giorni dedicata al grande artista internazionale è proseguita e si è conclusa martedì 2 aprile  2019 all’Accademia di Belle Arti di Firenze, dove il maestro Pistoletto ha tenuto una lectio magistralis rivolta agli studenti e aperta anche al pubblico esterno. In seguito la presentazione del restauro dell’opera monumentale “Dietrofront”, a cura del restauratore Alberto Casciani e dei tecnici del CNR Cristiano Riminesi, Fabio Tarani e Rachele Manganelli Del Fa.

Un appuntamento presentato nell’ambito del Progetto Riva diretto da Valentina Gensini, e del programma triennale IDENTITIES Leggere il contemporaneo realizzato dall’Associazione Culturale La Nottola di Minerva in collaborazione con Mus.e, MAD Murate Art District per il Comune di Firenze.

Viaggio a Firenze nel segno del Terzo Paradiso

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Viaggio a Firenze nel segno del Terzo Paradiso

Presentazione del libro "Ominiteismo e Demopraxia. Per una rigenerazione della società" di Michelangelo Pistoletto

Viaggio a Firenze nel segno del Terzo Paradiso

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Because time in this place does not obey an order

Because time in this place does not obey an order - Black History Month Florence 2019

Curated by BHMF With the partnership of MAD Murate Art District

In collaboration with: Boomker Sound Studios Syracuse University Florence SRISA Vivaio Il Giardiniere Antonella Bundu Chris Norcross

And we can no longer breathe And we can no longer see But, in the escape compagno In the fear, compagno Like in the fight, compagno I will be forever by your side

Collettivo Victor Jara, Le Murate

These were the words written and sung by the musical collective Victor Jara days after the 1974 revolt at le Murate jails. Protest against unfit living conditions and oppressive forces are frequent in sites which separate, either willingly or by force, social groups from the world that surrounds them. The socio-spiritual nature of what is just and human worth is at the root of contemplation in isolation. These feelings originated from the artist’s encounter with Le Murate. Progetti Arte Contemporanea, they led the project. For the occasion of the fourth edition of Black History Month Florence

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Curated by BHMF With the partnership of MAD Murate Art District

In collaboration with: Boomker Sound Studios Syracuse University Florence SRISA Vivaio Il Giardiniere Antonella Bundu Chris Norcross

And we can no longer breathe And we can no longer see But, in the escape compagno In the fear, compagno Like in the fight, compagno I will be forever by your side

Collettivo Victor Jara, Le Murate

These were the words written and sung by the musical collective Victor Jara days after the 1974 revolt at le Murate jails. Protest against unfit living conditions and oppressive forces are frequent in sites which separate, either willingly or by force, social groups from the world that surrounds them. The socio-spiritual nature of what is just and human worth is at the root of contemplation in isolation. These feelings originated from the artist’s encounter with Le Murate. Progetti Arte Contemporanea, they led the project. For the occasion of the fourth edition of Black History Month Florence current Rome Prize Fellow at the American Academy in Rome Karyn Olivier presents Because Time In This Place Does Not Obey An Order, a series of site specific installations that grapple with the relationship between justice and spirituality. The works engage the history of Le Murate and its transition from a site of spiritual recluse to a carceral space sifting through the continuity and contrast that these histories evoke. Mental health, social critique, isolation, the closeting of history and the conflation of senses set cloistered gardens in dialogue with the steady words of Martin Luther King Jr. writing from a jail cell and reveal traces of life behind closed doors which claims universal rights.

Because time in this place does not obey an order

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Because time in this place does not obey an order

Because time in this place does not obey an order - Black History Month Florence 2019

Because time in this place does not obey an order

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Justin Randolph Thompson | BHMF 2019

Artista e Direttore Black History Month Florence | Residenza d'artista e Mostra 2019

Justin Randolph Thompson
Artista e Direttore Black History Month Florence | Residenza d'artista e Mostra 2019
Justin Randolph Thompson | BHMF 2019

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Lucio Ruvidotti

Fumettista e scrittore

Lucio Ruvidotti, is a young author active in the world of self-productions and on the page of the weekly Pagina99, his recent book portrays “The Prince of Darkness” in a biographical novel full of rhythms, colors and experimentation that gives natural evolution to an icon of the BD Rock necklace.

Lucio Ruvidotti, is a young author active in the world of self-productions and on the page of the weekly Pagina99, his recent book portrays “The Prince of Darkness” in a biographical novel full of rhythms, colors and experimentation that gives natural evolution to an icon of the BD Rock necklace.

Miles. Assolo a fumetti

Miles. Assolo a fumetti - Black History Month Florence 2019

Miles Davis is one of the most iconic figures of Jazz history. His biography is one of complex evolution and artistic persistance. In many ways jazz is often far removed from the appreciation of younger generations and the magic of its expansion of sound and cultural impact are hence too frequently lost. This exhibition takes on the form of the comic book in order to narrate the life and times of Davis and the impulses behind some of his compositions which have gone on to become jazz standards. Lucio Ruvidotti transformed a love for jazz into a comic book that invites the viewer to an intimate look at this artist and celebrates the impact that he has had on the world of music. These works engage an audience that spans generations bringing this figure to the forefront, as Ruvidotti explains himself:

“I tried to tell story of this figure, the prince of darkness, the great artist, taking advantage of some episodes of his exuberant exaggerated life. But above all the goal was to show, th

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Miles Davis is one of the most iconic figures of Jazz history. His biography is one of complex evolution and artistic persistance. In many ways jazz is often far removed from the appreciation of younger generations and the magic of its expansion of sound and cultural impact are hence too frequently lost. This exhibition takes on the form of the comic book in order to narrate the life and times of Davis and the impulses behind some of his compositions which have gone on to become jazz standards. Lucio Ruvidotti transformed a love for jazz into a comic book that invites the viewer to an intimate look at this artist and celebrates the impact that he has had on the world of music. These works engage an audience that spans generations bringing this figure to the forefront, as Ruvidotti explains himself:

“I tried to tell story of this figure, the prince of darkness, the great artist, taking advantage of some episodes of his exuberant exaggerated life. But above all the goal was to show, through the language of comics, his music, incredibly evolved from the forties to the nineties.”

The comic strip released in 2018 by Edizioni BD tells the story through eight chapters entitled with the names of some of his most important compositions. Each part of the book is also distinguished by a different use of the color and composition of the table. Alongside the original drawings made by the artist, the exhibition shows a series of cartoon prints, accompanied by the music of Miles Davis that pervades the Emeroteca delle Murate room.

Miles. Assolo a fumetti

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Edoardo Delille

Fotografo

Edoardo Delille è nato a Firenze nel 1974. Dopo gli studi in Giurisprudenza termina il corso triennale di Fotografia alla Fondazione Studio Marangoni di Firenze. Nel 2001 si muove a Milano dove inizia a collaborare con fotografi di moda e pubblicità.  Dopo pochi anni inizia a scattare le prime campagne pubblicitarie e i primi editoriali per la rivista Uomo Vogue. Non abbandona mai la sua passione per il reportage sociale e nel corso degli anni le sue storie   appaiono sulle più importanti riviste di settore (Sunday Times, Wired Uk, Geo Francia, Stern, Le Monde, Marie Claire USA, Neon, IoDonna Corriere, D Repubblica, Sportweek). Lavora da molti anni sul concetto di confine in quasi tutti i paesi del Medio Oriente dove ha vissuto per lunghi periodi, alternando l’attività di storytelling con quella di ritrattista su assignment per riviste internazionali. Lavora per grandi aziende private e pubbliche (Enel, Camera di Commercio di Milano, Istituto Nazionale di Fisica Nucleare)

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Edoardo Delille è nato a Firenze nel 1974. Dopo gli studi in Giurisprudenza termina il corso triennale di Fotografia alla Fondazione Studio Marangoni di Firenze. Nel 2001 si muove a Milano dove inizia a collaborare con fotografi di moda e pubblicità.  Dopo pochi anni inizia a scattare le prime campagne pubblicitarie e i primi editoriali per la rivista Uomo Vogue. Non abbandona mai la sua passione per il reportage sociale e nel corso degli anni le sue storie   appaiono sulle più importanti riviste di settore (Sunday Times, Wired Uk, Geo Francia, Stern, Le Monde, Marie Claire USA, Neon, IoDonna Corriere, D Repubblica, Sportweek). Lavora da molti anni sul concetto di confine in quasi tutti i paesi del Medio Oriente dove ha vissuto per lunghi periodi, alternando l’attività di storytelling con quella di ritrattista su assignment per riviste internazionali. Lavora per grandi aziende private e pubbliche (Enel, Camera di Commercio di Milano, Istituto Nazionale di Fisica Nucleare) realizzando corporate e progetti fotografici dedicati. Membro del collettivo di fotografi Riverboom, negli ultimi anni usa diversi mezzi espressivi (video, stop-motion, uso di droni, collage) per raccontare le sue storie sempre impegnate da un fine sociale. Le foto dei suoi progetti sono state esposte in numerose mostre internazionali e fanno parte di collezioni private.

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Paolo Woods

Fotografo

Nato in Olanda da padre canadese e madre olandese, Paolo Woods cresce in Italia e vive a Parigi e a Haiti. Sfruttando la fotografia come strumento d’investigazione, si dedica a progetti di lunga durata dai quali nasce ogni volta una mostra, un libro e una serie di pubblicazioni nella stampa internazionale. Dopo un’indagine sul mondo del petrolio e un’inchiesta sulle guerre americane in Afghanistan e Iraq, si è interessato alla conquista cinese dell’Africa, esperienza da cui è nato CHINAFRICA, libro co-firmato con il giornalista Serge Michel e tradotto in undici lingue. Nel 2010 ha completato il progetto Walk on my Eyes, un ritratto intimo della società iraniana. Tra il 2010 e il 2014 Woods ha vissuto ad Haiti, esperienza che ha portato sia la pubblicazione (2013) di STATE e PEPE che la mostra prodotta dal Musée de l’Elysée di Losanna. Ha esposto in Francia, Italia, Stati Uniti, China, Spagna, Germania, Austria e Olanda, e i suoi lavori sono conservati in molte collezio

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Nato in Olanda da padre canadese e madre olandese, Paolo Woods cresce in Italia e vive a Parigi e a Haiti. Sfruttando la fotografia come strumento d’investigazione, si dedica a progetti di lunga durata dai quali nasce ogni volta una mostra, un libro e una serie di pubblicazioni nella stampa internazionale. Dopo un’indagine sul mondo del petrolio e un’inchiesta sulle guerre americane in Afghanistan e Iraq, si è interessato alla conquista cinese dell’Africa, esperienza da cui è nato CHINAFRICA, libro co-firmato con il giornalista Serge Michel e tradotto in undici lingue. Nel 2010 ha completato il progetto Walk on my Eyes, un ritratto intimo della società iraniana. Tra il 2010 e il 2014 Woods ha vissuto ad Haiti, esperienza che ha portato sia la pubblicazione (2013) di STATE e PEPE che la mostra prodotta dal Musée de l’Elysée di Losanna. Ha esposto in Francia, Italia, Stati Uniti, China, Spagna, Germania, Austria e Olanda, e i suoi lavori sono conservati in molte collezioni pubbliche e private. Ha ricevuto vari premi fra cui due World Press Photo Awards.

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Incontri Confluenti

Progetto RIVA

Nell’autunno 2017 i fotografi Davide Virdis, Martino Marangoni e Giuseppe Toscano hanno elaborato un progetto originale per San Francesco, Comune di Pelago, e per Pontassieve. Il tema principale di questo lavoro era il rapporto tra il fiume Sieve e la comunità. Questo gruppo di ricerca ha prodotto un lavoro originale sul territorio tra Pelago e Pontassieve presentato durante la festa del patrono a Pelago-Pontassieve il 29 settembre 2018, in una esposizione pubblica delle fotografie prodotte. L’esposizione nello spazio pubblico, sui pannelli di affissione che permeano la dimensione urbana, viene proposta dunque in una dimensione di immediata e spontanea accessibilità. I tre autori hanno inoltre condotto un workshop sul campo con quattro giovani fotografe.

Nell’autunno 2017 i fotografi Davide Virdis, Martino Marangoni e Giuseppe Toscano hanno elaborato un progetto originale per San Francesco, Comune di Pelago, e per Pontassieve. Il tema principale di questo lavoro era il rapporto tra il fiume Sieve e la comunità. Questo gruppo di ricerca ha prodotto un lavoro originale sul territorio tra Pelago e Pontassieve presentato durante la festa del patrono a Pelago-Pontassieve il 29 settembre 2018, in una esposizione pubblica delle fotografie prodotte. L’esposizione nello spazio pubblico, sui pannelli di affissione che permeano la dimensione urbana, viene proposta dunque in una dimensione di immediata e spontanea accessibilità. I tre autori hanno inoltre condotto un workshop sul campo con quattro giovani fotografe.

Incontri Confluenti

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Paolo Masi

Progetto RIVA

Born in Florence in 1933, has been active since the 1950s. He studied first in Milan, then in other areas of Europe where he matched wits with other talents and came into contact with the work of the great European abstractionists from whom he learned the lessons of strict formal rigour. In the 1960s, his production shifted from abstract-geometric works to compositions showing an absolute sensibility for colour and, in the 1970s, to research and use of new materials. His works of this period are characterised by use of corrugated cardboard. In the works of the 1980s, he undertook intense research into colour in relation to space, creating works from which colour as a strong aspect of his personality is easily deduced. In the 2000s, Masi began using such new materials as Plexiglas, with which he has created rectangular and round works in brilliant colours. Since his early experiences with Informale painting and concrete abstractionism, Masi’s work has been articulated, complex and div

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Born in Florence in 1933, has been active since the 1950s. He studied first in Milan, then in other areas of Europe where he matched wits with other talents and came into contact with the work of the great European abstractionists from whom he learned the lessons of strict formal rigour. In the 1960s, his production shifted from abstract-geometric works to compositions showing an absolute sensibility for colour and, in the 1970s, to research and use of new materials. His works of this period are characterised by use of corrugated cardboard. In the works of the 1980s, he undertook intense research into colour in relation to space, creating works from which colour as a strong aspect of his personality is easily deduced. In the 2000s, Masi began using such new materials as Plexiglas, with which he has created rectangular and round works in brilliant colours. Since his early experiences with Informale painting and concrete abstractionism, Masi’s work has been articulated, complex and diversified at the technical-linguistic level. His works become conceptual markers in the landscape and, in the case of his Polaroids, act as analytic studies of urban codes. His intensive activity continues and is acknowledged both in Italy and abroad; his works are featured in the collections of MART of Rovereto, the Galleria d’Arte Moderna of Palazzo Pitti in Florence and the Galleria d’Arte Moderna of Turin, the Museo Pecci of Prato and the Museo Novecento of Florence. His works are all characterised by an unceasing experimental evolution capable of extending even to broad urban spaces.

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Paolo Masi

Qui | Paolo Masi
Progetto RIVA
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Paolo Masi

The works on show engage the entire monumental complex, from the interior spaces of Le Murate. Progetti Arte Contemporanea to the public spaces of the complex such as the facade, the fountain in Piazza Madonna della Neve, the interior of the Semiottagono.

The former cells will host a series of site-specific installations that invite the visitor to reflect on the concepts of confinement and meditation.

The works – conceived by the artist to intentionally make use of ‘hard’ materials such as nails and steel wool, or to scratch and ‘mark’ the walls of the complex – are founded on actions of chromatic matrix and others of materic origin, consistently with the lengthy and structured path through art that has characterised his entire production. His actions in/on the spaces thus become conceptual markers along a course of serried, highly coherent research that doubles back to experimental practices first launched in the Seventies, now presented in a new guise an

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The works on show engage the entire monumental complex, from the interior spaces of Le Murate. Progetti Arte Contemporanea to the public spaces of the complex such as the facade, the fountain in Piazza Madonna della Neve, the interior of the Semiottagono.

The former cells will host a series of site-specific installations that invite the visitor to reflect on the concepts of confinement and meditation.

The works – conceived by the artist to intentionally make use of ‘hard’ materials such as nails and steel wool, or to scratch and ‘mark’ the walls of the complex – are founded on actions of chromatic matrix and others of materic origin, consistently with the lengthy and structured path through art that has characterised his entire production. His actions in/on the spaces thus become conceptual markers along a course of serried, highly coherent research that doubles back to experimental practices first launched in the Seventies, now presented in a new guise and with an authentic odour, rigorously measured against the spaces.

The exhibition also presents two never-before-seen Polaroid cycles, one dedicated to Le Murate, a space of isolation and reflection; the other to the Arno river, an open, changeling ambience, remindful of a world and a life outside the walls. ‘What most struck me was the aura of the site, where the stone walls carry evident signs of many passages, of cloistered nuns and prisoners,’ Paolo Masi has said. ‘With the Polaroid shots, I have tried to render this emotional visibility. The exhibition centres on pointing up the peculiarities of this space, so different from a gallery or a museum, which, as a production site, allows the imagination room to express itself freely and totally. On my very first visit here, I decided to give concrete form to feelings and emotions on two different planes: the dramatic, on the third floor, where the cells are linked by an extremely coercive history; while on the lower floor, the incised white of the wall, the two large cartons and the three folded papers suggest a geometry that is alternative to the sense of physical ‘enclosure’ that was the original function of the site.’

