Grossi Maglioni

Roma, 1982

2012

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2012
(Iron, wood, walnuts)
cm 600 x 600 x 60-120
Courtesy: Magazzino Arte Moderna, Roma

Il visitatore col suo peso fa inclinare il pavimento su un'asse orizzontale, facendo così rotolare le noci.



The visitor with his weight tilt the floor on a horizontal board and thereby rolling the nuts.

2012
(Pearls on wall)
dimensioni variabili
Care of, Cusano Milanino (MI)
Foto: Mario Gorni


2012
(Bicycle, Pietraforte sandstone)
cm 100 x 59 x 66
Galleria Massimo De Carlo, Milano


2012
(Plants, glass resin, wood, illumination)
misura ambiente
Foto: Attilio Maranzano
Courtesy: Galleria Massimo De Carlo, Milano


2012
(Untitled)
(Door, glass, neon)
cm 209 x 111 x 7
Foto: Attilio Maranzano
Courtesy: Galleria Massimo De Carlo, Milano


2012
(Persons, earth, flowers)
dimensioni variabili
- Cuerpo y pecado , Convento del Carmen e sedi varie, Valencia


2012
(Wood, glass fiber, furniture, stoneware floor, lamp)
misura ambiente
Manifesta 4, sedi varie / different venues, Frankfurt am Main
Courtesy: Manifesta 4, Frankfurt am Main

In uno studio il pavimento è stato rialzato: salendo su un tavolo da disegno, si guarda attraverso un buco nel soffitto e si vede una stanza illuminata dal soffitto molto alto.



In one study, the floor has been raised: climbing on a drawing table, you can watch through a hole in the ceiling and see a room illuminated by the very high ceiling.

2012
(Recycled wood)
cm 80 x 80 x 180

Nell'immagine un lavoro di Mario Airò (proiezione luminosa su soffitto e pavimento) con l'installazione di Massimo Bartolini: Una porta rotta poggia sulle gambe fatte con il legno della porta stessa, a formare un tavolo.



The image shows a work by Mario Airò (light projection on floor and ceiling) together with the installation by Massimo Bartolini: A broken door on legs made of the wood of the same door makes up a table.

2012
(Stainless steel, water, motor, wood, plants)
cm 300 x 205 x 120

Una panchina sotto una tettoia, rivolta verso un'onda d'acqua a forma di cono, in permanente movimento.



A bench under a canopy, face a wave of water in the shape of a cone, in a permanent move.

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Tracce di un seminario, Viafarini, Milano
L'artista tedesca presenta una serie di immagini fotografiche riguardanti i pianeti, scattate da lei stessa e stampate seguendo una tecnica di inversione dei colori. Una cartolina della medesima dimensione augura saluti dallo spazio siderale.

2012


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2012
(Pellestrina 11 km)
(Acrylic on canvas)
5 x 80 cm


2012
(Pellestrina 11 km)
(Acrylic on canvas)
5 x 80 cm


2012
(Fondazione Bevilacqua la Masa, Venezia)
Foto: ph. F. Allegretto

Personal Exhibition



Mostra personale

2012
(Fondazione Bevilacqua La Masa, Venezia)
Foto: ph. F. Allegretto

Mostra personale



Personale exhibition

2012
(Fondazione Bevilacqua La Masa, VeneziaVenezia)
Foto: ph. F. Allegretto

Mostra personale



Personal exhibition

2012
(Fondazione Bevilacqua La Masa, Venezia)
Foto: ph. F. Allegretto

Mostra personale



Personal exhibition

2012
(Fondazione Querini Stampalia, Venezia)
Foto: ph. F. Allegretto

Mostra personale



Personal exhibition

2012
(Fondazione Querini Stampalia, Venezia)
- Insistence , Florence Lynch Gallery, New York
Foto: ph. F. Allegretto

Mostra personale



Personal exhibition

2012
Galleria Estro, Padova


2012
Galleria Estro, Padova


2012
Studio Casoli, Milano


2012
Contemporanea Arti e Culture, Milano


2012
Biennale Giovani Artisti dell'Europa e del Mediterraneo, Sarajevo


2012
Biennale Giovani Artisti dell'Europa e del Mediterraneo, Spazio Sarajevo.


2012
Biennale Giovani Artisti dell'Europa e del Mediterraneo, Spazio Sarajevo.


2012
Biennale Giovani Artisti dell'Europa e del Mediterraneo, Spazio Sarajevo.


2012


2012


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2012
Tracce di un seminario, Viafarini, Milano
Sacchetto di plastica trsparente in cui è stata raccolta la Bibbia dopo averla ridotta in coriandoli.

2012
Tracce di un seminario, Viafarini, Milano
Quadro con accenti fumettistici incorniciato di verde.

2012
(Senza Titolo (Attraverso il cemento, il poliuretano))
(cement and polyurethane, metallic plaster)
130 x 270 x 70 cm
Courtesy: Federica Schiavo Gallery, Roma

Installazione del lavoro su lavagna luminosa.



2012
(Predator)
(printed silk, brass, plaster, clay)
variable dimensions
Courtesy: Federica Schiavo Gallery, Roma

Installazione del lavoro su lavagna luminosa.



2012
(Untitled)
(plaster, spray paint)
140 x 130 x 3 cm
Care of, Cusano Milanino
Courtesy: Federica Schiavo Gallery, Roma

Installazione del lavoro su lavagna luminosa.



2012
('68)
(sealing wax, plaster)
70 x 115 x 3 cm
Courtesy: Federica Schiavo Gallery, Roma


2012
(Empire 27 41)
(steel, acrylic spray, painted wood)
26,5 x 41 cm
Courtesy: Federica Schiavo Gallery, Roma


2012
(Empire 130 245)
(steel, iron, plaster, acrylic spray, ceppo di Gré)
installation 55 x 200,5 x 245 cm
Courtesy: Federica Schiavo Gallery, Roma


In Piranesi's intentions in composing, the fireplace becomes a pretext and a display of his own complex cultural system of reference related to stylistic elements derived from Egyptian, Etruscan, Greek and Roman architecture. Similarly, Andrea Sala exhibits a series of sculptural groups that, together, they stage the same idea of display as a system for presenting his own personal world of forms.