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From the meeting between Le Murate. Progetti Arte Contemporanea and Paolo Masi, a site specific project was born, which the Florentine artist wanted to dedicate to this unique place, a space of memory, imprisonment, voluntary but also forced imprisonment. Thus was born "Here. Paolo Masi" an important monographic exhibition composed of twelve monumental works specially conceived and created for the spaces of the Murate. The exhibition project is the result of a direct comparison between the artist, the environment and the history of the city complex under the sign of a new production.

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Ka Long Wong

Sculptor and teacher

A Son of Art (his father is a watercolour painter) Wong was born in Portuguese Macau in 1977. In 1996, he studied Sculpture at The Guangzhou Academy of Fine Arts, and gained a Master’s Degree in 2003. During his university life, he travelled The Silk Road and was inspired by what he saw there. Wong’s practice, both pedagogical and his production of art, are deeply informed by his experience of living in a colony where the acts of aggression and ‘civilization’ nurture each other. Long is currently lecturing at the Polytechnic University of Macau.

A Son of Art (his father is a watercolour painter) Wong was born in Portuguese Macau in 1977. In 1996, he studied Sculpture at The Guangzhou Academy of Fine Arts, and gained a Master’s Degree in 2003. During his university life, he travelled The Silk Road and was inspired by what he saw there. Wong’s practice, both pedagogical and his production of art, are deeply informed by his experience of living in a colony where the acts of aggression and ‘civilization’ nurture each other. Long is currently lecturing at the Polytechnic University of Macau.

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The impossible black tulip

Global Identity

The Impossible Black Tulip, third episode of the GLOBAL IDENTITIES Postcolonial and cross-cultural Narrative cycle, is a project that finds its reason in the exploration of the concept of belonging. The exhibition is named after the earliest known Chinese world map that unites western and eastern cartographic views and style. Maps and identities have a deep connection: As a crucial visualization of national borders, mapping has been linked to the political construction of national identity. However this map, symbol of cultural hybridity, confuses our concept of identity and, along with its rarity and exoticism, it was called the Impossible Black Tulip. Through this exhibition and participatory actions, this event wants to contribute to the post-colonial debates on hybridity, decolonization and fluid identity. In this reagard Macau represents an unique case-study: a Portuguese colony for 400 years, after the return to China in 1999 as a special administrative region (SAR) , identity mak

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The Impossible Black Tulip, third episode of the GLOBAL IDENTITIES Postcolonial and cross-cultural Narrative cycle, is a project that finds its reason in the exploration of the concept of belonging. The exhibition is named after the earliest known Chinese world map that unites western and eastern cartographic views and style. Maps and identities have a deep connection: As a crucial visualization of national borders, mapping has been linked to the political construction of national identity. However this map, symbol of cultural hybridity, confuses our concept of identity and, along with its rarity and exoticism, it was called the Impossible Black Tulip. Through this exhibition and participatory actions, this event wants to contribute to the post-colonial debates on hybridity, decolonization and fluid identity. In this reagard Macau represents an unique case-study: a Portuguese colony for 400 years, after the return to China in 1999 as a special administrative region (SAR) , identity making in Macao has been a process of incorporating instead of repressing or eliminating the identities of “the other”. How is the concept of hybridity related to belonging? Together with the local Chinese community (one of the biggest communities in the EU) and three artists from Macau, Eric FOK, Gue Jie CAI, and  Ka Long WONG we will investigate the different ways we can reflect on these concepts. We will inquire as to the legitimacy of basing an identity on only certain specific aspects of local colonial history, the relationship between belonging and ownership, and finally, the relationship between the memory of an area and the “modern” capitalist appropriation of the landscape. The various anti-migratory events and the increasing success of souverainiste parties have brought to light an urgent need to analyse the historical racialised constructions of identity in order to foster contemporary debate on a more fluid concept of identity. How can we define an “identity” today?

Artistic Direction: Valentina Gensini Curating: Livia Dubon Organization: Mus.e, Le Murate. Progetti Arte Contemporanea Coordinator: Sandy Chan Interpretation Panels: Veronica Gabriele e Livia Dubon Graphic Design: Athos de Martino Sponsor: Instituto Cultural do Governo da R.A.E. de Macau (I.C.M.), the Institute Confucio Florence, Macau Visual Students Art Zone Supporters: the Camões Institute of Lisbon, the Department of Languages, Literatures and Studies Interculturali of the University of Florence and the “Fernando Pessoa” Chair Contributions: Association Chì-na, Dragon Film Festival, Permanent workshop for the Peace – District 5, Florence.

The impossible black tulip

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Guo Jie Cai

Installation artist, painter, curator

Guo Jie Cai is an installation artist, teacher and curator. Born in Hsin Chu, Taiwan, he moved to Macau in 2011. Cai was awarded a BA in Painting and a MFA in Installation at National Taiwan University of Arts. He now focuses on painting, art installation, art curating and teaching. He is currently lecturer at the School of Arts of Macau Polytechnic Institute; Art instructor at Institute for Tourism Studies; Visual-Art instructor at Macau Art Museum; Youth member of Macau Artists Society; vice director of Art For All Society; and art consultant at Wind Box Community Development. The most recent solo exhibitions include “As Memory Whispers”, Nan Vam Lake Art Gallery , Macau Artists Society , Macau; “Between States of Mind –Cai Guo Jie Solo Exhibition”, New Tile House, Innoart, Taiwan; “Cores da cidade de Macau”, Rui Cunha Foundation Gallery, Macau, China

Guo Jie Cai is an installation artist, teacher and curator. Born in Hsin Chu, Taiwan, he moved to Macau in 2011. Cai was awarded a BA in Painting and a MFA in Installation at National Taiwan University of Arts. He now focuses on painting, art installation, art curating and teaching. He is currently lecturer at the School of Arts of Macau Polytechnic Institute; Art instructor at Institute for Tourism Studies; Visual-Art instructor at Macau Art Museum; Youth member of Macau Artists Society; vice director of Art For All Society; and art consultant at Wind Box Community Development. The most recent solo exhibitions include “As Memory Whispers”, Nan Vam Lake Art Gallery , Macau Artists Society , Macau; “Between States of Mind –Cai Guo Jie Solo Exhibition”, New Tile House, Innoart, Taiwan; “Cores da cidade de Macau”, Rui Cunha Foundation Gallery, Macau, China

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The impossible black tulip

Ciclo Global Identity

The impossible black tulip

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Lisa Batacchi

Artista visiva

Lisa Mara Batacchi si forma al Polimoda di Firenze con una lurea in fashion design lavorando in seguito per vari marchi di alta moda, in particolare per Vivienne Westwood a Londra. Successivamente consegue una laurea in Arti Visive presso l’Accademia di Belle Arti di Firenze. Le sue opere sono state esposte in numerose mostre personali e collettive, fra cui ricordiamo: 2°Something Else Cairo Biennale, Murate Art District (personale) a Firenze, Manifesta12 evento collaterale a Palermo, Art & Globalization Pavillion durante la 57a Biennale di Venezia, Dust space gallery a Milano, 4°Land Art Mongolia Biennale a Ulan Bator, Textile Arts Center a New York, Villa Ada a Roma, Clark House Initiative (personale) a Bombay, Villa Pacchiani a Pisa, riss (e) Zentrum (personale) a Varese, Mac, n a Pistoia. È vincitrice, tra gli altri, del premio italiano Movin’up per giovani artisti italiani all’estero. Negli ultimi anni ha tenuto laboratori e collaborato a progetti educativ

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Lisa Mara Batacchi si forma al Polimoda di Firenze con una lurea in fashion design lavorando in seguito per vari marchi di alta moda, in particolare per Vivienne Westwood a Londra. Successivamente consegue una laurea in Arti Visive presso l’Accademia di Belle Arti di Firenze. Le sue opere sono state esposte in numerose mostre personali e collettive, fra cui ricordiamo: 2°Something Else Cairo Biennale, Murate Art District (personale) a Firenze, Manifesta12 evento collaterale a Palermo, Art & Globalization Pavillion durante la 57a Biennale di Venezia, Dust space gallery a Milano, 4°Land Art Mongolia Biennale a Ulan Bator, Textile Arts Center a New York, Villa Ada a Roma, Clark House Initiative (personale) a Bombay, Villa Pacchiani a Pisa, riss (e) Zentrum (personale) a Varese, Mac, n a Pistoia. È vincitrice, tra gli altri, del premio italiano Movin’up per giovani artisti italiani all’estero. Negli ultimi anni ha tenuto laboratori e collaborato a progetti educativi con Palazzo Strozzi a Firenze, con ACAF Foundation a Shanghai, con Siena Art Institute, con Lottozero a Prato.

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The Time of discretion. Chapter one

Global Identity

The time of Discretion. Chapter one di Lisa Batacchi, curated by Veronica Caciolli closes the cycle GLOBAL IDENTITIES. Postcolonial and cross-cultural Narratives curated by Valentina Gensini. The Time of Discretion is presented as a metaphorical and necessary retrospective on a cycle of works developed specifically on the subject of discretion and intended as its first chapter, over the last two years. The show consists of two works made in the south of China together with the Hmong people and about twenty new works expressly produced for this occasion, including installations, tapestries, videos, photographs, documentary archives and symbolic finds. The Time of Discretion is a transnational project in progress, which opens up complex and extremely sensitive issues that widely extend the boundaries of art. The exhibition intersects experience and representation, dramatically confronting the East and the West, advancing a dense theoretical scenario in relation to the processes of global

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The time of Discretion. Chapter one di Lisa Batacchi, curated by Veronica Caciolli closes the cycle GLOBAL IDENTITIES. Postcolonial and cross-cultural Narratives curated by Valentina Gensini. The Time of Discretion is presented as a metaphorical and necessary retrospective on a cycle of works developed specifically on the subject of discretion and intended as its first chapter, over the last two years. The show consists of two works made in the south of China together with the Hmong people and about twenty new works expressly produced for this occasion, including installations, tapestries, videos, photographs, documentary archives and symbolic finds. The Time of Discretion is a transnational project in progress, which opens up complex and extremely sensitive issues that widely extend the boundaries of art. The exhibition intersects experience and representation, dramatically confronting the East and the West, advancing a dense theoretical scenario in relation to the processes of globalization. The project begins with the participation of Lisa Batacchi at the Land Art Mongolia Biennal of 2016, whose theme to be discussed concerned the interpretation of the axis that divides the sky from the earth. To do so, the artist reached Guizhou, a mountain village in southern China where the ancient Hmong people (originating from the Siberian-Mongol area), observe a traditional ritual daily. In particular, they hold a specific practice, considered divinatory, that of natural indigo dyeing. A large tent created by the artist, manually, slowly and discretely, together with the Hmong women, was later carried in a procession towards the sacred mountain Altan Ovoo, for the inaugural performance of the Biennale. The horse-cow represented there, shows a symbology derived from a Chinese oracle of the classical tradition, questioned preliminarily by the artist, whose sentences are governed by a logic of randomness, through the repeated tossing of coins. A randomness clearly understood as not accidental but secretly determined, also deliberately regulates the progressive behavior of Lisa Batacchi. A subsequent experience with this people allowed her to dye another fabric, which still draws on the meanings expressed in the fortieth and in the second hexagram of the I-Ching (The liberation – The receptive). Alongside these, there are further twenty multimedia works, produced for this exhibition and shown in preview for the Le Murate space. The collaboration with different types of mastery, activity that characterizes one of the directions of the project, has been extended by the artist to the local area, first in the city of Florence, where through the ancient looms of the Lisio Foundation, she has been able to realize five fabric tapestries. A toli, an amulet usually worn and used by Mongolian shamans, has instead been reproduced on a large scale, for performative as well as exhibition purposes, in parternship with the la Scuola Superiore Sant’Anna di Pisa. A new batik dyed with guado (ancient vegetable color) will be realized during the summer together with Natural Color Culture in the Marche region and premiered at Le Murate on September the 4th. The exhibition is also enriched by four photographic series that on one hand document the performance for the Land Art Mongolia Biennal, the backstage material of this first chapter and a collection that represents the beauty, the persistence of tradition and the fragility of a world partially isolated, on the threshold of globalization but still magically possible. Eventually, a video, which anticipates an upcoming feature film, retraces the landscape, relational and cultural stages of Mongolia, Inner Mongolia and southern China, in which poetry, imagery and narration become confused. June 7th h 5.30 p.m. introduction to exhibition by Veronica Caciolli curator, Valentina Gensini artistic director Le murate. Progetti Arte Contemporanea and the artist Lisa Batacchi h 6.30 p.m. vernissage

In particular, they hold a specific practice, considered divinatory, that of natural indigo dyeing. A large tent created by the artist, manually, slowly and discretely, together with the Hmong women, was later carried in a procession towards the sacred mountain Altan Ovoo, for the inaugural performance of the Biennale.
The horse-cow represented there, shows a symbology derived from a Chinese oracle of the classical tradition, questioned preliminarily by the artist, whose sentences are governed by a logic of randomness, through the repeated tossing of coins. A randomness clearly understood as not accidental but secretly determined, also deliberately regulates the progressive behavior of Lisa Batacchi.
A subsequent experience with this people allowed her to dye another fabric, which still draws on the meanings expressed in the fortieth and in the second hexagram of the I-Ching (The liberation – The receptive).
Alongside these, there are further twenty multimedia works, produced for this exhibition and shown in preview for the Le Murate space.

The collaboration with different types of mastery, activity that characterizes one of the directions of the project, has been extended by the artist to the local area, first in the city of Florence, where through the ancient looms of the Lisio Foundation, she has been able to realize five fabric tapestries.
A toli, an amulet usually worn and used by Mongolian shamans, has instead been reproduced on a large scale, for performative as well as exhibition purposes, in parternship with the la Scuola Superiore Sant’Anna di Pisa.
A new batik dyed with guado (ancient vegetable color) will be realized during the summer together with Natural Color Culture in the Marche region and premiered at Le Murate on September the 4th.

The exhibition is also enriched by four photographic series that on one hand document the performance for the Land Art Mongolia Biennal, the backstage material of this first chapter and a collection that represents the beauty, the persistence of tradition and the fragility of a world partially isolated, on the threshold of globalization but still magically possible.
Eventually, a video, which anticipates an upcoming feature film, retraces the landscape, relational and cultural stages of Mongolia, Inner Mongolia and southern China, in which poetry, imagery and narration become confused.

Il progetto nell’ambito di ToscanaInContemporanea 2018

The Time of discretion. Chapter one

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The Time of discretion. Chapter one

Ciclo Global Identity

The Time of discretion. Chapter one

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Eric Fok

Conceptual artist

Eric Fok is an artist born in the later era of Portuguese Macau. With his maps and his meticulous brushwork Eric explores Macau’s identity by showing its transformations, developments and postcolonial phenomenon, merging space and time in a new fascinating dimension. His works were included in “Illustration Exhibition -Bologna Children’s Book Fair (2013)”, “Art Nova100 in China”, and the Portugal Oriental Foundation Art Award and are collected by The Orient Museum (Portugal), the University of Hong Kong  Museum and Art Gallery, the Macau Government Headquarters, the Cultural Affairs Bureau of the Macau S.A.R., and the Oriental Foundation (Macau). Website: www.behance.net/EricFok

Eric Fok is an artist born in the later era of Portuguese Macau. With his maps and his meticulous brushwork Eric explores Macau’s identity by showing its transformations, developments and postcolonial phenomenon, merging space and time in a new fascinating dimension. His works were included in “Illustration Exhibition -Bologna Children’s Book Fair (2013)”, “Art Nova100 in China”, and the Portugal Oriental Foundation Art Award and are collected by The Orient Museum (Portugal), the University of Hong Kong  Museum and Art Gallery, the Macau Government Headquarters, the Cultural Affairs Bureau of the Macau S.A.R., and the Oriental Foundation (Macau). Website: www.behance.net/EricFok

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Victoria DeBlassie

Artista interdisciplinare

Victoria DeBlassie è nata e cresciuta ad Albuquerque, New Mexico. Ha studiato presso The University of New Mexico nel 2009 e il California College of the Arts nel 2011. Di recente, ha ricevuto una borsa di studio Fulbright per l’Italia per l’anno accademico 2012-2013. Ha partecipato a numerose residenze artistiche, come F.AIR a Firenze, Italia, Atelier Real a Lisbona, Portogallo, Lakkos AIR a Heraklion, Crete, e più recentemente Apulia Land Arts Festival a Margherita di Savoia, Italia. Ha esposto a livello nazionale e internazionale, in sedi tra cui [AC] 2 Gallery di Albuquerque, NM, The de Young Museum di San Francisco, CA, e la Fondazione Biagiotti Progetto a Firenze, Italia. http://www.victoriadeblassie.com

Victoria DeBlassie è nata e cresciuta ad Albuquerque, New Mexico. Ha studiato presso The University of New Mexico nel 2009 e il California College of the Arts nel 2011. Di recente, ha ricevuto una borsa di studio Fulbright per l’Italia per l’anno accademico 2012-2013. Ha partecipato a numerose residenze artistiche, come F.AIR a Firenze, Italia, Atelier Real a Lisbona, Portogallo, Lakkos AIR a Heraklion, Crete, e più recentemente Apulia Land Arts Festival a Margherita di Savoia, Italia. Ha esposto a livello nazionale e internazionale, in sedi tra cui [AC] 2 Gallery di Albuquerque, NM, The de Young Museum di San Francisco, CA, e la Fondazione Biagiotti Progetto a Firenze, Italia. http://www.victoriadeblassie.com

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Maria Nissan

Artista installativa

Maria Nissan è un’artista installativa diplomata allo Studio Arts College International con una laurea in educazione artistica e una in disegno e pittura alla University of Georgia. Durante il suo soggiorno a Firenze Maria si è dedicata alla realizzazione di installazioni immersive e sensoriali. Il suo lavoro crea un’esperienza attraverso la trasformazione e manipolazione del riciclo organico dei materiali e coinvolgendo tutti i sensi. “Il mio lavoro vuole investigare i temi centrali dell’identità culturale e il concetto etereo di casa. Provenendo da una famiglia irachena e assira, con una educazione di stampo americano, il mio contesto genera il mio desiderio di creare progetti artistici multiculturali. Questi progetti legano insieme tendenze diverse e a volte opposte nel mio essere come i paesi nei quali ho sviluppato il mio lavoro.” www.marianissan.com

 

Maria Nissan è un’artista installativa diplomata allo Studio Arts College International con una laurea in educazione artistica e una in disegno e pittura alla University of Georgia. Durante il suo soggiorno a Firenze Maria si è dedicata alla realizzazione di installazioni immersive e sensoriali. Il suo lavoro crea un’esperienza attraverso la trasformazione e manipolazione del riciclo organico dei materiali e coinvolgendo tutti i sensi. “Il mio lavoro vuole investigare i temi centrali dell’identità culturale e il concetto etereo di casa. Provenendo da una famiglia irachena e assira, con una educazione di stampo americano, il mio contesto genera il mio desiderio di creare progetti artistici multiculturali. Questi progetti legano insieme tendenze diverse e a volte opposte nel mio essere come i paesi nei quali ho sviluppato il mio lavoro.” www.marianissan.com

 

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Interpretation of a seed

Global Identities

By Maria Nissan and Victoria DeBlassie curated by Daria Filardo There are myriad ways of tackling global issues, complicated balances, and politics that involve different areas of the world, and one of these is a physical and conceptual reflection on coffee. Coffee—a drink native to Ethiopia and spread over hundreds of years across many different parts of the planet— transnationalally combines different cultures and can just as well be symbol of a relaxed and shared moment of bonding as an element that underlines exploitation and extremely controversial global trade policies. It’s along this line that the presented work of Maria Nissan and Victoria DeBlassie operates, two young artists who have been collaborating on this theme for months. The intervention they’ve proposed for the Murate space takes ‘Interpretation of a Seed’ as its title and it is the result of questions that the artists have been asking themselves as well as of a common practice that began with the collect

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By Maria Nissan and Victoria DeBlassie curated by Daria Filardo There are myriad ways of tackling global issues, complicated balances, and politics that involve different areas of the world, and one of these is a physical and conceptual reflection on coffee. Coffee—a drink native to Ethiopia and spread over hundreds of years across many different parts of the planet— transnationalally combines different cultures and can just as well be symbol of a relaxed and shared moment of bonding as an element that underlines exploitation and extremely controversial global trade policies. It’s along this line that the presented work of Maria Nissan and Victoria DeBlassie operates, two young artists who have been collaborating on this theme for months. The intervention they’ve proposed for the Murate space takes ‘Interpretation of a Seed’ as its title and it is the result of questions that the artists have been asking themselves as well as of a common practice that began with the collection of coffee grounds used both in the moka machine as well as in American drip coffee that have become the raw material that once mixed with salt and flour and baked in the oven have given rise to sculptural objects. The artists have also collected the burlap sacks in which the coffee seeds themselves are transported and have been transformed into installational elements in the space. These elements, each used differently by each artist, are the common ground of a formal thought developed throughout the exhibition space. ‘Interpretation of a Seed’ takes form in two rooms on the ground floor of the Murate exhibition space, two similar but different places. One space—Maria Nissan’s—is activated by more sensorial and material characteristics with the presence of organic elements like sugar, the coffee sculptures, and the burlap sacks as chairs that invite a moment of relaxation and sharing, coffee culture viewed as an associative experience. The elements of the installation allude to the Middle Eastern culture of the artist (of Iraqi origins), to American culture, mixed with the Italian aspect where the presence of coffee is an obvious and cultural element of identity. The other room, created by Victoria DeBlassie, despite having the same elements in common with the first room, is more reminiscent of a certain type of ‘indie’ coffee house (apparently more respectful of the production processes but often in reality managed by multinationals like Starbucks), which is the case for Ethiocha Koffiehius, the name that the artist thought of for her space. Here the material elements converge in an action of conceptual protest. Elements and dates are collected on the chalkboards that underline the most complicated aspects of global trade, and affixed to the walls are images and posters that seem to allude to slogans used to capture consumers but that play with the ambiguity of the proposed messages that shifts the attention onto the hidden aspects and manipulated information. The double installation envelops the visitor both from a sensorial, material, and olfactory point of view as well as a space for thought and coming together. Starting from coffee, the two artists have spanned history and diverse geographies, reactivating our awareness of cultural, historical, and political realities, and all this just from the simple and ordinary gesture of having a coffee.

Interpretation of a seed

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Interpretation of a seed

Ciclo Global Identity

Interpretation of a seed

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Ila Beka

Video artist

Ila Bêka trained as an architect with a degree from the Università Iuav di Venezia of Venice and the École Nationale Supérieure d’Architecture de Paris-Belleville, where he studied with Aldo Rossi, Manfredo Tafuri, Vittorio Gregotti, Massimo Cacciari, Bernardo Secchi, Ugo La Pietra, Henri Ciriani and Jacques Lucan.

Since 2005 he has been working in collaboration with Louise Lemoine with whom he founded the research and creation platform Bêka & Lemoine. Described by The New York Times as “cult figures in the European architecture world”, Bêka and Lemoine focus their work on experimental new narrative and cinematographic forms in relation to contemporary architecture. Koolhaas Houselife, the first film Bêka co-directed with Lemoine in 2008, has been acclaimed by the international critique as “The architectural cult movie”.

Bêka has been invited to lecture and present his films at many international cultural institutions and prestigious

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Ila Bêka trained as an architect with a degree from the Università Iuav di Venezia of Venice and the École Nationale Supérieure d’Architecture de Paris-Belleville, where he studied with Aldo Rossi, Manfredo Tafuri, Vittorio Gregotti, Massimo Cacciari, Bernardo Secchi, Ugo La Pietra, Henri Ciriani and Jacques Lucan.

Since 2005 he has been working in collaboration with Louise Lemoine with whom he founded the research and creation platform Bêka & Lemoine. Described by The New York Times as “cult figures in the European architecture world”, Bêka and Lemoine focus their work on experimental new narrative and cinematographic forms in relation to contemporary architecture. Koolhaas Houselife, the first film Bêka co-directed with Lemoine in 2008, has been acclaimed by the international critique as “The architectural cult movie”.

Bêka has been invited to lecture and present his films at many international cultural institutions and prestigious universities such as Venice Biennale (2008, 2010, 2014), MoMA (New-York), Metropolitan Museum of Art (New-York), Centre Pompidou (Paris), Palais de Tokyo (Paris), Barbican Art Gallery (London), Canadian Centre for Architecture (Montréal), NAi (Rotterdam, NL), MAXXI (Rome), SALT (Istanbul), Harvard GSD, Architectural Association School of Architecture (London), Mextropoli (Mexico).

According to ArchDaily, one of the most visited architecture websites worldwide, their films “alter the face of architectural criticism”.

Ila Bêka is currently teaching at AA School, Architectural Association School of Architecture in London.

Bêka & Lemoine’s complete work (16 films) was acquired in 2016 by MoMA, Museum of Modern Art in New York, and is now part of its permanent collection. The acquisition of a complete work by MoMA, Museum of Modern Art is an extremely rare event for a living artist.

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Louise Lemoine

Video artist

Lemoine lives and works between France and Italy. Since 2005 she has been working in collaboration with her husband Ila Bêka with whom she founded the research and creation platform Bêka&Partners.

Presented by The New York Times as “cult figures in the European architecture world”, Lemoine and Bêka mainly focus their research on experimenting new narrative and cinematographic forms in relation to contemporary architecture.
Koolhaas Houselife, the first film she co-directed with Bêka in 2008, has been acclaimed by the international critique as “the architectural cult movie”. They self-financed the film in order to assure creative freedom.

Following the success of Koolhaus Houselife, Bêka and Lemoine shot the four other films that would make up their Living Architectures series. This series, which comprises Koolhaus Houselife; Pomerol, Herzog & de Meuron; Xmas Meier; Gehry’s Vertigo; and Inside Piano, follows the mundane realities of mai


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Lemoine lives and works between France and Italy. Since 2005 she has been working in collaboration with her husband Ila Bêka with whom she founded the research and creation platform Bêka&Partners.

Presented by The New York Times as “cult figures in the European architecture world”, Lemoine and Bêka mainly focus their research on experimenting new narrative and cinematographic forms in relation to contemporary architecture.
Koolhaas Houselife, the first film she co-directed with Bêka in 2008, has been acclaimed by the international critique as “the architectural cult movie”. They self-financed the film in order to assure creative freedom.

Following the success of Koolhaus Houselife, Bêka and Lemoine shot the four other films that would make up their Living Architectures series. This series, which comprises Koolhaus Houselife; Pomerol, Herzog & de Meuron; Xmas Meier; Gehry’s Vertigo; and Inside Piano, follows the mundane realities of maintaining buildings by renowned architects, including Rem Koolhaas (the Bordeaux house), Frank Gehry (the Bilbao Guggenheim), and Auguste Perret.

Her films have been selected and awarded in some important international film festivals such as CPH:DOX, Chicago International Film Festival, DocAviv, Torino Film Festival, FIFA, etc.
She has been invited to lecture and present her films in many international cultural institutions and prestigious universities such as Venice Biennale (2008, 2010, 2014), MoMA (New York), Metropolitan Museum of Art (New-York), Centre Pompidou (Paris), Palais de Tokyo (Paris), Barbican Art Gallery (London), Canadian Centre for Architecture (Montréal), NAi (Rotterdam, NL), MAXXI (Rome), Harvard GSD, Architectural Association School of Architecture (London), Mextropoli (Mexico).

Her films are part of important art collections, the CNAP have acquired in 2014 a copy of Koolhaas Houselife and in 2015 a copy of the video installation La Maddalena for the French national collections. The video work Spiriti has been commissioned by Fondazione Prada for their private collection.

In 2016 Ila Bêka and Louise Lemoine’s complete work (16 films) has been acquired by MoMA, Museum of Modern Art in New York.

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Mountaintops

Black History Month Florence 2018
Murate Artlab

Mountaintops is an artistic workshop designed for elementary school children that celebrates Martin Luther King Jr. while pushing participants to dream beyond what they can see and to aspire for what appears out of reach. Drawing upon the 1968 speech in which King states, ”I’ve been to the Mountaintop” the workshop has three intertwined activities that take on the language of sculptural installation and the performance qualities. The workshop involves the creation of a painted 360° mountain landscape, a series of topographic mountains atop wooden posts and the creation of a climbing surface. Reflecting upon Martin Luther King’s legacy, the three elements examine the meaning of dreams and ambition, the importance of leadership and techniques for overcoming obstacles.

 

From where I stand: Investigating the ideas of creating our own hurdles the first element of the workshop is dedicated to the realization of the freestanding 360 landscape painting. A freestanding series of

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Mountaintops is an artistic workshop designed for elementary school children that celebrates Martin Luther King Jr. while pushing participants to dream beyond what they can see and to aspire for what appears out of reach. Drawing upon the 1968 speech in which King states, ”I’ve been to the Mountaintop” the workshop has three intertwined activities that take on the language of sculptural installation and the performance qualities. The workshop involves the creation of a painted 360° mountain landscape, a series of topographic mountains atop wooden posts and the creation of a climbing surface. Reflecting upon Martin Luther King’s legacy, the three elements examine the meaning of dreams and ambition, the importance of leadership and techniques for overcoming obstacles.

 

From where I stand: Investigating the ideas of creating our own hurdles the first element of the workshop is dedicated to the realization of the freestanding 360 landscape painting. A freestanding series of posts will support a cardboard range of mountaintops cut out and painted by the participants of the workshop. This range will be attached to the top of the supporting posts placing the participants in the center of a small space surrounded by mountains of their own creation. A range of colors will imagine the cool sunrise on one side and the warm sunset on the other. It takes a village: Examining the form of topographic maps, and the symbolic power of staffs this work involves the casting of a small mountain range in plaster that is mounted atop a wooden post to create a staff. Only when all staffs are placed together do we have a mountain range. This element emphasizes the importance of leadership and the simultaneous importance of collaboration and community. The Climb: The last element of the workshop is about overcoming obstacles. It involves the affixing of a series of custom rock climbing holds to a wooden mountain shaped wall and the exploration of climbing this form. A series of rock climbing holds created by the artist are attached to the surface of the mountain each one placed based on the choices of the participants. Once assembled participants climb this wall learning some of the tricks and techniques of rock climbing.

Mountaintops

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Ignas Krunglevičius

Composer and visual artist

Ignas Krunglevičius works as a composer and visual artist. He creates sound and image installations, videos, and objects that explore the psychology of power games and the working of the human psyche.

The sound in this work revisits Good Boy Bad Boy (1985), a work by the US artist Bruce Nauman, from the present viewpoint. The actors who performed Nauman’s work have been replaced by the latest voice synthesis technology, which can simulate emotional inflection, while the script has been altered to reflect the language of social media self-presentation.

Ignas Krunglevičius works as a composer and visual artist. He creates sound and image installations, videos, and objects that explore the psychology of power games and the working of the human psyche.

The sound in this work revisits Good Boy Bad Boy (1985), a work by the US artist Bruce Nauman, from the present viewpoint. The actors who performed Nauman’s work have been replaced by the latest voice synthesis technology, which can simulate emotional inflection, while the script has been altered to reflect the language of social media self-presentation.

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Ieva Rojūtė

Interdisciplinary artist

Ieva Rojūtė in her works explores connections between people, the family construct, conflicts in the individual’s identity and everyday folklore. The main themes she keeps revisiting are the possibility of failure, misfortune, anxiety, fear, fantasy, not succeeding in life. In the site-specific installation Lithuanian sadness, the artist combines in a different way some phrases from previous works: «Using some sad sayings I have collected about life and surviving when there is nothing bad happening but feels like nothing good will either. »

Ieva Rojūtė in her works explores connections between people, the family construct, conflicts in the individual’s identity and everyday folklore. The main themes she keeps revisiting are the possibility of failure, misfortune, anxiety, fear, fantasy, not succeeding in life. In the site-specific installation Lithuanian sadness, the artist combines in a different way some phrases from previous works: «Using some sad sayings I have collected about life and surviving when there is nothing bad happening but feels like nothing good will either. »

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Arnas Anskaitis

Interdisciplinary artist

Arnas Anskaitis is an interdisciplinary artist, in his works he synthesizes experiences from different areas including photography, film, sound art, philosophy and even linguistics. His new video installation Letters from Home reflects on the connections between language and perception: «Writing interests me not only in the context of language but also from the position of handwriting. How did letters of the alphabet emerge? It seems they were shaped by a human hand. What would letters look like, if they were written not on a flat sheet of paper, but in simulated three-dimensional space?» 3D models of cursive letters exhibited as video projections produce a stream of images. Literary and imaginary meaning overlap, with reference to the origin of writing itself, that is one of the fundamental elements of our human identity.

Arnas Anskaitis is an interdisciplinary artist, in his works he synthesizes experiences from different areas including photography, film, sound art, philosophy and even linguistics. His new video installation Letters from Home reflects on the connections between language and perception: «Writing interests me not only in the context of language but also from the position of handwriting. How did letters of the alphabet emerge? It seems they were shaped by a human hand. What would letters look like, if they were written not on a flat sheet of paper, but in simulated three-dimensional space?» 3D models of cursive letters exhibited as video projections produce a stream of images. Literary and imaginary meaning overlap, with reference to the origin of writing itself, that is one of the fundamental elements of our human identity.

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Andrej Polukord

Installation artist and painter

Andrej Polukord draws on painting, installation, performance, and video art to create unpredictable environments and absurd situations that produce double meanings and ambiguity: «What especially interests me is creating a feeling of surprise. The absurd liberates us from the seriousness that otherwise always sets the tone in our life.» In this case the artist uses a big wall printing, a video and a series of small ceramic sculptures – elements between natural and artificial – in order to elaborate, in an imaginative way, one of the “star” of the Lithuanian nature, the mushroom: a symbol of seeking and finding (as a surprise).

Andrej Polukord draws on painting, installation, performance, and video art to create unpredictable environments and absurd situations that produce double meanings and ambiguity: «What especially interests me is creating a feeling of surprise. The absurd liberates us from the seriousness that otherwise always sets the tone in our life.» In this case the artist uses a big wall printing, a video and a series of small ceramic sculptures – elements between natural and artificial – in order to elaborate, in an imaginative way, one of the “star” of the Lithuanian nature, the mushroom: a symbol of seeking and finding (as a surprise).