As in Piranesi’s works, where the point of view is strictly determined by the author, even Sala invites to interact with the works from a vantage point, proposing a specific approach concerning the surrounding shapes. In fact, in his displays, the artist inserts a series of sculptural bases that also serve as seats for the spectator; out-and-out 'pedestals' that project and integrate him into the work. Widening to the viewer the relationship between the exhibition path and the forms contained in it, the artist optimizes the potential of the space and suggests a guided experience of the whole exhibition.

In the repertoire of Piranesi’s production, the representation of 'smokes' is the central element of the whole illustration. The spirals of smoke entered in the mouth of the fireplaces are in fact the only organic element that breaks the formal rigidity of the composition. To achieve them, the engraver does not indulge himself in any expressive freedom but designs and sketches them in a plastic way, breaking down their form upon out-and-out contours.  In his displays, Sala brings into focus a sculpture designed according to the same design principles, but shaped through a stratification of plaster castings that are not entirely controllable.

Any other sculptural element that revolves around the three-dimensional 'smokes' by Sala is built from pure geometric shapes - triangle, circle and square - and primary colours, presenting a set of details made using the old method of the acid bath of the engraving plates. However, the formal results achieved by Sala differ between them in two aspects: the intrinsic properties of the selected materials such as copper, bronze, plaster, stone and iron, and the various processes of technique production tested in the workroom by the artist. These forms, originally designed without any narrative intent, allude now to a series of signals directed to the visitor, being converted into a new geography and a new opportunity to beat the time within the space.

2012
(Strutture 3)
(toulipier wood, plaster, watercolor)
116 x 76,5 x 3 cm
Foto: Giorgio Benni
Courtesy: Federica Schiavo Gallery, Roma


In Piranesi's intentions in composing, the fireplace becomes a pretext and a display of his own complex cultural system of reference related to stylistic elements derived from Egyptian, Etruscan, Greek and Roman architecture. Similarly, Andrea Sala exhibits a series of sculptural groups that, together, they stage the same idea of display as a system for presenting his own personal world of forms.

As in Piranesi’s works, where the point of view is strictly determined by the author, even Sala invites to interact with the works from a vantage point, proposing a specific approach concerning the surrounding shapes. In fact, in his displays, the artist inserts a series of sculptural bases that also serve as seats for the spectator; out-and-out 'pedestals' that project and integrate him into the work. Widening to the viewer the relationship between the exhibition path and the forms contained in it, the artist optimizes the potential of the space and suggests a guided experience of the whole exhibition.

In the repertoire of Piranesi’s production, the representation of 'smokes' is the central element of the whole illustration. The spirals of smoke entered in the mouth of the fireplaces are in fact the only organic element that breaks the formal rigidity of the composition. To achieve them, the engraver does not indulge himself in any expressive freedom but designs and sketches them in a plastic way, breaking down their form upon out-and-out contours.  In his displays, Sala brings into focus a sculpture designed according to the same design principles, but shaped through a stratification of plaster castings that are not entirely controllable.

Any other sculptural element that revolves around the three-dimensional 'smokes' by Sala is built from pure geometric shapes - triangle, circle and square - and primary colours, presenting a set of details made using the old method of the acid bath of the engraving plates. However, the formal results achieved by Sala differ between them in two aspects: the intrinsic properties of the selected materials such as copper, bronze, plaster, stone and iron, and the various processes of technique production tested in the workroom by the artist. These forms, originally designed without any narrative intent, allude now to a series of signals directed to the visitor, being converted into a new geography and a new opportunity to beat the time within the space.

2012
(Strutture 2)
(toulipier wood, plaster, ceppo di Gré)
installation 165 x 60 x 68 cm
Foto: Giorgio Benni
Courtesy: Federica Schiavo Gallery, Roma


In Piranesi's intentions in composing, the fireplace becomes a pretext and a display of his own complex cultural system of reference related to stylistic elements derived from Egyptian, Etruscan, Greek and Roman architecture. Similarly, Andrea Sala exhibits a series of sculptural groups that, together, they stage the same idea of display as a system for presenting his own personal world of forms.

As in Piranesi’s works, where the point of view is strictly determined by the author, even Sala invites to interact with the works from a vantage point, proposing a specific approach concerning the surrounding shapes. In fact, in his displays, the artist inserts a series of sculptural bases that also serve as seats for the spectator; out-and-out 'pedestals' that project and integrate him into the work. Widening to the viewer the relationship between the exhibition path and the forms contained in it, the artist optimizes the potential of the space and suggests a guided experience of the whole exhibition.

In the repertoire of Piranesi’s production, the representation of 'smokes' is the central element of the whole illustration. The spirals of smoke entered in the mouth of the fireplaces are in fact the only organic element that breaks the formal rigidity of the composition. To achieve them, the engraver does not indulge himself in any expressive freedom but designs and sketches them in a plastic way, breaking down their form upon out-and-out contours.  In his displays, Sala brings into focus a sculpture designed according to the same design principles, but shaped through a stratification of plaster castings that are not entirely controllable.

Any other sculptural element that revolves around the three-dimensional 'smokes' by Sala is built from pure geometric shapes - triangle, circle and square - and primary colours, presenting a set of details made using the old method of the acid bath of the engraving plates. However, the formal results achieved by Sala differ between them in two aspects: the intrinsic properties of the selected materials such as copper, bronze, plaster, stone and iron, and the various processes of technique production tested in the workroom by the artist. These forms, originally designed without any narrative intent, allude now to a series of signals directed to the visitor, being converted into a new geography and a new opportunity to beat the time within the space.

2012
(Empire 40 61)
(steel, acrylic spray, painted wood)
61 x 41,5 x 14,5 cm
Foto: Giorgio Benni
Courtesy: Federica Schiavo Gallery, Roma


2012
Dimensions variable
P.S.122, New York
Foto: Alessandro Paderni
Courtesy: MOROSO, Udine


2012
Dimensions variable
Glindor House Gallery, New York
Foto: Alessandro Paderni
Courtesy: MOROSO, Udine


2012
(Wallpaper)
Dimensions variable
- Rooms with a view, landscapes, wallpaper , Cooper Hewitt National Design Museum, New York


2012
(Wallpaper)
Installation view includes works by Diana Al-Hadid and Sopheap Pich
Foto: Arthur Evans
Courtesy: MASS MoCA, North Adams, MA


2012
- Mimic , Gale Gates et al., Brooklyn


2012
- Officina America - ReteEmiliaRomagna , Galleria d'Arte Moderna - Villa delle Rose, Bologna


2012


2012


2012


2012
(Potemkin Lock)

Modello per il progetto realizzato in occasione della Biennale di Venezia, 1995 e ricostruzione al Mudam, Lussemburgo, 2012.



Venice Biennale, Italy, 1995.

The facade of a fake national pavilion was built in front of the guards’dressingrooms, between the Belgian and Dutch pavilions. At the end of the Biennale thousands of visitors had covered the deck-chairs and all the walls with comments, drawings and graffiti.

 

 

2012
(Potemkin Lock)
XLVII Biennale, Giardini della Biennale, Venezia

Finto padiglione nazionale del Lussemburgo costruito in occasione della Biennale. Al di là della parete di legno costruita tra il Padiglione Olandese e il Padiglione Belga sono state collocate delle sedie a sdraio e diffusa una musica rap con la voce di Duchamp. L'operazione ha comportato una lunga trattativa diplomatica con i ministeri della cultura olandese e belga.



Venice Biennial, 1995

2012
- Niente di personale , Openspace, Milano


2012
- Drei Räume - Drei Flüsse , Hann Münden


2012
cm 310 x 100 x 200


2012
- Migrazioni e multiculturalità , Centro per le Arti Contemporanee, Roma


2012
Note: nostalgie, Viafarini, Milano


2012
Konstepidemin, Göteborg


2012
Konstepidemin, Göteborg


2012
Space Invaders, Warwick Art Centre, Coventry; Come In, Vienna International Apartment, Wien (2003)


2012


2012
Over the edges, SMAK Stedelijk Museum voor Actuele Kunst, Gent


2012

La visione "distorta" dello spazio, così come il riflesso "miope" di "Short Sighted Mirror", uno specchio che ruota alla velocità di 3.000 giri al minuto e mette a fuoco solo alcuni oggetti del paesaggio.



2012
- CeSAC, il filatoio , Caraglio (CN)


2012
Centro artivisive Pescheria, Pesaro.


2012


2012


2012


2012
(Videotape)
0:05:00
Il cofanetto, Care of, Cusano Milanino (MI)

Il video "Contro le contraddizioni " è stato presentato nella personale "Il cofanetto" a Careof il 2.10.1994.



The video "Contro le contraddizioni"is been presented in the solo exibition "Il cofanetto" at Careof on 2.10.1994.

2012


2012
(Balansas)
104 x 80
Galleria Il Graffio, Bologna


2012
(Dvynys)
76 x 60 cm


2012
Premio d'Arte Mercedes Benz, Centro d'Arte La Loggia, Monteridolfi (FI)


2012
Buechsenhausen.lab, Innsbruck, Austria


2012
Assab One 2004, Ex GEA, Milano


2012
Assab One 2004, Ex GEA, Milano


2012


2012


2012


2012


2012


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2012


2012


2012
- ANIGMA , 2nd Novosibirsk International Festival Digital Imaging and Animation, Levall Gallery, Novosibirsk, Russia


2012
GAMeC Galleria d'Arte Moderna e Contemporanea, Bergamo


2012


2012


2012


2012


2012


2012
loop

In una società orwelliana, satura di stratificazioni tecnologiche, dalla telecamera condominiale ai sistemi satellitari di sorveglianza che monitorizzano i popoli e le geografie dall'alto dei cieli, i video si pongono come uno sguardo antagonista che si appropria di una privacy inevitabilmente già violata e perciò utilizzabile esplicitamente dall'arte (con le sue licenze sempre abusive) che la rende pubblica. Come la linea storta in pittura testimonia la presenza fisica dell'artista e del suo fare umano, l'aspetto random del video evidenzia l'atto performativo del guardare, in uno spazio-tempo definito. Un passaggio che dal sorvegliare passa all'atto di osservare.



2012
(Fondazione Querini Stampalia, Venezia)
Fondazione Bevilacqua la Masa, Palazzetto Tito, Venezia
Foto: ph. F. Allegretto

Mostra personale



Personal exhibition

2012
(Museo di Castelvecchio, Verona)
Fondazione Bevilacqua la Masa, Palazzetto Tito, Venezia

Mostra personale



Personal exhibition

2012
(Museo di Castelvecchio, Verona)
Fondazione Bevilacqua la Masa, Palazzetto Tito, Venezia

Mostra personale



Personal exhibition

2012
(Museo di Castelvecchio, Verona)
Fondazione Bevilacqua la Masa, Palazzetto Tito, Venezia

Mostra personale



Personal exhibition

2012
(Empire 140 225)
(iron, ceppo di Gré, crayon)
installation 45 x 225 x 208 cm
- Fragments d’un discours italien. , MAMCO Musée d'Art Moderne et Contemporaine, Genève
Foto: Giorgio Benni
Courtesy: Federica Schiavo Gallery, Roma


In Piranesi's intentions in composing, the fireplace becomes a pretext and a display of his own complex cultural system of reference related to stylistic elements derived from Egyptian, Etruscan, Greek and Roman architecture. Similarly, Andrea Sala exhibits a series of sculptural groups that, together, they stage the same idea of display as a system for presenting his own personal world of forms.