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A certain identity

Ciclo Global Identities

Arnas Anskaitis, Ignas Krunglevičius, Andrej Polukord, Ieva Rojūtė curated by Matteo Innocenti in collaboration with Adrius Pocius, Alesia and Yuliya Savitskaya As Second episode of The GLOBAL IDENTITIES cicle, A certain identity is a project that brings together artists of different nationalities to express themselves about identity issues. The first exhibition of the project, presents the young Lithuanian artists Arnas Anskaitis, Ignas Krunglevičius, Andrej Polukord, Ieva Rojūtė. The certain , as an integral part of the title, in Italian “certa”, takes on a double meaning: as an adjective it is synonymous with certainty, the identity which we can undoubtedly recognize, as an alternative it is also an indefinite adjective, without quality or quantity, indicating an identity that is possible among many others. Four artists of a particular nationality are chosen by the curator of the project in collaboration with the museums or the Fine Arts Academy of the respective c

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Arnas Anskaitis, Ignas Krunglevičius, Andrej Polukord, Ieva Rojūtė curated by Matteo Innocenti in collaboration with Adrius Pocius, Alesia and Yuliya Savitskaya As Second episode of The GLOBAL IDENTITIES cicle, A certain identity is a project that brings together artists of different nationalities to express themselves about identity issues. The first exhibition of the project, presents the young Lithuanian artists Arnas Anskaitis, Ignas Krunglevičius, Andrej Polukord, Ieva Rojūtė. The certain , as an integral part of the title, in Italian “certa”, takes on a double meaning: as an adjective it is synonymous with certainty, the identity which we can undoubtedly recognize, as an alternative it is also an indefinite adjective, without quality or quantity, indicating an identity that is possible among many others. Four artists of a particular nationality are chosen by the curator of the project in collaboration with the museums or the Fine Arts Academy of the respective countries to “represent”, according to the particular inclination of their research and culture of origin, the factor of identity through such exhibition. The history and geographic location of Lithuania makes it significant both for the question of identity and for that of the borders and relations within the continent. Since the Republic of Lithuania, like the other Baltic countries, has built itself in a dual movement of independence and annexation, between Russia and Europe – where is been a member since 2004 -. 2018 also marks the centenary of the nation’s independence, which took place in February 1918 and The constitution of the Republic. Vernissage e artists talk: 5 aprile ore 17.30. With the collaboration of Le Murate. Progetti Arte Contemporanea – Mus.e and with TUM associazione culturale (Italia/Italy), Fondazione per lo sviluppo della cultura dell’istruzione della persona (Bielorussia/Belarus), Vilnius Pataphysic Institute (Lituania/Lithuania). Con il patrocinio dell’Ambasciata della Repubblica di Lituana nella Repubblica Italiana e del Consolato della Repubblica Lituana di Firenze.

A certain identity

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A certain identity

Ciclo Global Identities

A certain identity

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Barthélémy Toguo

Artist

Barthélémy Toguo è nato in Camerun nel 1967 e ha studiato Belle Arti ad Abidjan, in Costa d’Avorio. Si è trasferito in Europa nel 1993 e ha iniziato a esibirsi e fare performance mentre terminava i suoi studi a Grenoble (Francia), poi a Dusseldorf (Germania).
La geografia politica e i confini personali sono stati un argomento implicito nel suo lavoro in studio e esplicito nelle sue performance. Da un lato, i suoi acquerelli forniscono un forte impatto visivo, utilizzando un repertorio limitato di immagini e colori per rappresentare un mondo onirico di metamorfosi umane, animali e vegetali. D’altra parte, la realizzazione delle sue installazioni su larga scala è generalmente approssimativa e rapida e sottolinea i conflitti, i paradossi e l’estremismo dell’uomo. Le sue installazioni possono essere visti come un’inversione metaforica dello storico saccheggio dell’Africa subita durante il periodo coloniale.
Toguo ha recentemente tenuto una mostra pe

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Barthélémy Toguo è nato in Camerun nel 1967 e ha studiato Belle Arti ad Abidjan, in Costa d’Avorio. Si è trasferito in Europa nel 1993 e ha iniziato a esibirsi e fare performance mentre terminava i suoi studi a Grenoble (Francia), poi a Dusseldorf (Germania).
La geografia politica e i confini personali sono stati un argomento implicito nel suo lavoro in studio e esplicito nelle sue performance. Da un lato, i suoi acquerelli forniscono un forte impatto visivo, utilizzando un repertorio limitato di immagini e colori per rappresentare un mondo onirico di metamorfosi umane, animali e vegetali. D’altra parte, la realizzazione delle sue installazioni su larga scala è generalmente approssimativa e rapida e sottolinea i conflitti, i paradossi e l’estremismo dell’uomo. Le sue installazioni possono essere visti come un’inversione metaforica dello storico saccheggio dell’Africa subita durante il periodo coloniale.
Toguo ha recentemente tenuto una mostra personale, “The Sick Opera”, al Palais de Tokyo di Parigi. La mostra ha incluso il suo lavoro dal 1999 al 2004. Ha esposto in molti altri prestigiosi musei, gallerie e Biennali a livello internazionale come il Bass Museum of Art di Miami, il Centre George Pompidou di Parigi, lo Houston Museum of Art, il Guangdong Museum of Art , Il Museo Migros di Zurigo e il Palazzo Strozzi di Firenze da quattro anni. Test di prova per mostre personali e collettive selezionate.

Il viaggio immaginario

Barthélémy Toguo

Nell’ambito di un semestre dedicato alla tematica del post coloniale Murate Art District  ha prodotto una mostra inedita dal titolo Il viaggio immaginario di Barthélémy Toguo a cura di Janine Gaelle Dieudji e Justin Randolph Thompson, realizzata in collaborazione con Black History Month Florence e Institut Francais Italia.

Il progetto monografico racconta l’attitudine politica dell’artista, che interpreterà un Paese dalla forte volontà di riscatto: l’Africa di Toguo è un’Africa che rifiuta la ghettizzazione dei suoi artisti nel mercato dell’arte globale, e che altresì rifiuta di accettare una lettura coloniale della propria terra: “L’Africa non è una discarica!” gridano opere come Dustbin presentata per la prima volta in Italia.

 

Nell’ambito di un semestre dedicato alla tematica del post coloniale Murate Art District  ha prodotto una mostra inedita dal titolo Il viaggio immaginario di Barthélémy Toguo a cura di Janine Gaelle Dieudji e Justin Randolph Thompson, realizzata in collaborazione con Black History Month Florence e Institut Francais Italia.

Il progetto monografico racconta l’attitudine politica dell’artista, che interpreterà un Paese dalla forte volontà di riscatto: l’Africa di Toguo è un’Africa che rifiuta la ghettizzazione dei suoi artisti nel mercato dell’arte globale, e che altresì rifiuta di accettare una lettura coloniale della propria terra: “L’Africa non è una discarica!” gridano opere come Dustbin presentata per la prima volta in Italia.

 

Il viaggio immaginario

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Il viaggio immaginario

di Barthélémy Toguo a cura di Janine Gaelle Dieudji e Justin Randolph Thompson, realizzata in collaborazione con Black History Month Florence e Institut Francais Italia

Il viaggio immaginario

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Justin Randolph Thompson | BHMF 2018

Artista e Direttore Black History Month Florence | Residenza d'artista e Mostra 2018

Justin Randolph Thompson
Artista e Direttore Black History Month Florence | Residenza d'artista e Mostra 2018
Justin Randolph Thompson | BHMF 2018

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Adrian Paci

 (Shkodër, Albania, 1969) is one of the best-known artists on today’s international art panorama. His works (paintings, installations, videos, photographs) investigate the human condition, man as a being in continual transit, and the complexity of the social, political and cultural dynamics that define our present. After studying painting at the Academy of Fine Arts of Tirana, Paci left his native Albania in 1997 for Milan, where he still lives and works. His art has been shown at solo exhibitions at numerous international venues including Rome’s Museo MAXXI (2015); MAC, Musée d’Art Contemporain of Montréal (2014); Padiglione d’Arte Contemporanea – PAC in Milan (2014); Jeu de Paume in Paris (2013); MAMCO, Musée d’art moderne et contemporain of Geneva (2013); the National Gallery of Kosovo in Pristina (2012); the Kunsthaus Zurich (2010); the Bloomberg Space in London (2010); the Center for Contemporary Art – CCA of Tel Aviv (2009); New York’s MoMA PS1 (2006); the Mo

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 (Shkodër, Albania, 1969) is one of the best-known artists on today’s international art panorama. His works (paintings, installations, videos, photographs) investigate the human condition, man as a being in continual transit, and the complexity of the social, political and cultural dynamics that define our present. After studying painting at the Academy of Fine Arts of Tirana, Paci left his native Albania in 1997 for Milan, where he still lives and works. His art has been shown at solo exhibitions at numerous international venues including Rome’s Museo MAXXI (2015); MAC, Musée d’Art Contemporain of Montréal (2014); Padiglione d’Arte Contemporanea – PAC in Milan (2014); Jeu de Paume in Paris (2013); MAMCO, Musée d’art moderne et contemporain of Geneva (2013); the National Gallery of Kosovo in Pristina (2012); the Kunsthaus Zurich (2010); the Bloomberg Space in London (2010); the Center for Contemporary Art – CCA of Tel Aviv (2009); New York’s MoMA PS1 (2006); the Moderna Museet of Stockholm (2005); the Contemporary Arts Museum of Houston (2005). Among the many collective showings at which he has exhibited: 7th Bi-City Biennale of UrbanismArchitecture (UABB), Nantou Old Town, Shenzhen; 14th Venice Biennale of Architecture (2014); 48th and 51st Venice Art Biennale (1999 and 2005); 15th Biennale of Sydney (2006); and the Biennale de Lyon (2009).

Di queste luci si servirà la notte

Adrian Paci

Water as a metaphor for movement and flow, but also an opportunity for action and reaction.

Tracking individual stories and calling to mind facts and transformations which have made recent history, Paci transcends his personal experience and addresses migration and mobility as ontological conditions, a highly-topical enquiry at a moment in history in which the very concepts of ‘home’ and ‘identity’ (cultural, political and social) are continually brought to the fore and questioned. Existence is interpreted as a continual search, as unceasing movement, and water is the taken as metaphor for human drifts and flows.

Di queste luci si servirà la notte,’ Adrian Paci explains, ‘began as a work centring on the Arno river, a performance action; but the focus soon shifted toward a reflection on the dialogue and the tensions that exist between light and dark, between surface and depth, between the visible and the invisible. Man’s presence seems to be the spark that ign

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Water as a metaphor for movement and flow, but also an opportunity for action and reaction.

Tracking individual stories and calling to mind facts and transformations which have made recent history, Paci transcends his personal experience and addresses migration and mobility as ontological conditions, a highly-topical enquiry at a moment in history in which the very concepts of ‘home’ and ‘identity’ (cultural, political and social) are continually brought to the fore and questioned. Existence is interpreted as a continual search, as unceasing movement, and water is the taken as metaphor for human drifts and flows.

Di queste luci si servirà la notte,’ Adrian Paci explains, ‘began as a work centring on the Arno river, a performance action; but the focus soon shifted toward a reflection on the dialogue and the tensions that exist between light and dark, between surface and depth, between the visible and the invisible. Man’s presence seems to be the spark that ignites this dialogue without ever pretending to bring it to a conclusion.’

At the Museo Novecento, Paci is showing a video installation produced expressly for the museum in the wake of the novel action on the river in September: the huge skeleton of a boat dominates the main hall, together with a video presentation of the action from which the exhibition takes its name, a performance in which the protagonist was a small boat trailing luminous tentacles in the water, which as it rode the Arno revealed the river’s deepest, darkest dimension. Alongside these works are a selection of video productions centring on the cathartic, symbolic meaning/power of water, such as The Guardians and The Column. 

On the second floor of the museum, within the spaces of the Alberto Della Ragione collection, the artist presents pictorial works, videos and photographs (among which paintings and the photographic works Turn On and Back Home) which, as they make a home in the museum rooms, establish a point-by-point repartee and a dialogue rich in suggestions with the works in the permanent collection. At Le Murate. Progetti Arte Contemporanea, the exhibition inhabits the first and third floors and offers an extensive documentation room on the ground floor. The sculpture entitled Home to Go occupies and lends a new significance to the Sala Colonne, while the cells of the former prison are given a new voice thanks with the video entitled Rasha, a delicate, ‘absolute’ work that speaks strongly and symbolically in and with this space of past pain and hopelessness. The cells on the first floor are the exhibition spaces for pictorial works and installations by Davide d’Amelio, Gianni Barelli and Lori Lako. three young artists residing in Tuscany and personally selected by Adrian Paci following the workshop held at Le Murate last year under the auspices of the Progetto Riva.

Montelupo Fiorentino, the Cioni Alderighi brickworks hosts the video installation entitled The Encounter (2011).
The former carpet factory in the San Francesco locality of Pelago is the venue for the video installation entitled One and Twenty-Four Chairs (2013).

Di queste luci si servirà la notte

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Di queste lici si servirà la notte, Adrian Paci

Water as a metaphor for movement, flow, but also possibilities for action and reaction. This is the idea that Adrian Paci has developed to give life to Di queste luci si serverà la notte.
An articulated corpus of works that focuses on the themes of migration, identity and flow, explored with intensity and poetry. Tracing personal stories and recalling facts and transformations of recent history, Paci transcends personal experience and tackles migration and mobility as an ontological condition, more relevant than ever in a historical moment in which the very concepts of home and identity (cultural, political and social) are continuously recalled and questioned. Existence is interpreted as a continuous research, a perennial movement, and water becomes a metaphor for the idea of flow and flow.

Di queste lici si servirà la notte, Adrian Paci

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Lights to Serve the Night

Adrian Paci

Lights to Serve the Night, Adrian Paci
Lights to Serve the Night

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Lori Lako

Di queste luci si servirà la notte, Adrian Paci

Lori lives and works in Florence. She studied Visual Arts and New Expressive Styles at the Academy of Fine Arts in Florence and at the Akademie der Bildenden Künste, Munich. Through her work she reflects on the condition of post-modern humanity, outclassed by images and messages that hinder the decoding of the world, historical memory and listening to the self.

Recent exhibitions: Still Life, Terzopiano Arte Contemporanea, Lucca (2019); And whatever I do will become forever what I have done, Museo Novecento, Florence (2019); Schermo a schermo; rassegna sul film e sul video sperimentale in Italy e in Albania, Black box, Tirana (2018); The sea is far, though my tears are salty, Galeria e Arteve, Shkoder (2018); Polis BBQ, Arte fiera, Bologna (2018); Premio nazionale per l’arte contemporanea “Idromeno”, Galeria e Arteve, Shkodër (2017); Di queste luci si servirà la notte, Le Murate / Progetti Arte Contemporanea, Florence (2017); TU 35 Expanded, Centro per l’arte contempor

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Lori lives and works in Florence. She studied Visual Arts and New Expressive Styles at the Academy of Fine Arts in Florence and at the Akademie der Bildenden Künste, Munich. Through her work she reflects on the condition of post-modern humanity, outclassed by images and messages that hinder the decoding of the world, historical memory and listening to the self.

Recent exhibitions: Still Life, Terzopiano Arte Contemporanea, Lucca (2019); And whatever I do will become forever what I have done, Museo Novecento, Florence (2019); Schermo a schermo; rassegna sul film e sul video sperimentale in Italy e in Albania, Black box, Tirana (2018); The sea is far, though my tears are salty, Galeria e Arteve, Shkoder (2018); Polis BBQ, Arte fiera, Bologna (2018); Premio nazionale per l’arte contemporanea “Idromeno”, Galeria e Arteve, Shkodër (2017); Di queste luci si servirà la notte, Le Murate / Progetti Arte Contemporanea, Florence (2017); TU 35 Expanded, Centro per l’arte contemporanea Luigi Pecci, Prato (2017); Downside-up, Tirana Art Lab, Tirana (2016); Era pacifica pare, Careof, Milan (2016).

Lori Lako

Artist residence for the Exhibition Di queste luci si servirà la notte, Adrian Paci

Lori Lako

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Davide D'amelio

Di queste luci si servirà la notte, Adrian paci

(1990 – TERMOLI, ITALY)

D’Amelio has been living in Firenze for eight years where he graduated from the Accademia di Belle Arti. Alongside his studies, he participated in many projects and laboratories with artists and curators outside the academy.

His most important exhibitions include: Give me five, curated by Giorgio de Finisi, MAAM, Roma (2017); The stray statue paradox, curated by Gabriele Tosi, SACI, Firenze, (2017); De pingendi natura, curated by Pietro Gaglianò, SRISA gallery, Firenze (2016); Come sé, curated by Arabella Natalini and Elena Magini, Casa Masaccio, San Giovanni Valdarno (2016).

D’Amelio’s work focuses on the structure and history of image and vision, developing a dual conception between the normative and expressive phenomena of narratives. This gives rise to an interest in the questions of childhood and sexuality, conceived as entropic elements of social structures.

(1990 – TERMOLI, ITALY)

D’Amelio has been living in Firenze for eight years where he graduated from the Accademia di Belle Arti. Alongside his studies, he participated in many projects and laboratories with artists and curators outside the academy.

His most important exhibitions include: Give me five, curated by Giorgio de Finisi, MAAM, Roma (2017); The stray statue paradox, curated by Gabriele Tosi, SACI, Firenze, (2017); De pingendi natura, curated by Pietro Gaglianò, SRISA gallery, Firenze (2016); Come sé, curated by Arabella Natalini and Elena Magini, Casa Masaccio, San Giovanni Valdarno (2016).