As in Piranesi?s works, where the point of view is strictly determined by the author, even Sala invites to interact with the works from a vantage point, proposing a specific approach concerning the surrounding shapes. In fact, in his displays, the artist inserts a series of sculptural bases that also serve as seats for the spectator; out-and-out 'pedestals' that project and integrate him into the work. Widening to the viewer the relationship between the exhibition path and the forms contained in it, the artist optimizes the potential of the space and suggests a guided experience of the whole exhibition.

In the repertoire of Piranesi?s production, the representation of 'smokes' is the central element of the whole illustration. The spirals of smoke entered in the mouth of the fireplaces are in fact the only organic element that breaks the formal rigidity of the composition. To achieve them, the engraver does not indulge himself in any expressive freedom but designs and sketches them in a plastic way, breaking down their form upon out-and-out contours.  In his displays, Sala brings into focus a sculpture designed according to the same design principles, but shaped through a stratification of plaster castings that are not entirely controllable.

Any other sculptural element that revolves around the three-dimensional 'smokes' by Sala is built from pure geometric shapes - triangle, circle and square - and primary colours, presenting a set of details made using the old method of the acid bath of the engraving plates. However, the formal results achieved by Sala differ between them in two aspects: the intrinsic properties of the selected materials such as copper, bronze, plaster, stone and iron, and the various processes of technique production tested in the workroom by the artist. These forms, originally designed without any narrative intent, allude now to a series of signals directed to the visitor, being converted into a new geography and a new opportunity to beat the time within the space.

2012
(Bulino)
(brass, iron, acrylic spray)
49 x 65 x 18,5 cm
- exIT. Nuove geografie della creatività italiana , Fondazione Sandretto Re Rebaudengo, Torino
Foto: Giorgio Benni
Courtesy: Federica Schiavo Gallery, Roma


2012
(Empire 97 134)
(steel, acrylic spray, ceppo di Gré)
installation 143 x 149 x 136 cm
- Notizie dall'interno , 9. Mostra Internazionale d'Architettura, la Biennale di Venezia
Foto: Giorgio Benni
Courtesy: Federica Schiavo Gallery, Roma


2012
(Ziqqurat)
(crayon on paper)
41 x 30 cm each; serie of 4 drawings 41 x 154 cm
Galleria Monica De Cardenas, Milano
Foto: Giorgio Benni
Courtesy: Federica Schiavo Gallery, Roma


2012
(Papier découpé (Smile))
(acrylic, vinyl, paper, peuplier)
variable dimensions


2012
(Papier découpé (Flag))
(acrylic, Munari's book, plexiglas, peuplier)
variable dimensions
Rotonda di Locarno, La Rada, Locarno
Courtesy: Federica Schiavo Gallery, Roma


2012
(Skorpionas)
104 x 80 cm


2012
(Culture insert on Der Tagesspiegel Mehr Berlin)


 

 

2012
(Città dei Balocchi)
54,5 x 42,5 cm


2012
(Città dei Balocchi)
54,5 x 42,5 cm


2012
(Ciurlionis)
125 x 80 x 80 cm


2012
(Untitle)
45 x 20 x 25 cm


2012
(Untitled)
60 x 45 x 20


2012


2012


2012


2012


2012
Galleria Oredaria, Roma


2012
- Talk to the city , Careof - Fabbriva del Vapore, Milano

 



2012


2012


2012


2012


2012
(Digital video transferred to DVD, 4 minutes 40 seconds.)
- Video Invitational #3 , Viafarini, Milano


2012
(DVD video projection)
00:03:00
Courtesy: Galleria Maze, Torino

Celeste vive in un mondo onirico, da fiaba. Vola su un'altalena appesa al soppalco del suo piccolo appartamento. Disegna figurini su un banchetto di scuola alla Fanny e Alexander. E infine prepara un pic-nic a base di ananas in cui la frutta sparisce semplicemente con lo sguardo. Un ritratto ironico e divertente di una Lolita del ventunesimo secolo.



Celeste lives in a dream-like, fairy tale world. she flies high on a swing hanging from the gallery of her small flat. she writes a letter to a friend on a school desk, a' la "fanny & alexander”. and lastly, she prepares a pineapple-based picnic in which fruit disappears with a simple glance. an ironic and amusing portrait of a 21st century lolita.

2012
00:08:00
Courtesy: Galleria Maze, Torino

Eva Riccobono a New York, appoggiata a una finestra, in un loft sull'Hudson River. Fuma, canticchia, ricorda. Il suono in presa diretta del traffico e' il leit motiv che fa scivolare fra interno ed esterno. Uno sguardo intimo, a tratti melanconico, per un insolito ritratto, femminile e di città.



Eva in new york leaning out of a window, in a hudson river loft. she smokes, sings softly, remembers. the sound of live traffic is the leitmotiv which allows us to glide between inside and outside. an intimate and at times melancholic glance for an unusual portrait, of the woman and of the town.

2012


2012
Courtesy: Sabot, Cluj


2012
Courtesy: The artist and MÉLANGE, Cologne


2012
(Wallpaper)
Dimensions variable
Risd Museum, Providence
Courtesy: Francesca Minini, Milano

Installazione site-specific.



2012
- Woody , Italian Academy at Columbia University, New York
Foto: Giacomo D'Aguanno


2012
Dimensions variable
Foto: Giuseppe Veniero


2012
(Wallpaper)
Dimensions variable
- Assab one. La generazione emergente dell'arte in Italia , Ex GEA, Milano
Courtesy: Francesca Minini, Milan


2012
(Wallpaper)
Dimensions variable
- In Alto, Arte sui ponteggi , Milano.