D’Amelio’s work focuses on the structure and history of image and vision, developing a dual conception between the normative and expressive phenomena of narratives. This gives rise to an interest in the questions of childhood and sexuality, conceived as entropic elements of social structures.

Davide D'amelio

Artist residence for the Exhibition Di queste luci si servirà la notte, Adrian Paci

Davide D'amelio

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Gianni Barelli

Di queste luci si servirà la notte, Arian Paci

Gianni Barelli was born in 1976 in Arezzo, Italy. He is a visual artist and performer, he graduated from the Academy of Fine Arts in Florence in 2002. His work is expressed through various media such as videos, installations and performances. In 2012 he was selected by VISUALCONTAINER Italian video art distributor, with the video Genesi o melanconia del dormiente . In 2013 he participated in the MAGAZINE BAU-container of contemporary culture, with a long-lasting project called the Family Synchronic Archive, an open platform on the theme of the family connected with the idea of ​​memory and its re-elaboration. He has worked in various European cities in independent exhibition spaces such as INSTITUT FUR ALLES MOGLICHE in Berlin and GEBORGEN KAMERS in The Hague. In 2017 he was selected by the Albanian artist Adrian Paci to contribute to his exhibition These lights will be used during the night at Le MURATE – CONTEMPORARY ART PROJECTS in Florence. Recently he partici

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Gianni Barelli was born in 1976 in Arezzo, Italy. He is a visual artist and performer, he graduated from the Academy of Fine Arts in Florence in 2002. His work is expressed through various media such as videos, installations and performances. In 2012 he was selected by VISUALCONTAINER Italian video art distributor, with the video Genesi o melanconia del dormiente . In 2013 he participated in the MAGAZINE BAU-container of contemporary culture, with a long-lasting project called the Family Synchronic Archive, an open platform on the theme of the family connected with the idea of ​​memory and its re-elaboration. He has worked in various European cities in independent exhibition spaces such as INSTITUT FUR ALLES MOGLICHE in Berlin and GEBORGEN KAMERS in The Hague. In 2017 he was selected by the Albanian artist Adrian Paci to contribute to his exhibition These lights will be used during the night at Le MURATE – CONTEMPORARY ART PROJECTS in Florence. Recently he participated in the workshop Through Rituals (Make it Happen)  by the artists Stefan Pente and William Loche Wheeler at VILLA ROMANA. He is currently working on a project in collaboration with the National Institute of Astrophysics of Florence.

 

Gianni Barelli

Artist residence for the Exhibition Di queste luci si servirà la notte, Adrian Paci

Gianni Barelli

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Cristina Mariani

Fiber artist

PAST EXHIBITIONS / WORK EXPERIENCE

2019Tapestry weaver, prototypes for Man Fashion Show – Jil Sander – Milan, Italy
Tapestry and Hand Weaving Teacher – Lottozero, Prato, Italy
FAST- Florence Art Science Technology – Teatro del Maggio Musicale, Florence, Italy
Irene Davies Award for Small Tapestries – Australian Tapestry Workshop, Melbourne, AUS
YTAT Young Textile Art Triennial – Strzemiński Academy of Fine Arts Łódź – Łódź (Poland)
Art Residency at Faculty of Geology – FAST Project, Florence, Italy
Rassegna Biennale Fiber Art – group exhibition, Spoleto, Italy

2018Faccia Trama, Master Textile final exhibition – Le Murate Pac – Florence, Italy
Internship at Giuditta Brozzetti Hand Weaving – Perugia, Italy
Figurazioni Musicali – group exhibition, Officina d’Arte e Tessuti, Spoleto, Italy
Trame d’Autore 2.0 – group exhibition, Imbiancheria del Vajro, Chieri, Italy

2017Muratessili – Le Murate. Progetti Arte Contemporanea. Art Residency and final sol










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PAST EXHIBITIONS / WORK EXPERIENCE

2019Tapestry weaver, prototypes for Man Fashion Show – Jil Sander – Milan, Italy
Tapestry and Hand Weaving Teacher – Lottozero, Prato, Italy
FAST- Florence Art Science Technology – Teatro del Maggio Musicale, Florence, Italy
Irene Davies Award for Small Tapestries – Australian Tapestry Workshop, Melbourne, AUS
YTAT Young Textile Art Triennial – Strzemiński Academy of Fine Arts Łódź – Łódź (Poland)
Art Residency at Faculty of Geology – FAST Project, Florence, Italy
Rassegna Biennale Fiber Art – group exhibition, Spoleto, Italy

2018Faccia Trama, Master Textile final exhibition – Le Murate Pac – Florence, Italy
Internship at Giuditta Brozzetti Hand Weaving – Perugia, Italy
Figurazioni Musicali – group exhibition, Officina d’Arte e Tessuti, Spoleto, Italy
Trame d’Autore 2.0 – group exhibition, Imbiancheria del Vajro, Chieri, Italy

2017Muratessili – Le Murate. Progetti Arte Contemporanea. Art Residency and final solo exhibition, Florence
Trame a Corte – group exhibition, Rocca di Sala Baganza, Italy
Fiber Art II Contaminazioni – group exhibition, Spoleto, Italy
Young Fiber Contest II – Maria Luisa Sponga Award, Imbiancheria del Vajro, Chieri, Italy
Memoria Tessile _sul filo dei diritti – group exhibition, Casa della Memoria e della Storia, Rome
Valcellina Award 10th edition – Palazzo d’Attimis, Maniago, Italy

2016Sculture Tessili – group exhibition, Museo Civico Archeologico di Anzio, Italy
Trame a Corte – group exhibition, Rocca di Sala Baganza, Italy
Young Fiber Contest – Maria Luisa Sponga Award, Imbiancheria del Vajro, Chieri, Italy
Italia – Polonia. Suggestioni delle presenze polacche in Italia – group exhibition, Galleria Spazio 5, Rome, Italy

2008 – 2016Web and Graphic Designer

2011Dissipatio HG – group exhibition, Chiostro di Voltorre, Italy
Dissiparty – group exhibition, Parco Morselli, Gavirate, Italy2007-2008
Assistant of Sissy Rizzatto (artist), Angela Florio (artist and house decorator), Katja Noppes (artist),
Italo Zuffi (artist), Milan, Italy

2005Gemine Muse – Young Artists in European Museums – group exhibition, Amstelkring Museum, Amsterdam (The Netherlands)
Who Uses the Space? – group exhibition, Isola Art Center, Milan, Italy

PRIZES AND AWARDS

2019Grant for Studio Space – Coworking for Young Professionals – Regione Toscana, Prato, Italy

2018Scholarship for the results obtained at the Master in Textile, TIAC International – Florence, Italy

2017Art Residency, Toscanaincontemporanea 2017 – -Le Murate P.a.c. Florence, Italy

2016Honorable Mention for the work “Circuit”, Young Fiber Contest – Maria Luisa Sponga Award, Chieri, Italy
Second Prize for the work “Silk Road”, Trame a Corte, Rocca di Sala Baganza, Italy

EDUCATION

2018Master in Textile – Creation of Art Fabrics, Accademia di Belle Arti di Firenze e Fondazione Arte della Seta Lisio, Florence, Italy

2015 – 2017Tapestry Vertical loom, Scuola delle Arti Ornamentali San Giacomo, Rome, Italy
Hand Weaving Horizontal loom 4 e 8 harnesses, Scuola delle Arti Ornamentali San Giacomo, Rome

2016Natural indigo dyeing and shibori techniques, Rosella Cilano, Associazione Tintura Naturale, Milan
Felt and silk, seminar, Sergio Milioni e Daniela Costanzo Giorgio, Accademia Koefia, Rome

2015Intangible Cultural Heritage, Workshop on the Unesco Convention for the Safeguarding of the Intangible Cultural Heritage, UNESCO – Regione Lombardia, Italy and Switzerland

2002 – 2007Product Design, Art and Design, 4 years BA, Nuova Accademia di Belle Arti , Milan, Italy

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Muratessili

Residenza d'artista e installazione di Cristina Mariani

MURATESSILI

All’interno del complesso delle murate un progetto che collega passato e presente grazie all’opera della fiber artist Cristina Mariani.

Dalle antiche maestranze fiorentine dell’Arte della Lana e di Calimala al progetto di Cristina Mariani vincitrice della Open Call per artisti contemporanei di MAD Murate art District 2017. Un progetto sostenuto grazie al finanziamento della Regione Toscana che affonda le proprie radici nell’arte della tessitura e riprende tecniche tramandate dalle maestranze artigianali toscane nel corso dei secoli. MURATESSILI è una lunga striscia di quasi 13 metri tessuta manualmente al telaio con la tecnica dello spolinato. Questa prevede, oltre all’ordito e alla trama di fondo, una seconda trama detta trama d’opera che forma il disegno vero a proprio tessuto con vari materiali tessili come lana maremmana, lino, seta lucchese, damaschi, velluti e broccati in grado di restituire i colori del variegato paesaggio toscano: gialli, ocra, marroni,

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MURATESSILI

All’interno del complesso delle murate un progetto che collega passato e presente grazie all’opera della fiber artist Cristina Mariani.

Dalle antiche maestranze fiorentine dell’Arte della Lana e di Calimala al progetto di Cristina Mariani vincitrice della Open Call per artisti contemporanei di MAD Murate art District 2017. Un progetto sostenuto grazie al finanziamento della Regione Toscana che affonda le proprie radici nell’arte della tessitura e riprende tecniche tramandate dalle maestranze artigianali toscane nel corso dei secoli. MURATESSILI è una lunga striscia di quasi 13 metri tessuta manualmente al telaio con la tecnica dello spolinato. Questa prevede, oltre all’ordito e alla trama di fondo, una seconda trama detta trama d’opera che forma il disegno vero a proprio tessuto con vari materiali tessili come lana maremmana, lino, seta lucchese, damaschi, velluti e broccati in grado di restituire i colori del variegato paesaggio toscano: gialli, ocra, marroni, verdi, azzurri. Alla ricerca artistica e alla pratica produzione tessile, si unisce l’elemento sonoro: il canto che è sempre stato una costante nel lavoro tessile come ritmo e elemento di coesione tra le lavoratrici, diventa l’elemento conduttore e rappresentazione grafica nella trama d’opera che si esprime in un’onda sonora di un canto popolare. Traccia e struttura del lavoro è una partitura visiva ispirata all’Inno delle tessitrici. legato agli scioperi del 1910, e simbolo del sentimento comune di lavoratrici che invocano unione nella riconquista dei diritti femminili.  In collaborazione con il Museo del Tessuto di Prato Si ringrazia l’Istituto Centrale per i Beni Sonori e Audiovisivi per la concessione dell’Inno delle tessitrici

Muratessili

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Muratessili

Residenza d'artista e installazione di Cristina Mariani

Muratessili

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5a edizione del Firenze Film Corti Festival

Oltre 350 sono stati i film corti giunti da tutto il mondo che hanno partecipato alla Selection per la IV edizione di “Firenze FilmCorti International Festival”, il concorso organizzato  dall’Associazione Rive Gauche –  ArteCinema con sede a Firenze affiliata a Fedic (Federazione Italiana Cineclub).

L’obiettivo della manifestazione è quello di promuovere la conoscenza, l’incontro, il confronto e la collaborazione tra i giovani registi: il progetto, dopo la fase di selezione, si avvia adesso verso la conclusione.

Le finali si svolgeranno nelle giornate di sabato 1 luglio nella sede de Murate Art District in piazza delle Murate, e di domenica 2 luglio al Museo Novecento, dove alle ore 20 nel Chiostro avverrà anche la premiazione dei film vincitori.

Un festival sempre più internazionale, quello organizzato dall’Associazione Rive Gauche – ArteCinema, comprovato anche dal  successo dello scorso anno, con la vittoria del regista italiano Enrico Le Pera (quest’anno

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Oltre 350 sono stati i film corti giunti da tutto il mondo che hanno partecipato alla Selection per la IV edizione di “Firenze FilmCorti International Festival”, il concorso organizzato  dall’Associazione Rive Gauche –  ArteCinema con sede a Firenze affiliata a Fedic (Federazione Italiana Cineclub).

L’obiettivo della manifestazione è quello di promuovere la conoscenza, l’incontro, il confronto e la collaborazione tra i giovani registi: il progetto, dopo la fase di selezione, si avvia adesso verso la conclusione.

Le finali si svolgeranno nelle giornate di sabato 1 luglio nella sede de Murate Art District in piazza delle Murate, e di domenica 2 luglio al Museo Novecento, dove alle ore 20 nel Chiostro avverrà anche la premiazione dei film vincitori.

Un festival sempre più internazionale, quello organizzato dall’Associazione Rive Gauche – ArteCinema, comprovato anche dal  successo dello scorso anno, con la vittoria del regista italiano Enrico Le Pera (quest’anno Presidente della Giuria), che ha girato completamente in America il suo film “Lulù and the right words” . L’edizione precedente ha visto la partecipazione di film di grandi autori.

Un nome su tutti quello di Sharon Stone, produttrice e attrice di un film sull’Olocausto, premio Speciale della Giuria del Festival, a questo il link è possibile vedere il messaggio. (https://rivegauche-filmecritica.com/2016/11/25/iii-firenze-film-corti-festival-al-film-di-sharon-stone-sullolocausto-il-gran-premio-speciale-della-giuria/)

Questa edizione del Festival, oltre alla sezione dedicata ai “FilmCorti in Concorso” (17 finalisti), prevede per la prima volta quella per i “Directorial Debuts”, la sezione dedicata alle opere prime di registi esordienti (7 film in finale), e quella per le “Sceneggiature inedite” (10 script finalisti su oltre 100 inviati).

Ecco l’elenco dei premi che verranno assegnati nel corso della manifestazione: ·

per la sezione “FilmCorti in concorso”,
Premio per il miglior film, Premio per la migliore regia, Premio per la migliore sceneggiatura, Premio migliore attrice, Premio miglior attore, Premio migliore colonna sonora, Premio speciale della critica, Premio al film dal migliore valore produttivo;

per la sezione “Directorial Debuts”: Premio per la miglior opera prima, secondo e terzo Premio opere prime;

per la sezione “Sceneggiature inedite” Premio alla migliore sceneggiatura inedita, secondo e terzo Premio alle migliori sceneggiature per corti e lungometraggi.

Rive Gauche – ArteCinema, l’associazione e la rassegna al Museo Novecento
Rive Gauche è una libera associazione per la diffusione della cultura cinematografica e oltre all’ organizzazione del “Firenze FilmCorti International Festival” si è particolarmente specializzata nella ricerca di film di grande qualità mai proiettati in Italia, per offrirli in anteprima al proprio pubblico.

La rassegna di cinema viene riproposta anche quest’anno col titolo significativo “Inediti di autore”: per il secondo anno consecutivo a partire da

domenica 9 luglio avrà infatti luogo al Museo Novecento la rassegna cinematografica dedicata ai grandi registi e ai grandi film inediti in Italia. Pellicole, spesso anche molto recenti, che non hanno avuto alcuna circolazione nel nostro Paese, pur trattandosi di capolavori.
Il pubblico fiorentino, unico in Italia, avrà perciò anche quest’anno il privilegio di vedere film solitamente non disponibili.
Tra gli autori segnaliamo Xavier Dolan, Jim Jarmush, Andrzej Żuławski, Paul Schrader, Jia Zhangke e molte altre punte emergenti del cinema internazionaleIV Firenze FilmCorti International Festival Programma del Festival

Sabato 1 luglio – Murate Art District
Ore 10   Concorso Sceneggiature “Il ritorno” di Edda Valentini “Le viscere della follia” di Cristina Boracchi, Patrizia Finetti e Chiara Rossi “Napoleone awaening2 di Mark Axelrod “Reptil” di Francesco Colangelo “Il giovanotto col garofano rosso” di Marco Cacioppo
Ore 12  Directorial Debuts Last round (IT 09’) di Maro Cioni The block (CH 10’) di Nadine Boller Orchids never die (FR 27’) di Olivia Martinez de la Grange
Ore 14  Concorso Sceneggiature Gli occhi della pineta di Alberto De Santis e Livio Dorascenzi May ’68 di Duffy Hecht Luna rossa a Genova di Elena Bertoldi Il diario di Ugo Muccini di Roberto Merlino Il miglior nemico dell’uomo di Gabriella Montanari
Ore 16 Directorial Debuts Silence (Australia 14’) di Dejan Mrkic Pasapalabra ( IT/SP 04’) di Andrea Testini Other world ( Ger. 11’) di Sandro Japaridze
Ore 17 Film in Concorso Our nice Saturday’s nights ( IT ’24) di Davide Cancila Recall ( Hun 19’) di Daniel Reich La Misericordia di Firenze ( IT 17’) di Riccardo Valesi Goliath ( FR 18’) di Loich Barchè

Domenica 2 luglio – Museo Novecento – Altana
Ore 10 Film in Concorso The transfer (Isr 22’) di Michael Grudsky Oppressione ( IT 16’) di Alessio Del Donno Su Entu ( IT 11’) di Stefano Clari Bellissima ( IT 11’) di Alessandro Capitani Cloud Kumo ( Jap 14’) di Yvonne Ng Kamchatka ( IT 17’) di Mario Alessandro Paolelli
Ore 14.30 Film in Concorso Il sogno d’Or ( IT 14’) di Simone Rabassini Pyjama suicide (FR 05’) di Ruby Cicero e Arsene Chabrier Driven ( CH 09’) di Johannes Bachmann Crash ( China 21’) di Hong Heng Fai Polis Nea ( IT 16’) di Pierluigi Ferrandini The border ( UK 24’) di Norman Tamkivi In fila ( IT 04’) di Enzo Recchia e Fabio Romanelli Directorial Debuts Shadow ( Kor 18’) di Jae Won Jung

Museo Novecento – Chiostro Ore 20.00 Premiazione e proiezione dei film vincitori

5a edizione del Firenze Film Corti Festival

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Jihye Yeom

Dopo avere partecipato ad innumerevoli programmi di residenza d’artista in Ghana, Iran, Palestina, Brasile, e Colombia, Yeom attualmente vive e lavora a Seoul, Corea. La sua opera si focalizza su storie sociopolitiche in relazione a luoghi, principalmente lavorando con installazioni video a canale singolo. La sua mostra più recente è stata All Exiles Have A Hidden Luck (Tutti gli Esili Hanno Una Fortuna Nascosta) al Centro d’ Arte Sonje (Seoul 2015) in cui esplora il complesso ed ironico concetto di esilio che al contempo è volontario ed involontario, sociale ed estremamente individuale, trasferimento fisico e nomadismo mentale. Jihye Yeom ha conseguito un BFA dall’Università Nazionale di Seul, un Master dal Central Saint Martins ed un MFA a Goldsmiths, l’Università di Londra.

Dopo avere partecipato ad innumerevoli programmi di residenza d’artista in Ghana, Iran, Palestina, Brasile, e Colombia, Yeom attualmente vive e lavora a Seoul, Corea. La sua opera si focalizza su storie sociopolitiche in relazione a luoghi, principalmente lavorando con installazioni video a canale singolo. La sua mostra più recente è stata All Exiles Have A Hidden Luck (Tutti gli Esili Hanno Una Fortuna Nascosta) al Centro d’ Arte Sonje (Seoul 2015) in cui esplora il complesso ed ironico concetto di esilio che al contempo è volontario ed involontario, sociale ed estremamente individuale, trasferimento fisico e nomadismo mentale. Jihye Yeom ha conseguito un BFA dall’Università Nazionale di Seul, un Master dal Central Saint Martins ed un MFA a Goldsmiths, l’Università di Londra.

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Seoungwon Won

Realtà e illusione in queste scene si mescolano così magistralmente da renderle inscindibili, creando una realtà tangibile alternativa dove elementi caratterizzanti della fotografia vengono usati per rendere questa “verità” inconfutabilmente vivida. Per arrivare a questo risultato l’artista compie innumerevoli e meticolose modifiche alle sue fotografie, mentre disegna a primo getto, rivelando così molto chiaramente il processo di conflitto tra coscienza e subconscio. Il lungo viaggio per trovare cose e scene nella realtà comincia quando un schizzo di idea è realizzato. Poi, le centinaia di scene raccolte dalla macchina fotografica durante il viaggio sono montate come un fine collage. Come per gli ‘oggetti trovati’ dei surrealisti, le cose, frutto dell’incontro di coincidenze e inevitabilità, incarnano l’intenzione e il desiderio dell’artista. È nelle aperture di spazio e tempo che cose ultraterrene sono create con un sforzo così grande e, sebbene ultraterrene,

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Realtà e illusione in queste scene si mescolano così magistralmente da renderle inscindibili, creando una realtà tangibile alternativa dove elementi caratterizzanti della fotografia vengono usati per rendere questa “verità” inconfutabilmente vivida. Per arrivare a questo risultato l’artista compie innumerevoli e meticolose modifiche alle sue fotografie, mentre disegna a primo getto, rivelando così molto chiaramente il processo di conflitto tra coscienza e subconscio. Il lungo viaggio per trovare cose e scene nella realtà comincia quando un schizzo di idea è realizzato. Poi, le centinaia di scene raccolte dalla macchina fotografica durante il viaggio sono montate come un fine collage. Come per gli ‘oggetti trovati’ dei surrealisti, le cose, frutto dell’incontro di coincidenze e inevitabilità, incarnano l’intenzione e il desiderio dell’artista. È nelle aperture di spazio e tempo che cose ultraterrene sono create con un sforzo così grande e, sebbene ultraterrene, queste nascono dalla realtà.

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Jongku Kim

Scultore di formazione, Kim lavora primariamente con polvere di acciaio sulla tela neutra fin dagli ultimi anni ‘90. Macinando faticosamente sbarre metalliche, Kim riduce il ferro solido in polvere, trasformando un materiale forte e freddo in uno morbido e delicato. Usando forme calligrafiche, Kim applica la polvere sopra la tela come un flusso poetico di coscienza, mentre la colla poliuretanica ne ferma la sua volatilità sul supporto. Create orizzontalmente, le tele sono successivamente elevate verticalmente, permettendo alla gravità di portare verso il basso le polveri ancora sciolte. Le parole scritte in coreano non sono lette né da sinistra a destra né il contrario, ma fluiscono in un percorso non lineare. Non è importante capire ogni parola perché il significato del poema si arrende al significato espresso dal dipinto nel suo complesso come panorama poetico. Nella sua de-materializzazione dell’acciaio, una materia prima per la guerra ed il mercantilismo moderno, Kim rapp

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Scultore di formazione, Kim lavora primariamente con polvere di acciaio sulla tela neutra fin dagli ultimi anni ‘90. Macinando faticosamente sbarre metalliche, Kim riduce il ferro solido in polvere, trasformando un materiale forte e freddo in uno morbido e delicato. Usando forme calligrafiche, Kim applica la polvere sopra la tela come un flusso poetico di coscienza, mentre la colla poliuretanica ne ferma la sua volatilità sul supporto. Create orizzontalmente, le tele sono successivamente elevate verticalmente, permettendo alla gravità di portare verso il basso le polveri ancora sciolte. Le parole scritte in coreano non sono lette né da sinistra a destra né il contrario, ma fluiscono in un percorso non lineare. Non è importante capire ogni parola perché il significato del poema si arrende al significato espresso dal dipinto nel suo complesso come panorama poetico. Nella sua de-materializzazione dell’acciaio, una materia prima per la guerra ed il mercantilismo moderno, Kim rappresenta l’umiliazione del genere umano nella sua continua necessità di progresso.

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Yiyun Kang

Yiyun Kang è internazionalmente riconosciuta per i suoi progetti di video mapping. Piuttosto che concentrarsi sulla creazione di oggetti, lei esplora lo sviluppo di ambienti relazionali attraverso installazioni che si attuano nello spazio tramite proiezioni site specific. Il suo lavoro è stato esposto in diversi musei e gallerie d’Europa, Asia e Stati Uniti, ha partecipato vari programmi di residenza, incluso quello del Victoria and Albert Museum (Londra) ed il Museo Nazionale di Art Contemporanea della Corea. Il suo lavoro è stato mostrato a Museo di Arte di Seoul, Museo di Arte Contemporaneo di Taipei e alla Biennale dell’Architettura di Venezia del 2014. Ha conseguito una Laurea in Belle Arti all’Università Nazionale di Seoul ed un Master in Belle Arti al dipartimento di Design & Media Art dell’ UCLA (California, USA). A seguito del Master in Belle Arti (MFA) negli Stati Uniti, Kang lavorò, ed insegnò in Corea per 3 anni, per poi successivamente trasferendosi a Lon

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Yiyun Kang è internazionalmente riconosciuta per i suoi progetti di video mapping. Piuttosto che concentrarsi sulla creazione di oggetti, lei esplora lo sviluppo di ambienti relazionali attraverso installazioni che si attuano nello spazio tramite proiezioni site specific. Il suo lavoro è stato esposto in diversi musei e gallerie d’Europa, Asia e Stati Uniti, ha partecipato vari programmi di residenza, incluso quello del Victoria and Albert Museum (Londra) ed il Museo Nazionale di Art Contemporanea della Corea. Il suo lavoro è stato mostrato a Museo di Arte di Seoul, Museo di Arte Contemporaneo di Taipei e alla Biennale dell’Architettura di Venezia del 2014. Ha conseguito una Laurea in Belle Arti all’Università Nazionale di Seoul ed un Master in Belle Arti al dipartimento di Design & Media Art dell’ UCLA (California, USA). A seguito del Master in Belle Arti (MFA) negli Stati Uniti, Kang lavorò, ed insegnò in Corea per 3 anni, per poi successivamente trasferendosi a Londra, dove attualmente lavora e studia per conseguire un Dottorato al Royal College of Art .

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Sungpil Han

Sungpil Han crea arte principalmente attraverso la fotografia, il moving image ed installazioni per sostenere ed esaminare argomenti filosofici, problemi ambientali, ricerche di archetipi e relazioni tra realtà e le sue rappresentazioni, intese come gli antipodi di “vero” e “falso”. Assieme all’indagine sulla complessità delle diverse culture, l’artista esplora anche il soggetto della natura, proponendo nuove interpretazioni del nostro quotidiano. La sensibilità di Sungpil include nel suo lavoro umorismo e nel contempo elementi sublimi di bellezza. Sungpil ha conseguito un BFA in fotografia dall’Università di Chung-Ang, Corea e un Master in Curatela  del Design Contemporaneo, un programma congiunto offerto dall’Università di Kingston ed il Museo di Design di Londra.

Sungpil Han crea arte principalmente attraverso la fotografia, il moving image ed installazioni per sostenere ed esaminare argomenti filosofici, problemi ambientali, ricerche di archetipi e relazioni tra realtà e le sue rappresentazioni, intese come gli antipodi di “vero” e “falso”. Assieme all’indagine sulla complessità delle diverse culture, l’artista esplora anche il soggetto della natura, proponendo nuove interpretazioni del nostro quotidiano. La sensibilità di Sungpil include nel suo lavoro umorismo e nel contempo elementi sublimi di bellezza. Sungpil ha conseguito un BFA in fotografia dall’Università di Chung-Ang, Corea e un Master in Curatela  del Design Contemporaneo, un programma congiunto offerto dall’Università di Kingston ed il Museo di Design di Londra.

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Minjeong Guem

Minjeong Geum, vive e lavora a Seoul. Utilizza una varietà di mezzi espressivi tra cui la scultura, il video, lo spettacolo e l’installazione site-specific. La memoria collettiva e lo spazio sono questioni fondamentali nella sua ricerca. Concentrandosi sul contesto storico e la densità che certi spazi posseggono, l’artista deduce specifiche caratteristiche interne ed architettoniche come struttura della sua rappresentazione visuale. L’artista ricrea spazi privati e pubblici, realizzando resoconti nuovi ed ambigui. Guem ha conseguito un DFA dall’Università di Yonsei, Seoul, un MFA ed un BFA dall’Università di Hongik, Seoul. Ha completato importanti progetti d’arte pubblica commissionati da Lexus e Samsonite in Seoul e Busan. Nel 2014, Guem prese parte a ‘Green River’, un progetto di Residenza d’Artista di scambio Corea / Taiwan realizzato in Tamsui, Taiwan. I suoi lavori sono parte di collezioni private e pubbliche incluso il Museo d’Arte di Kumho e Museo d’Art

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Minjeong Geum, vive e lavora a Seoul. Utilizza una varietà di mezzi espressivi tra cui la scultura, il video, lo spettacolo e l’installazione site-specific. La memoria collettiva e lo spazio sono questioni fondamentali nella sua ricerca. Concentrandosi sul contesto storico e la densità che certi spazi posseggono, l’artista deduce specifiche caratteristiche interne ed architettoniche come struttura della sua rappresentazione visuale. L’artista ricrea spazi privati e pubblici, realizzando resoconti nuovi ed ambigui. Guem ha conseguito un DFA dall’Università di Yonsei, Seoul, un MFA ed un BFA dall’Università di Hongik, Seoul. Ha completato importanti progetti d’arte pubblica commissionati da Lexus e Samsonite in Seoul e Busan. Nel 2014, Guem prese parte a ‘Green River’, un progetto di Residenza d’Artista di scambio Corea / Taiwan realizzato in Tamsui, Taiwan. I suoi lavori sono parte di collezioni private e pubbliche incluso il Museo d’Arte di Kumho e Museo d’Arte di Seoul.

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Chan-Hyo Bae

Fin dal completamento degli studi alla Scuola di Belle Arti ‘Slade’ (UCL, Londra) nel 2007, Chan-Hyo Bae ha espresso nel suo lavoro sentimenti di estraniazione culturale ed emotiva, sperimentati dall’artista durante il periodo di studio in Inghilterra. La sua serie Existing in Costume (Esistendo in Costume), con meticolosa ricerca del dettaglio, crea scene elaborate di sé stesso come nobildonna occidentale, dall’epoca Elisabettiana fino all’età della Reggenza. Questa ricerca dell’individuo all’interno di una narrazione identitaria collettiva nazionalistica viene ulteriormente sviluppata nelle sue ultime opere che prediligono come soggetto il regno delle fiabe occidentali, storie che hanno permeato la nostra cultura e plasmato la nostra psiche. La sua ricerca attuale descrive il soggetto della punizione in riferimento all’esercizio del potere.

Fin dal completamento degli studi alla Scuola di Belle Arti ‘Slade’ (UCL, Londra) nel 2007, Chan-Hyo Bae ha espresso nel suo lavoro sentimenti di estraniazione culturale ed emotiva, sperimentati dall’artista durante il periodo di studio in Inghilterra. La sua serie Existing in Costume (Esistendo in Costume), con meticolosa ricerca del dettaglio, crea scene elaborate di sé stesso come nobildonna occidentale, dall’epoca Elisabettiana fino all’età della Reggenza. Questa ricerca dell’individuo all’interno di una narrazione identitaria collettiva nazionalistica viene ulteriormente sviluppata nelle sue ultime opere che prediligono come soggetto il regno delle fiabe occidentali, storie che hanno permeato la nostra cultura e plasmato la nostra psiche. La sua ricerca attuale descrive il soggetto della punizione in riferimento all’esercizio del potere.

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Straniamento – Seemingly familiar or seemingly unfamiliar

Exhibition in collaboration with Korea Film Fest 2017

Straniamento – Seemingly familiar or seemingly unfamiliar

7 Korean contemporary artists are showcased at MAD Murate Art District, Florence, Italy from 30 March to 29 April, 2017, featuring approximately 20 art works including Photography, Video, Performance, Painting, Sculpture. This exhibition was started by two Korean independent curators, Jiyoung LEE(Representative of Platform A) and Kko-kka LEE (former Head of Planning and the academic program for Busan Biennale 2016), who are interested in promoting Korean art abroad, and have worked in collaboration with the director of Florence Korea Film Fest, Riccardo Gelli from Taegukgi, Toscana Korea Association and the Artistic Director of Le Murate and the Progetti Arte Contemporanea, Valentina Gensini. As an extension of the Florence Korea Film Fest 2017 (23 March to 31 March), the exhibition hopes to broaden the understanding and appreciation of Korean culture in Toscana, Italy. Straniamento is an Italian word meaning Defamilarization

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Straniamento – Seemingly familiar or seemingly unfamiliar

7 Korean contemporary artists are showcased at MAD Murate Art District, Florence, Italy from 30 March to 29 April, 2017, featuring approximately 20 art works including Photography, Video, Performance, Painting, Sculpture. This exhibition was started by two Korean independent curators, Jiyoung LEE(Representative of Platform A) and Kko-kka LEE (former Head of Planning and the academic program for Busan Biennale 2016), who are interested in promoting Korean art abroad, and have worked in collaboration with the director of Florence Korea Film Fest, Riccardo Gelli from Taegukgi, Toscana Korea Association and the Artistic Director of Le Murate and the Progetti Arte Contemporanea, Valentina Gensini. As an extension of the Florence Korea Film Fest 2017 (23 March to 31 March), the exhibition hopes to broaden the understanding and appreciation of Korean culture in Toscana, Italy. Straniamento is an Italian word meaning Defamilarization which expresses the curators’ intention to promote a dialogue between Italian audiences and unfamiliar Korean contemporary artworks so as to expose and explore shared feelings and common values.

Participating Artists BAE Chanhyo, GUEM Minjeong, HAN Sungpil, KANG Yiyun, KIM Jongku, WON Seoungwon, YEOM Jihye (Alphabetical Order) Curators: LEE Jiyoung, LEE Kko-Kka (Alphabetical Order) Host: Platform A Organizer: Comune di Firenze, Muse and Le Murate. Progetti Arte Contemporanea, Taegukgi (Toscana Korea Association) Sponsor: Arts Council Korea

Straniamento – Seemingly familiar or seemingly unfamiliar

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Straniamento – Seemingly familiar or seemingly unfamiliar

Mostra in collaborazione con il Korea Film Fest 2017

Straniamento – Seemingly familiar or seemingly unfamiliar

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Clay Apenouvon

Installation and visual artist

Born in 1970 in Lomé, Togo. He lives and works in both Aubervilliers and Lomé.

Clay Apenouvon participated in painting, graphic arts and screen-printing workshops in Togo before moving to Paris where he continued his initiation with the artists Claude Viallat and Mounir Fatmi.
After exploring cardboard as a material, he developed the concept ‘Plastic Attack’ to raise public awareness of the harmfulness of plastic. More recently with the Film noir de Lampedusa (2015), he denounced the indifference of Europe faced with the tragedy of illegal immigration. He used black stretch film to create an exceptionally powerful and evocative in situ installation.