2012
- Weedazin , Casa Musumeci Greco, Roma
Foto: Etienne Frossard
Courtesy: MTA Arts for Transit


2012


2012


2012
Galleria Klerkx, Milano


2012
Palazzo Re Enzo, Bologna


2012


2012


2012
Foto: Etienne Frossard
Courtesy: MTA Arts for Transit


2012
(Wallpaper)
dimensioni variabili
- Officina America - ReteEmiliaRomagna , Galleria d'Arte Moderna - Villa delle Rose, Bologna
Courtesy: Francesca Minini, Milano


2012
Courtesy: Francesca Minini, Milano


2012
Courtesy: Francesca Minini, Milano


2012
(Wooden cubes, digital prints and formica)
cm 9 x 9 x 9 ciascuno
Courtesy: Francesca Minini, Milano


2012
(Print on easy-chair bag)
Courtesy: Francesca Minini, Milano


2012
(Wallpaper)
dimensioni variabili
Courtesy: Francesca Minini, Milano


2012
(Wallpaper)
dimensioni variabili
- System error: war is a force taht gives us meaning , Palazzo delle Papesse, Siena
Courtesy: Francesca Minini, Milano


2012
- No Place like home , Francesca Minini, Milano
Courtesy: Francesca Minini, Milano

L'installazione è rivisitazione della "House of cards" dei designers americani Charles e Ray Eames del 1952. Il design degli Eames rispecchia una convinzione quasi utopistica nella capacità del disegno industriale di migliorare il mondo facendone un luogo più piacevole per tutti. Simeti è interessato all'idea di ripensare la struttura del gioco ideato dagli Eames alterandone la visione positiva attraverso un archivio di immagini drammatiche di macerie, detriti e rovine. L'artista non nega a priori l'atteggiamento ottimista dei due designers, ma stimola una riflessione più complessa inserendo un elemento perturbante (le immagini), in modo da sottolineare la valenza simbolica del costruire e ricostruire il nuovo da ciò che è stato distrutto.



2012


2012


2012
(7-Channel video installation)
dimensioni variabili
Galleria Maze, Torino
Courtesy: Galleria Maze, Torino


in this articulated video installation the portraits of six young women - realised between 2002 and 2006 - are displayed together weaving a web of new correspondences. valerio rocco orlando focuses his research on the tension between childhood and adulthood, androgyny and femininity, solitude and relationships, with a poetic, soft and introspective style. balanced between realism and mise-en-scène, his film and video works represent and communicate distinguishing personalities, facing such themes as melancholy, maternity, transvestitism, infancy, passion and loneliness.

2012
Piazza Verdi, Bologna (BO)


2012


2012
- XX World Youth Day Cologne 2005 , Koln / Colonia


2012


2012


2012


2012


2012
cm 17 x 25


2012


2012
Microgallery, Milano


2012


2012


2012
Palazzo Pippi, Trento


2012


2012

Federica Perazzoli



2012
(Museo di Castelvecchio, Verona)
- Re-Enacted Painting - White Screen , Viafarini, Milano
Foto: ph. F. Allegretto

Mostra personale



Personal exhibition

2012
(Fondazione Querini Stampalia, Venezia)
- Diario cromatico , Fondazione Querini Stampalia, Venezia
Foto: ph. F. Allegretto

Mostra personale



Personal exhibition

2012
(Fondazione Querini Stampalia, Venezia)
- Diario cromatico , Fondazione Querini Stampalia, Venezia
Foto: ph. F. Allegretto

Mostra personale



Personal exhibition

2012
(Wallpaper)
dimensioni variabili
Courtesy: Francesca Minini, Milano


2012
(Print on board)
cm 30 x 30
Courtesy: Francesca Minini, Milano


2012
cm 270 x 190
Courtesy: Galleria Massimo De Carlo, Milano


2012


2012
(mix media on canvas)
cm 150x120


2012
i


2012


2012


2012
Napoli


2012
Sarajevo


2012


2012
Ex-Scalera Film, Venezia


2012
Laguna di Venezia


2012


2012
Padiglione VI donne, Ex Ospedale Psichiatrico Rizzeddu, Sassari


.

2012


2012


2012


2012
(Rio Blanco, Rio Negro)
(cement, expanded polyurethane, copper)
179 x 50 x 27 cm / 157 x 80 x 50 cm
Foto: Mario Di Paolo
Courtesy: Federica Schiavo Gallery, Roma


2012
(Mammoth)
(glossy cement, brass bronzed and painted)
67 x 65 x 57 cm
Courtesy: the artist


2012
(Antenna 0.2)
(iron and glaze)
103 x 87 x 73 cm
Foto: Mario Di Paolo
Courtesy: Federica Schiavo Gallery, Roma


2012
(Speaker 0.1)
(perforated iron plate, acrylic spray)
65 x 39 x 24.5 cm
Foto: Mario Di Paolo
Courtesy: Federica Schiavo Gallery, Roma


Andrea Sala wants to investigate the visual system that has distinguished the first Italian television broadcasts (RAI), and some of those technological elements such as speakers and antennas, that allowed in effect the spreading of those broadcasts in homes.

Of that world, rich in signs, graphics logos, posters and television props, very often produced by prominent architects and Italian creatives, through a process of rehabilitation and re-appropriation, the artist installs a real ‘network’ of objects. In such a way the works, stemming from that imagery, create an autonomous formal system, disseminated of abstract sculptures, rich in numerous references to cinema, tv and modern art.

2012
(Intervallo 0.3)
(iron and acrylic resin)
69 x 42 x 25 cm
Foto: Mario Di Paolo
Courtesy: Federica Schiavo Gallery, Roma


Andrea Sala wants to investigate the visual system that has distinguished the first Italian television broadcasts (RAI), and some of those technological elements such as speakers and antennas, that allowed in effect the spreading of those broadcasts in homes.

Of that world, rich in signs, graphics logos, posters and television props, very often produced by prominent architects and Italian creatives, through a process of rehabilitation and re-appropriation, the artist installs a real ‘network’ of objects. In such a way the works, stemming from that imagery, create an autonomous formal system, disseminated of abstract sculptures, rich in numerous references to cinema, tv and modern art.

2012
Teatro Regio di Parma e Galleria Maze di Torino


2012
(Galleria Ottozoo, Milano)
- Indugi , galleria Caterina Tognon Arte Contemporanea, Venezia
Foto: ph. D. Sgalippa

Mostra personale



Personal exhibition

2012
(Galleria Otto Zoo, Milano)
- Indugi , galleria Caterina Tognon Arte Contemporanea, Venezia
Foto: ph. D. Sgalippa

Mostra personale



Personal exhibition

2012
- Indugi , Galleria Caterina Tognon Arte Contemporanea, Venezia (2009); Interior , La Nuova Pesa, Roma (2009)


2012


2012


2012
Duende Studios, Rotterdam


2012
Palazzo Pippi, Trento


2012


2012
(Iron nickel plate, wood, print on forex)
cm 273 x 530 x 250


2012


2012


2012


2012
(Pencil on paper)
cm 72.5 x 104.5 con cornice
Courtesy: Galleria Massimo De Carlo, Milano


2012


2012


2012


2012
(Wallpaper)
dimensioni variabili
Courtesy: Francesca Minini, Milano


2012
Centro Fatebenefratelli, Milano

Veduta della mostra.



Exhibition view.

2012
altezza cm 300
Quadriennale di Roma
Courtesy: Francesco Pantaleone ArteContemporanea, Palermo

Veduta della mostra.



Exhibition view.

2012

Veduta dell'installazione.



Installation view.

2012
(NOTHING)


2012
(NOTHING)


2012
(NOTHING)


2012
(NOTHING)


2012
(NOTHING)


2012
(NOTHING)

 



 

2012
(NOTHING)

 



 

2012
(NOTHING)


2012
(NOTHING)


2012
(NOTHING)

 



 

2012
(Drawing on paper)
cm 18 x 20


2012
Momenta Arte, New York


2012


2012
dimensioni variabili
Palazzo Riso, Palermo
Courtesy: Francesca Minini, Milano

Progetto site-specific.



2012
Fondazione Pastificio Cerere, Roma
Courtesy: Francesca Minini, Milano

Veduta dell'installazione.



2012
dimensioni variabili
Palazzo Riso, Palermo
Courtesy: Francesca Minini, Milano

Progetto site-specific. Dettaglio.



2012
Complesso monumentale Santo Spirito in Sassia, Roma
Courtesy: Francesca Minini, Milano

Veduta dell'installazione.



2012
Nomas Foundation, Roma


2012


2012
Nomas Foundation, Roma


2012
Nomas Foundation, Roma


2012
(Shorakapok (with Michael Hoepfner))
Variable
Foto: Antonio Rovaldi
Courtesy: The artists

Siamo partiti da Wall Street alle 9 del mattino e siamo arrivati a Inwood Park alle 5 del pomeriggio camminando su tutta la Broadway per 215 blocchi. A Inwood Park gli indiani arrivarono dal fiume Hudson e accesero un fuoco.



We left from Wall Street at 9.00 a.m. and we reached Inwood Park at 5.00 p.m. walking the entire Broadway for 215 blocks. The Native Americans reached Inwood Park from the Hudson River and set a fire.

2012
(In past-o al presente)
(scultura in gesso trovata, maiolica, bronzo, carta)
32x30 h 148
Courtesy: courtesy collezione privata


2012
(Reversibile 100x900)
(cartone piegato)


2012
(the smashed dolphin)
(painted fiberglass)
140x80x42 cm


2012
(womb)
105x105x88 cm


2012
(All tomorrow's parties)
139x86x66 cm


2012


2012
(ApresLeBigBang)
50 x 55 x 6 cm
Courtesy: the artist

Autoritratto con persone che non fanno più parte della mia vita



Portrait of myself with people who don't belong to my life any more

2012


2012
(Rumors)
Courtesy: the artist

Performance liquida a base di pettegolezzi su Medea, 9 monologhi scritti da me e registrati con voci di attori e performer - tra cui Filippo Timi, Arianna Scomemgan e Steve Piccolo,  e gente comune - dove voci e corpo sono separati e mixati nello spazio che li ospita.



A liquid performance based on a gossip version of Medea I wrote - 9 prerecorded monologues featuring Filippo Timi, Arianna Scommegna and Steve Piccolo among others -  where voice and body are separated and remixed by the space that hosts them.

2012


2012


2012
(Mudam Drifters)


2012
(Infernal Paradise)
(light box)

Collezione privata, Lussemburgo, 2009.



Private collection, Luxembourg, 2009.

2012


2012


2012


 

 

 

 

2012
(Natura morta con paesaggi e strumenti musicali)

Veduta della mostra: Natura morta con paesaggi e strumenti musicali, Fondazione Brodbeck, Catania, 2012

Talia, 2002 Banco di scuola materna, 6 tirititì (mezzi gusci di noce, fiammiferi, filo da cucito), filo elettrico, lampadine rosse e blu  Banco di scuola: 54,7 x 51,4 x 31,3 cm, dimensioni complessive variabili  

Landscape (The desert and the oil well), 2007 Agenti atmosferici su tela 320 x 180 x 7 cm  

Landscape (The harbour and the departed), 2007 Agenti atmosferici su tela 290 x 150 x 7 cm  

Landscape (The see from the TV tower), 2007 Agenti atmosferici su tela 290 x 150 x 7 cm



2012
(Animali di brodo)
(gesso, paglia, cera, finitura per stucco antico SIKKENS, rete da pesca, rete elettrosaldata, catenella dorata)
200 x 300 cm


2012
(disobedience red star)

Disobedience Archive_Bucharest
Exhibition design, MNAC, Bucharest, August 2009

Una stella rossa a sette punte per mettere in mostra sette video del Disobedience Archive



2012
(Senza Titolo)
(pigiama,engines, wood)
cm 160x80x50
Courtesy: Fonti Gallery

to see how it works :    

http://www.youtube.com/watch?v=xpKDaPe0Csk



2012
(Ti mando come promesso il mio ritratto)
installazione di dimensioni variabili

L'installazione è formata dalla giustapposizione su di un tavolo di ritratti fotografici di donne e di lettere scritte sulla carta intestata di innumerevoli Hotel, indirizzate ad altre donne. Lingue diverse.