Clay Apenouvon exhibited his work at the 1:54 Contemporary African Art Fair in London (2015) and in the collective work Visibles / Invisibles, l’Afrique urbaine et ses marges at the Fondation Blachère, France (2015). For The Day That Comes, he will create an original work in situ.


Born in 1970 in Lomé, Togo. He lives and works in both Aubervilliers and Lomé.

Clay Apenouvon participated in painting, graphic arts and screen-printing workshops in Togo before moving to Paris where he continued his initiation with the artists Claude Viallat and Mounir Fatmi.
After exploring cardboard as a material, he developed the concept ‘Plastic Attack’ to raise public awareness of the harmfulness of plastic. More recently with the Film noir de Lampedusa (2015), he denounced the indifference of Europe faced with the tragedy of illegal immigration. He used black stretch film to create an exceptionally powerful and evocative in situ installation.

Clay Apenouvon exhibited his work at the 1:54 Contemporary African Art Fair in London (2015) and in the collective work Visibles / Invisibles, l’Afrique urbaine et ses marges at the Fondation Blachère, France (2015). For The Day That Comes, he will create an original work in situ.

Film noir per Lampedusa - Videozoom: Africana Womanism

Black History Month Florence 2017

Film noir per Lampedusa - Videozoom: Africana Womanism

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Film noir per Lampedusa - Videozoom: Africana Womanism

Black History Month Florence 2017

Ispirato al Black History Month celebrato negli Stati Uniti e nel Regno Unito, l’evento fiorentino mette in risalto i contributi culturali della diaspora africana che hanno influenzato la cultura popolare Italiana.
Conferenze, proiezioni di film, letture di libri, mostre d’arte, eventi enogastronomici, concerti e spettacoli ricordano i più importanti passaggi della storia africana ponendola in relazione con il panorama contemporaneo fiorentino.

All’interno di questa iniziativa si inserisce la XV edizione della rassegna Videozoom curata da Antonella Pisilli che quest’anno presenta opere di 8 video artiste africane dal titolo “Africana womanism” e l’installazione “Film noir per Lampedusa” di Clay Apenouvon.

Videozoom: Africana Womanism è un progetto video “work in progress”: in mostra opere di video-arte contemporanea, presentate tenendo conto delle specificità culturali delle diverse realtà del mondo. Il progetto vuole proporre una visione nuova della do


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Ispirato al Black History Month celebrato negli Stati Uniti e nel Regno Unito, l’evento fiorentino mette in risalto i contributi culturali della diaspora africana che hanno influenzato la cultura popolare Italiana.
Conferenze, proiezioni di film, letture di libri, mostre d’arte, eventi enogastronomici, concerti e spettacoli ricordano i più importanti passaggi della storia africana ponendola in relazione con il panorama contemporaneo fiorentino.

All’interno di questa iniziativa si inserisce la XV edizione della rassegna Videozoom curata da Antonella Pisilli che quest’anno presenta opere di 8 video artiste africane dal titolo “Africana womanism” e l’installazione “Film noir per Lampedusa” di Clay Apenouvon.

Videozoom: Africana Womanism è un progetto video “work in progress”: in mostra opere di video-arte contemporanea, presentate tenendo conto delle specificità culturali delle diverse realtà del mondo. Il progetto vuole proporre una visione nuova della donna africana attraverso l’occhio dell’artista; Africana Womanism, nello specifico, porta alla ribalta il ruolo di madri africane come leader nella lotta per ritrovare, ricostruire e creare un’integrità culturale che abbraccia gli antichi principi di reciprocità, equilibrio, armonia, giustizia, verità e ordine.
Fanno parte delle artiste di Africana Womanism: Nirdeva Alleck (Mauritius), Nathalie Mba Bikoro (Gabon), Rehema Chachage (Tanzania), Wanja Kimani (Kenia), Michèle Magema (RDC), Fatima Mazmouz (Marocco), Myriam Mihindou (Gabon), Tabita Rezaire (Francia-Guyana/Danese)

Film noir per Lampedusa, di Clay Apenouvon (Togo), interpreta una Lampedusa contemporanea, luogo di migrazioni; attraverso un’installazione site-specific, realizzata dall’artista per Murate Art District, si esplora la capacità dei materiali di essere supporto fisico e medium artistico per trasmettere il messaggio socio-politico dell’artista.
Non nuovo a questo tipo ti incursioni artistiche, Clay Apenouvon lavora con materiali plastici di colore nero, che evocano la liquida vischiosità del petrolio.

I due progetti sono stati inaugurati venerdì 3 febbraio 2017 alle ore 17.30 presso MAD Murate Art District.

Film noir per Lampedusa - Videozoom: Africana Womanism

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Justin Randolph Thompson | BHMF 2017

Artista e Direttore Black History Month Florence | Residenza d'artista e Mostra

Justin Randolph Thompson su BHMF 2017
Artista e Direttore Black History Month Florence | Residenza d'artista e Mostra
Justin Randolph Thompson | BHMF 2017

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Quei giorni del diluvio

Progetto RIVA

Durante i giorni dell’alluvione del ’66, per la prima volta a Firenze si mise in moto spontaneamente un’enorme catena di solidarietà. Ad accorrere furono giovani provenienti da ogni parte del mondo per salvare l’arte italiana: per tutti loro fu coniato il termine ‘angeli del fango’. Fotoromanzo Italiano lavora assemblando e contaminando immagini e materiali vari; per MAD Murate Art District gli artisti hanno costituito un gruppo di lavoro che ha coinvolto studenti o giovani artisti under 35 attivi sul territorio toscano in un workshop di ricerca attorno all’Arno. I partecipanti hanno lavorato come una vera e propria redazione procedendo prima alla stesura e poi alla realizzazione di un fotoromanzo sul fiume.

Durante i giorni dell’alluvione del ’66, per la prima volta a Firenze si mise in moto spontaneamente un’enorme catena di solidarietà. Ad accorrere furono giovani provenienti da ogni parte del mondo per salvare l’arte italiana: per tutti loro fu coniato il termine ‘angeli del fango’. Fotoromanzo Italiano lavora assemblando e contaminando immagini e materiali vari; per MAD Murate Art District gli artisti hanno costituito un gruppo di lavoro che ha coinvolto studenti o giovani artisti under 35 attivi sul territorio toscano in un workshop di ricerca attorno all’Arno. I partecipanti hanno lavorato come una vera e propria redazione procedendo prima alla stesura e poi alla realizzazione di un fotoromanzo sul fiume.

Quei giorni del diluvio

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Robert Pettena

Photographer, Video artist, installation artist

Born in Penbury (UK) in 1970, Robert Pettena spent a large part of his youth and adolescence between Brixton (London) and San Giovenale (Reggello, Italy). In 1990 he moved to Florence, where he attended the Accademia di Belle Arti.

Robert Pettena is an artist-cum-traveller probing the wonders and inconsistencies of the world, seizing conflicting aspects of reality in a manner both poetic and a provocative.
Alongside photography, video-art and installations, his work includes performances and site-specific projects involving other players besides himself, often hailing from the artistic underground in which Pettena has identified a potential and an energy that he transfers and channels into a variety of situations, sparking a short-circuit in his audience’s senses. His art can be both massive and “destructive”, like his excavation inside the Gum studio in Carrara, or minimal, like his insertion of a record player into the desolate panorama of the artificial lake of Santa Barb

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Born in Penbury (UK) in 1970, Robert Pettena spent a large part of his youth and adolescence between Brixton (London) and San Giovenale (Reggello, Italy). In 1990 he moved to Florence, where he attended the Accademia di Belle Arti.

Robert Pettena is an artist-cum-traveller probing the wonders and inconsistencies of the world, seizing conflicting aspects of reality in a manner both poetic and a provocative.
Alongside photography, video-art and installations, his work includes performances and site-specific projects involving other players besides himself, often hailing from the artistic underground in which Pettena has identified a potential and an energy that he transfers and channels into a variety of situations, sparking a short-circuit in his audience’s senses. His art can be both massive and “destructive”, like his excavation inside the Gum studio in Carrara, or minimal, like his insertion of a record player into the desolate panorama of the artificial lake of Santa Barbara, entitled Alla conquista dell’inutile [Conquering the Pointless].

He has taken part in numerous collective exhibitions both in Italy and abroad, including: Watou Poëziezomer 2001 Een lege plek om te blijven, curated by Pier Luigi Tazzi and Ann Demeester, Watou (Belgium) 2001; Palazzo delle Libertà, curated by Lorenzo Fusi and Marco Pierini, Palazzo delle Papesse, Siena, 2003; Fuori uso, curated by Luca Beatrice, Pescara 2004; The Food Show: The Hungry Eye, curated by Robert G. Edelman and Gina Fiore, Chelsea Art Museum, New York (USA) 2006; Pan Screening, Art Radio Live, WPS1. ORG Broadcasts, Biennale di Venezia, Venice 2007; Rites de Passage, curated by Pier Luigi Tazzi, Schunck, Glaspaleis, Heerlen, Netherlands 2009, and Jump into the UnKnown, Future Rhythms curated by Mike Watson, side event of the 56th Biennale Internazionale d’Arte of Venice 2015, and Florenz Contemporary, curated by Angelika Stepken Embassy of Italy, Berlin 2015. A sweeping anthological exhibition of his work was held in several different sites in the historic centre of Prato in 2008: Second Escape, curated by Pier Luigi Tazzi. His most recent personal exhibitions in 2014 include: Robert Pettena Noble Explosion, curated by Marco Pierini, Galleria Civica of Modena; and in 2016: L’Enigma di Nobel curated by Valentina Gensini, PAC, Florence.

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L'enigma del Nobel

Residenza d'artista e installazione di Robert Pettena

E’ stata inaugurata giovedì 3 marzo 2016, presso MAD Murate Art District, l’Enigma di Nobel, installazione dell’artista Robert Pettena nata da un lungo lavoro di ricerca compiuto a partire dai siti SIPE-Nobel del territorio italiano. Alfred Nobel, noto come l’ideatore dell’omonimo premio, fu anche e soprattutto l’inventore della dinamite: nei primi anni Settanta dell’Ottocento, dopo aver incontrato varie difficoltà in molti Paesi del nord Europa, Nobel giunse in Italia per installare i suoi impianti di produzione di esplosivi. Più tardi la sua società “Dynamite Nobel” stabilì una fruttuosa joint venture con la Società Italiana Prodotti Esplodenti, dando vita alla SIPE Nobel S.p.A. L’Enigma di Nobel è stato il secondo capitolo di un ampio progetto dedicato a Nobel, iniziato qualche anno fa all’interno di una delle sue ex-fabbriche, la polveriera di Forte dei Marmi, poi proseguito negli altri stabilimenti siti lungo la penisola e presentato al pubblico co

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E’ stata inaugurata giovedì 3 marzo 2016, presso MAD Murate Art District, l’Enigma di Nobel, installazione dell’artista Robert Pettena nata da un lungo lavoro di ricerca compiuto a partire dai siti SIPE-Nobel del territorio italiano. Alfred Nobel, noto come l’ideatore dell’omonimo premio, fu anche e soprattutto l’inventore della dinamite: nei primi anni Settanta dell’Ottocento, dopo aver incontrato varie difficoltà in molti Paesi del nord Europa, Nobel giunse in Italia per installare i suoi impianti di produzione di esplosivi. Più tardi la sua società “Dynamite Nobel” stabilì una fruttuosa joint venture con la Società Italiana Prodotti Esplodenti, dando vita alla SIPE Nobel S.p.A. L’Enigma di Nobel è stato il secondo capitolo di un ampio progetto dedicato a Nobel, iniziato qualche anno fa all’interno di una delle sue ex-fabbriche, la polveriera di Forte dei Marmi, poi proseguito negli altri stabilimenti siti lungo la penisola e presentato al pubblico con la mostra Noble Explosion presso la Galleria civica di Modena.

All’interno degli spazi di MAD la mostra ha ospitato alcune fotografie delle architetture industriali, abbandonate e sopraffatte dalla vegetazione spontanea, e un’installazione densa di suggestioni: un ambiente che è allo stesso tempo laboratorio, archivio (con disegni tecnici, maquette, libri paga, materiale d’archivio, visori e negativi stereoscopici), serra per la coltivazione di orchidee, nonché un omaggio a Gino De Dominicis. Gli spazi hanno accolto materiali ritrovati da Pettena all’interno delle fabbriche o acquistati da antiquari, che riportano in superficie una storia ormai dimenticata e restituiscono un ritratto articolato di Alfred Nobel: una riflessione sugli aspetti più contraddittori della sua figura, spesso citata per le sue capacità visionarie, ma ancora poco rappresentata e indagata.

“La passione di Nobel per le piante”, ha dichiarato l’artista “si muove con la stessa intensità del suo impegno in numerosissimi brevetti,[…] nella dimora ad Avenue Malakoff, ora Avenue Raymond Poincaré, a Parigi, aveva un giardino d’inverno dove coltivava le sue orchidee mentre nel laboratorio a fianco sperimentava nuove sostanze esplodenti. […] Il suo rapporto contraddittorio con l’uso degli esplodenti per la produzione di ordigni bellici come per grandi opere civili, si muoveva di pari passo con la filantropia nel sostegno di organizzazioni pacifiste e in particolare quella capeggiata Bertha von Suttner, già sua segretaria. […] Gli improvvisi boati prodotti dalla nitroglicerina tanto odiati dai vicini e la sorprendente rigogliosità della vegetazione nelle sue serre, inducono adesso a percepire una sottile connessione in equilibrio tra il senso di pace nato dall’interesse per la botanica e lo studio approfondito dei materiali dalle caratteristiche instabili. […] L’installazione l’Enigma di Nobel, un laboratorio/serra, vuole essere un luogo in cui innescare tali sinergie in una ricostruzione atemporale in cui ogni oggetto, seppur distante di luogo o di significato, può creare un cortocircuito generatore di interessanti invenzioni”.

In occasione del vernissage, alle ore 18.30, si è svolta una performance ideata dall’artista Robert Pettena e interpretata dalla performer Chiara Macinai.

Il nome di Alfred Nobel è indissolubilmente legato ai prestigiosi premi che ogni anno vengono attribuiti in diversi campi della scienza: fisica, chimica, medicina, delle lettere e dell’economia, oltre al premio Nobel per la pace che assume spesso un’importante rilevanza anche sul piano politico. Forse non a tutti è noto, invece, che Nobel è stato un geniale inventore, autore di oltre 350 brevetti in settori fra loro anche molto diversi, il più noto dei quali è senz’altro collegato alla scoperta della dinamite. Grazie ai proventi delle attività industriali basate sulle sue invenzioni, Nobel lasciò in eredità gran parte della sua fortuna per creare i premi che portano il suo nome da assegnare a coloro che “portano importanti benefici all’umanità” per le loro ricerche e invenzioni, per le opere letterarie e per l’impegno in favore della pace “da conferire senza distinzione alcuna di nazionalità”.

 

L'enigma del Nobel

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Alfred & Bertha, Enigma of Nobel | una performance ideata dall’artista Robert Pettena e interpretata dalla performer Chiara Macinai

Alfred & Bertha, Enigma of Nobel, Murate Art District, Firenze, 2016
In occasione del vernissage si è svolta una performance ideata dall’artista Robert Pettena e interpretata dalla performer Chiara Macinai.

Alfred & Bertha, Enigma of Nobel, Firenze, 2016
Una performance ideata dall’artista Robert Pettena e interpretata dalla performer Chiara Macinai
Alfred & Bertha, Enigma of Nobel | una performance ideata dall’artista Robert Pettena e interpretata dalla performer Chiara Macinai

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L'enigma del Nobel

Residenza d'artista e installazione di Robert Pettena

L'enigma del Nobel

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Katharina Anna Loidl

Artista concettuale

Laureata con lode nel 2012 alla University of Art & Design Linz (Austria), ricercatrice e artista concettuale, dal 2009 realizza installazioni e progetti site-specific combinando scultura, video e fotografia. L’espansione dello spazio, lo scetticismo verso il visibile e le sottili irritazioni del quotidiano forniscono lo stimolo per il suo modo concettuale di lavorare. Nel suo vocabolario artistico delle forme, esamina l’elemento di collegamento dell’astratto con la rappresentazione, lo storico con il contemporaneo, la natura rurale con l’architettura urbana. Premiata con riconoscimenti e produzioni internazionali, Katharina Loidl è stata artist-in-residence a Berlino, Marsiglia, Berna (Stadtgalerie) e Algeri, in Indonesia (Sewon Art Space, Yogykarta) e Quebec (Sporobole-Centre en art actuel, Sherbrooke), ed ha realizzato progetti di arte pubblica in Austria. Sue opere sono state acquisite da istituzioni pubbliche e private in Austria e Canada.

Laureata con lode nel 2012 alla University of Art & Design Linz (Austria), ricercatrice e artista concettuale, dal 2009 realizza installazioni e progetti site-specific combinando scultura, video e fotografia. L’espansione dello spazio, lo scetticismo verso il visibile e le sottili irritazioni del quotidiano forniscono lo stimolo per il suo modo concettuale di lavorare. Nel suo vocabolario artistico delle forme, esamina l’elemento di collegamento dell’astratto con la rappresentazione, lo storico con il contemporaneo, la natura rurale con l’architettura urbana. Premiata con riconoscimenti e produzioni internazionali, Katharina Loidl è stata artist-in-residence a Berlino, Marsiglia, Berna (Stadtgalerie) e Algeri, in Indonesia (Sewon Art Space, Yogykarta) e Quebec (Sporobole-Centre en art actuel, Sherbrooke), ed ha realizzato progetti di arte pubblica in Austria. Sue opere sono state acquisite da istituzioni pubbliche e private in Austria e Canada.