2012


2012


2012
(Torn landscape (America))
60x90 cm
Foto: Antonio Rovaldi
Courtesy: Monitor


2012
(---)


2012
(untitled)


2012
(Bruch)


Exhibition View

2012
(untitled)


2012
(untitled)


2012
(it was a long way down)


2012
(it was a long way down)


2012
(it was a long way down)


2012


2012


2012


2012
(untitled)


2012
(untitled)


2012
(untitled)


2012
(untitled)


2012
(untitled)


2012
(things falling apart)


2012
(things falling apart)


2012
(things falling apart)


2012
(it was a long way down)


2012
(untitled)


2012
(untitled)


2012
(untitled)


2012


2012
(untitled)


2012
(untitled)


2012
(untitled)


2012


2012
(Untitled (International Herald Tribune. Saturday-Sunday, February 26-27, 2011))
(pin, paper)
cm 27 x 35,7 x 4 framed


I take the main image caption from the front page of newspapers and chose the defining line or point of the image itself, reproducing it with spray paint and a pin or adhesive tape. The color I choose, comes from scanning the selected point of the photograph: it is the most relevant tone in the image and my reinterpretation of it is an attempt to translate its maximum emphasis.

2012
(Copies recentes de paysages anciennes)
6 minuti
Courtesy: monitor gallery

I paesaggi del Marocco sono delle location ideali per la produzione cinematografiche tra cui Lawrence d'Arabia, Kundun e persino horror movies americani. Nella regione in cui questi film epici sono stati girati risiedono ancora le rovine dei set che furono costruiti e mai portati via. In bilico tra l'essere vere rovine e rifiuti di carton-gesso ci descrivono la storia di questa instabile rappresentazione storica. Due bambini della kasbah locale recitano alcune battute di film lì girati. Intorno a loro i paesaggi incontaminati sono delle vere e proprie controfigure di Hollywood.



Abandoned movie sets are used again, the actors are two local kids, born not far from the film studios, now almost abandoned, near Ouarzazate.. The two kids re-enact a few lines from movies that have been shot there, an American horror movie, Lawrence of Arabia... and all around natura and the incontaminated landscapes of the Draa Valley stand outside of time

2012


the runner who runs at the reverse, "Run Tune Up”. Marathon, Bologna, Italy. in collaboration with Nosadella.due

runner: Umberto Accinelli

2012
(EVERY WORLD'S A STAGE)
80 x 120 cm each - 3 diptychs
Courtesy: MONITOR, Roma


Three Diptychs composed of black and white analogic prints. Each diptych sees the same abandoned movie set from a slightly different angle.

2012
(COPIES RECENTES de PAYSAGES ANCIENS (Film Studios Ouarzazate))
10 x 12 cm - 70 x 70 cm
Courtesy: MONITOR, Roma


COPIES RECENTES de PAYSAGES ANCIENS (Film Studios Ouarzazate) 
Film studios almost in decay, like real ruins can be visited by tourists.

2012
(MOVIE-SKINS)
(slides, plinths, found material / diapositive, plinti, materiale trovato)
variable
Courtesy: MONITOR, Roma


Images of surfaces and decaying walls of abandoned movie sets in Morocco are projected onto found panels made of various materiales, wood, polysterene, iron and plastic. These panels are simply leaning on the walls as if there waiting to be used of discarded.

2012
(NO MORE STARS (Star Wars))
30 x 30 cm
Courtesy: MONITOR, Roma


This is a series of photographs taken in the abandoned movie sets of the film saga Star Wars, filmed through the years in different locations in the south of Tunisia. Unexpectedly those sets have been left on location, probably because in the middle of nowhere and because no-one from the local authorities complained and therefore after years some of it have now become ruins, almost as some sort strange archeological sites. The particular hot and dry climate has helped mantain intact many parts of the sets, or buried under the sand just sections of it. The sets visited are in four different locations.

2012


2012
(The Little Man of the Forest with the Big Hat)
(five glazed ceramics, gouaches on printed paper, perspex, painted MDF, giclée print on canvas)
variable dimensions
Foto: Giorgio Benni
Courtesy: Federica Schiavo Gallery, Roma


"The Little Man of the Forest with the Big Hat" is a sculptural installation designed and produced by the artist during a residency at Museo Carlo Zauli in Faenza in 2012. The work consists of a series of ceramics and manipulated illustrations taken from books of mycology, which depict unusual mushrooms and toadstools. The correlation between the different elements of the work vaguely reconnects to an aesthetic traditionally linked to scientific collections. Arancio juxtaposes this detached and methodical approach to mysterious and exotic natural forms, at times phallic, which through the mimesis and the distortion of scientific studies of empirical nature, tries to suggest a crisis of category and significance. The permanent fascination of the artist for a visual disorientation and ostranenie aims to make the viewer question and reconsider socio-cultural elements that lie behind our gaze.