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Panopticon

Site-specific installation by Katharina Anna Loidl

Katharina Anna Loidl winner of the Open call for artist-in-residence for national and international artists 2015

The term “Panopticon“ describes a prison design concept which is to allow all inmates to be observed by a single watchman without the inmates being able to tell whether or not they are being watched. The name is a reference to Panoptes from Greek mythology; who was a giant with a hundred eyes and thus was known to be a very effective watchman. Panopticon is a mode of obtaining power of mind over mind, in a quantity hitherto without example. Prison inmates are exposed to permanent surveillance and control in contrast to the loss of their existence of an individual anymore, they are invisible for the public. Permanently observed for reasons of security prevention we are willing to give up our privacy and personal freedom. Michel Foucault describes the panoptic system of surveillance, built on physical space, is replaced by a strategy of deterrence centered around virtual

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Katharina Anna Loidl winner of the Open call for artist-in-residence for national and international artists 2015

The term “Panopticon“ describes a prison design concept which is to allow all inmates to be observed by a single watchman without the inmates being able to tell whether or not they are being watched. The name is a reference to Panoptes from Greek mythology; who was a giant with a hundred eyes and thus was known to be a very effective watchman. Panopticon is a mode of obtaining power of mind over mind, in a quantity hitherto without example. Prison inmates are exposed to permanent surveillance and control in contrast to the loss of their existence of an individual anymore, they are invisible for the public. Permanently observed for reasons of security prevention we are willing to give up our privacy and personal freedom. Michel Foucault describes the panoptic system of surveillance, built on physical space, is replaced by a strategy of deterrence centered around virtual spaces occupied not by people but by information: “No more subject, no more focal point, no more center or periphery: pure flexion or circular inflexion. No more violence or surveillance: only „information“, secret virulence, chain reaction, slow implosion, and simulacra of spaces in which the effect of the real again comes into play.“ The expansion of the space, the fine irritations in everyday life and the skepticism towards the visible provide an incentive for selecting the conceptual approach of the artists’ work. During the one month residency at La Murate. Progretti Arte Contemporanea the artist elaborated a working series on the topic of visibility. The project deals with actual tenses of control and surveillance and vanishing borders between the public and private sphere under the facade of transparency. This work is related to the theme of isolation and deals with a larger meaning of the human being as an individual in an age of carceral culture under globalized institutions of power. The used material of these art works has been chosen in connection to the “Le Murate” building complex as well as to the topic of surveillance and visibility. All of these artworks are connected in form and content among each other to certain items of this massive building. In the middle of the room an art installation out of 1.000 meters of iron chains are held by two of the monumental columns. The first prisons in Ancient Athens was known as the “place of chains”. These chains simulates a facade or translucente wall on which – from a certain point of view – a single circle is visible. By watching from a different angle this concrete form changes. The lightness of the material as well as the color which was uses for the circle stands in an opposite part to the metal. On the right side a pending meshwork suggesting a cloud gets into a dialogue with the text on the wall behind. The form of the grid corresponds to the window grids of the Le Murate windows. These raster work is reference to the barricade of the wide view and the network system of every individual. A movie of the twisting lenticular machine has been made in the exhibition room hidden from the viewer. This work playfully interacts with perspective shifts and optical illusions. The modelled eye in the peripheral wall of the exhibition room can be seen as a quote of the topic of this series on questioning the meaning of visibility and self-determination. The Panopticon is a machine for dissociating the see/being seen dyad: in the peripheral ring, one is totally seen, without ever seeing; in the central tower, one sees everything without ever being seen.        Michel Foucault, Discipline and Punish, The Birth of the Prison, Panopticism 1977

Panopticon

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Panopticon

Site-specific installation by Katharina Anna Loidl

Panopticon

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Biho Ryu

Video artist

1970 Born in Gunsan, South Korea

Lives and Works in Seoul

Following his first solo exhibition titled The Steel Sun in 2000, he co-organized Artistic Acts through Hacking(2001) – a ‘research group on art, society and media’ with contemporarian artists, organizers and media researchers – and Parasite-Tactical Media Networks(2004-2006), etc. and conducted research and artistic activities. Throughout the period, he released artworks raising aesthetic questions on art and society, including Flexible Landscape(2008, 2009), Extreme Private Practice(2010), Mutual Escape(2010) and Twin Peaks(2011). He also participated in such group exhibitions as Wrap Around the Time(Nam June Paik Art Center), The special project for the 20th anniversary of the Gwangju Biennale: “Sweet Dew – Since 1980”(The 5.18 Democracy Plaza, Gwangju), The Future is Now!(La Friche Belle de Mai, Marseille) and Bad Boys, Here and Now(Gyeonggi Museum of Modern Art). He was invited to Sungkok Art Museu

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1970 Born in Gunsan, South Korea

Lives and Works in Seoul

Following his first solo exhibition titled The Steel Sun in 2000, he co-organized Artistic Acts through Hacking(2001) – a ‘research group on art, society and media’ with contemporarian artists, organizers and media researchers – and Parasite-Tactical Media Networks(2004-2006), etc. and conducted research and artistic activities. Throughout the period, he released artworks raising aesthetic questions on art and society, including Flexible Landscape(2008, 2009), Extreme Private Practice(2010), Mutual Escape(2010) and Twin Peaks(2011). He also participated in such group exhibitions as Wrap Around the Time(Nam June Paik Art Center), The special project for the 20th anniversary of the Gwangju Biennale: “Sweet Dew – Since 1980”(The 5.18 Democracy Plaza, Gwangju), The Future is Now!(La Friche Belle de Mai, Marseille) and Bad Boys, Here and Now(Gyeonggi Museum of Modern Art). He was invited to Sungkok Art Museum in 2015 for being recognized as ‘Awardee of ‘Sungkok Artist of Tomorrow’ in 2013, organizing his solo exhibition – In My Sky at Twilight(2015). He recently participated in The International Studio Programme of Künstlerhaus Bethanien(Berlin), BilbaoArte AiR(Bilbao) and Glenfiddich AiR(Dufftown, Scotland).

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Yongseok Oh

Video artist

Yongseok Oh is a Korean-born artist who emphasizes the crossing of the past and the present, and of the real and the imagined, by creating a visual collage of stills, moving images and cinemas. He explores the structure of the cinema and daily life and collapses a certain cinematic narrative through collage techniques.

Yongseok Oh is a Korean-born artist who emphasizes the crossing of the past and the present, and of the real and the imagined, by creating a visual collage of stills, moving images and cinemas. He explores the structure of the cinema and daily life and collapses a certain cinematic narrative through collage techniques.

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Joon Y. Moon

Video artist

He is a programmer and designer who explores the realm of art and technology. He has previously worked as a motion graphic designer in Seoul and New York. Drawn from these professional work experiences, his works focus on generative visuals for live performance, sound visualization and interactive narratives. Currently he is trying new visual experiences with new technologies such as spatial dimensions and narrative environment of augmented reality.

He is a programmer and designer who explores the realm of art and technology. He has previously worked as a motion graphic designer in Seoul and New York. Drawn from these professional work experiences, his works focus on generative visuals for live performance, sound visualization and interactive narratives. Currently he is trying new visual experiences with new technologies such as spatial dimensions and narrative environment of augmented reality.

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New Media Art from Korea

Exhibition in collaboration with MMCA - National Museum of Modern and Contemporary Art, Korea as part of Florence Korea Film Festival 2015

MAD Murate Art District celebrates its first year of activity with an exhibition designed in collaboration with the MMCA – National Museum of Modern and Contemporary Art , Korea – and the Embassy of the Republic of Korea in Italy. The exhibition is focused on the latest generation of Korean artists active in the international art scene. Organized in conjunction with the Florence Korea Film Festival, New Media Art from Korea shows a selection of works of some of the most representative Korea’s new media artists. Artists of Korea, the homeland of Nam June Paik, are working on many experiments and challenges in video, interactive media and web art. The works, presented at MAD, are lively representations of various perspectives on critical issues surrounding new media art including art, technology, society and human. National Museum of Contemporary Art (Acting Director, KIM Jeongbae) is the one and only national art museum of Korea established in 1969. After its re-opening in

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MAD Murate Art District celebrates its first year of activity with an exhibition designed in collaboration with the MMCA – National Museum of Modern and Contemporary Art , Korea – and the Embassy of the Republic of Korea in Italy. The exhibition is focused on the latest generation of Korean artists active in the international art scene. Organized in conjunction with the Florence Korea Film Festival, New Media Art from Korea shows a selection of works of some of the most representative Korea’s new media artists. Artists of Korea, the homeland of Nam June Paik, are working on many experiments and challenges in video, interactive media and web art. The works, presented at MAD, are lively representations of various perspectives on critical issues surrounding new media art including art, technology, society and human. National Museum of Contemporary Art (Acting Director, KIM Jeongbae) is the one and only national art museum of Korea established in 1969. After its re-opening in Gwacheon in 1986, the museum has been collecting, preserving and researching contemporary art in three locations including Deoksugung (opened in 1998) and Seoul (opened in 2013).

New Media Art from Korea

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New Media Art from Korea

Mostra in collaborazione con il MMCA - National Museum of Modern and Contemporary Art, Korea per il Florence Korea Film Festival 2015

New Media Art from Korea

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Valeria Muledda

Artista multisciplinare, attrice e performer

Lavora come artista, attrice e performer. Si forma nella scena del teatro di ricerca internazionale e nella prassi artistica di differenti linguaggi e strumenti privilegiando l’esplorazione della relazione corpo-spazio. Lavora attualmente costruendo dispositivi di partecipazione che hanno alla base l’indistinzione tra le arti ed una rinnovata relazione col quotidiano. E’ Docente di Performing Art presso differenti istituzioni nazionali ed europee. Nel 2002 è tra i fondatori del multiple-name Svarnet (selezione nazionale Es.terni 2007, finalista PREMIO EXTRA 2008). Vive tra l’italia e la Francia, dove collabora con le Centre d’Etude des Arts Contemporains (CEAC) e con l’Université de Lille 3, France; qui è parte dell’equipe de Le Jeu d’Orchestre, Recherche-action en art dans les lieux de privation de liberté (Lille 3, Esagramma, Hors Cadre). Nel Gennaio 2012 è fondatrice di STUDIOVUOTO – Studio di architettura che non costruisce, laboratorio transdisciplinare di s

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Lavora come artista, attrice e performer. Si forma nella scena del teatro di ricerca internazionale e nella prassi artistica di differenti linguaggi e strumenti privilegiando l’esplorazione della relazione corpo-spazio. Lavora attualmente costruendo dispositivi di partecipazione che hanno alla base l’indistinzione tra le arti ed una rinnovata relazione col quotidiano. E’ Docente di Performing Art presso differenti istituzioni nazionali ed europee. Nel 2002 è tra i fondatori del multiple-name Svarnet (selezione nazionale Es.terni 2007, finalista PREMIO EXTRA 2008). Vive tra l’italia e la Francia, dove collabora con le Centre d’Etude des Arts Contemporains (CEAC) e con l’Université de Lille 3, France; qui è parte dell’equipe de Le Jeu d’Orchestre, Recherche-action en art dans les lieux de privation de liberté (Lille 3, Esagramma, Hors Cadre). Nel Gennaio 2012 è fondatrice di STUDIOVUOTO – Studio di architettura che non costruisce, laboratorio transdisciplinare di studi e pratiche artistiche che chiama a sé artisti ed abitanti in progetti di attraversamento, mitopoiesi, e trasformazione del territorio a partire da processi condivisi di indagine e creazione. Valeria Muledda ha esposto e sviluppato progetti a Milano, Firenze, Venezia, Lille, Tallin, Londra, Basilea, Barcellona. Per Le Murate Progetti Arte Contemporanea ha prodotto, in collaborazione con Francesco Casciaro (Tempo Reale), l’installazione sonora site-specific per gli spazi dell’ex carcere duro delle Murate di Firenze Nuclei (Vitali). Immagine tratta da: Studio per una cena con R.M. , Valeria Muledda, 2013. Courtesy by Valeria Muledda.

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Nuclei (Vitali)

Artistic residency and permanent installation by Valeria Muledda

Nuclei (Vitali) is the title of the audio installation created by Valeria Muledda for the new artistic centre Le Murate. Contemporary Art Projects. The aim and the site specific of this are linked to 6 months of artistic residence and addressed to the hard prison. In fact, this prison was the strictest detention area of the 19th and 20th Century. Since the transformation of the convent into a men’s jail during the 19th Century, Le Murate has been a penitentiary that held in its cells authentic examples of freedom and protagonists of some decisive episodes in Italian and Florentine history, such as Gaestano Salvemini, Nello Rosselli, Carlo L. Ragghianti, Tosca Bucarelli, Anna Maria Enriques Agnoletti, Orsola Biasutti, Enrica Calabresi, Nathan Cassuto, Aldo Braibanti, Guido Calogero, Aldo Capitini, Oreste Ristori, Tristano Codignola, and Carlo Levi. But they are only some names that lived in these cells until 1983, when the Murate prison was closed and its prisoners moved away from

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Nuclei (Vitali) is the title of the audio installation created by Valeria Muledda for the new artistic centre Le Murate. Contemporary Art Projects. The aim and the site specific of this are linked to 6 months of artistic residence and addressed to the hard prison. In fact, this prison was the strictest detention area of the 19th and 20th Century. Since the transformation of the convent into a men’s jail during the 19th Century, Le Murate has been a penitentiary that held in its cells authentic examples of freedom and protagonists of some decisive episodes in Italian and Florentine history, such as Gaestano Salvemini, Nello Rosselli, Carlo L. Ragghianti, Tosca Bucarelli, Anna Maria Enriques Agnoletti, Orsola Biasutti, Enrica Calabresi, Nathan Cassuto, Aldo Braibanti, Guido Calogero, Aldo Capitini, Oreste Ristori, Tristano Codignola, and Carlo Levi. But they are only some names that lived in these cells until 1983, when the Murate prison was closed and its prisoners moved away from the city to the new penal institution of Solliciano as a result of the penal legislative reform (1975) and the Gozzini’s law (1986). The installation, which takes place in 12 cells on the third floor, contains and divides in the space 20 hours of audio material through old equipment. The project is composed of 6 parts: an anthology of direct and indirect stories related to the Murate jail and to his historical urban context which influenced its identity and the citizens’ perception; audio recordings connected with these physical spaces; stories and recordings from the learned milieu of the new prison of Sollicciano; the description of the vital and architectural space of the cells and the prisons through the eyes of an Italian detainee in the last 25 years of his life; cellular elaborations of the environmental recorded sounds; a selection of  590 stones from the Murate (one for each year, from the foundation in 1424 until today) made using the technique of stone rubbings. The 590 tracks of this archive are the real sound part of the whole work of art. The choice of the name (Vital) Cores is explained by the artist in this way: “The Italian language calls “core” the central and thickest part of the cellular (diminutive of the Latin word cella, little room) the unit at the basis of each organism considered as the smallest living structure. The project “Nuclei (Vitali) calls the space of the cells of the hard prison of Le Murate with this expression of life and movement, focusing on this place the soul of the whole penitentiary center. Nuclei (Vitali) has been made possible through the collaboration of: Educational Department of Sollicciano prison, Arts and Show department of BNCF, l’associazione Altro Diritto, l’Ateneo Libertario di Firenze, Giovanni Azzurro, Barbara Bacci, Ennio Bazzoni, Alessandro Bellucci, Liliana Benvenuti “Angela”, Valerio Biscalkin, Sandra Brigida, Oreste Cacurri, Pamela Calamai, Francesco Casciaro, Raffaele Catuogno, Marisa Cecchi, Sofia Ciufoletti, Marcello Citano “Sugo”, Giulio Consigli, la Comunità di Ricorboli, Roberto Cossi, Franco Corleone, Francesco D’Ausilio, Pietro Demontis, la Fondazione Giovanni Michelucci, Natale Fosco, Valentina Gensini, Alessandro Giobbi, Francesco Giomi, Giampaolo Ietro, il Laboratorio “16 sbarre” CAT – IPM Firenze, Camilla Lastrucci, Giovanna Lori Geddes, Camilla Macchi, Corrado Marcetti, Alessandro Margara, Giada Margheri, Maria Antonietta Marletta, Umberto Mattei, Gabriele Mattioli, Vittorio Meoni “Sosso”, Lucia Meoni, Simonetta Michelotti, Vincenzo Mordini, Vida Mokhtari, l’associazione Mus.e, le Musiquorum, Lorenzo Niccolai Napoli, Raffaele Palmisano, Roberto Perotti, all prisoner meting in the Sollicciano Prison, Mario Pittalis, Gianfranco Politi, Alessandra Povia, il RFK Center Europe, Maurizio Romani, Enrico Rossi, Giorgio Sacchetti, Linda Salvadori, Alessandro Sardelli, SuperN*, l’associazione Tempo Reale, Stefano Tocci, Sabrina Tosi Cambini, Michele Verrengia, Italo Zanda.

Nuclei (Vitali)

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