2012
(Bristly Panus)
(archival inkjet print on cotton paper mounted on dibond, wood, perspex)
201 x 145 x 3,5 cm
Foto: Giorgio Benni
Courtesy: Federica Schiavo Gallery, Roma


2012
(Graham Island)
(photo-etching on paper)
43,5 x 37,5 cm (framed: 49,5 x 43,5 x 3 cm)
Courtesy: Federica Schiavo Gallery, Roma


Salvatore Arancio’s artistic signature is photo-etching, but he works across a range of media such as sculpture, collage, animation and video. His main interest lies in the potential of images. Departing from their literal meaning, he creates new juxtapositions that are both beautifully evocative and deeply disquieting. He looks to nature and science for his sources of inspiration, while unsettling any hint of the sublime by re-framing the images and the viewer’s experience. His constructed landscapes contain a sense of both the familiar and the unknown that enhances their symbolic readings and implications.

2012
(Column)
(patinated ceramic)
41 x 21 x 21 cm
Foto: Sebastiano Pellion di Persano
Courtesy: Federica Schiavo Gallery, Roma


2012
(Solidified Conical Peak Among Curved Silurian Rocks And Boulders)
(photo-etching on paper, MDF)
90 x 66 cm
Courtesy: Federica Schiavo Gallery, Roma


2012
(Le Recul Du Glacier)
(ink and collage on printed paper)
29 x 20 cm (framed: 35 x 26 x 3 cm)
Courtesy: Federica Schiavo Gallery, Roma


2012


2012
(Fern Fenster)
installazione con colonna sonora dal vivo


2012


2012


2012
(Galleria Otto Zoo, Milano)
Foto: ph. D. Sgalippa

Mostra personale



Personal exhibition

2012
(Galleria Caterina Tognon Arte Contemporanea, Venezia)
Foto: ph. A. Osio

Mostra personale



Personal exhibition

2012
(Galleria Caterina Tognon Arte Contemporanea)
Foto: ph. A. Osio

Mostra personale



Personal exhibition

2012
(Galleria Caterina Tognon Arte Contemporanea, Venezia)
Foto: Ph. Morales

Mostra personale



Personal exhibition

2012
(Galleria Caterina Tognon Arte Contemporanea, Venezia)
Foto: ph. Fyfe

Mostra personale



Personal exhibition

2012


 

2012
(paint/extinguisher)


2012


Shopping Bitch.16. 2012. Ricamo, cotone  su sacchetto di plastica. 30x51,5cm.

2012


Putting fingers in holes is a good exercise

after performance

2010

2012
(Acqua sporca della vasca da bagno dopo bagno.)
300x200 cm
Courtesy: Artist

A lato: Un disastro. 2012. Oil on Board. 43x37 cm



2012
(Spray, foglio A4)
42,8x42,8x14 cm
Courtesy: Artist


 

 

 

 

2012
(Galleria Caterina Tognon Arte Contemporanea, Venezia)
Foto: ph. F. Allegretto

Mostra personale



Personal exhibition

2012
(Galleria Caterina Tognon Arte Contemporanea, Venezia)
Foto: ph. F. Allegretto

Mostra personale



Personal exhibition

2012
(Galleria Caterina Tognon arte Contemporanea, Venezia)
Foto: ph. F. Allegretto

Mostra personale



Personal exhibition

2012
(Galleria Caterina Tognon Arte Contemporanea, Venezia)
Foto: ph. F. Allegretto

Mostra personale



Personal exhibition

2012
(Galleria Caterina Tognon arte Contemporanea, Venezia)
Foto: ph. F. Allegretto

Mostra personale



Personal exhibition

2012
(Galleria Caterina Tognon Arte Contemporanea, Venezia)
Foto: ph. F. Allegretto

Mostra personale



Personal exhibition

2012
(DOCVA, Viafarini, Milano)
Foto: ph. Marossi

Installazione



Installation

2012
(DOCVA, Viafarini, Milano)
Foto: ph. Marossi

Installazione



Installation

2012
(DOCVA, Viafarini, Milano)
Foto: ph. Marossi

Installazione



Installation

2012
(DOCVA, Viafarini, Milano)
Foto: ph. Marossi

Installazione



Installation

2012
(Cinque Dispositivi in Uno)
(Tranformable furniture; wood, fabric, robe)
90x150x90 cm
Foto: Max Botticelli
Courtesy: Grossi Magliioni

Macchina per il teletrasporto, gabinetto spiritico, tavolo per sedute spiritiche, separet/catafalco per le trasformazioni e uijiboard in un unica macchina capace di trasformarsi in tutti i vari dispositivi che sono serviti al Magic Duo nel progetto Macchina Dematerializzante e Gabinetto Spiritico per l?Apparizione di Corpi Dispersi  per l?evetuale re-nactement di tutte le sue azioni.

 



Teleportation machine, spiritic cabinet, séance table, separet/catafalque for transformations and ouiji board all in one machine capable of turning itself in all the various devices that the Magic Duo have used during the project "De-Materialization Machine and Spiritic Cabinet for disappeared bodies" in case of re-enactment of its actions.

 

 

2012


2012
(This is an happening, vademecum)
(video)
Courtesy: Grossi Maglioni

La performance nasce a New York nel 2006 come risposta all’indifferenza con cui i galleristi di Chelsea accolgono le artiste. Nelle gallerie il Magic Duo irrompe con un’azione a sorpresa in cui viene tagliato dal guest book un disegno precedentemente schizzato, e poi rivenduto al gallerista come una “easy and small form of art” al termine di un piccolo spettacolo di magia. La performance è stata ripetuta nelle gallerie di Helsinki, Stoccolma e Arte Fiera a Bologna. 

 



The performance born in New York in 2006: was intended as an answer to the indifference of Chelsea galleries and the gallerists in receiving artists. The Magic Duo enters the galleries by surprise, and start cutting out from the guest book a drawing which they had previously sketched. Afterwards the Duo would resell the sketch to the gallerist as an “easy and small form of art” at the end of a magic show. The performance has been repeated in Helsinki, Stockholm and Bologna Arte Fiera galleries.

 

2012
(Cinque Dispositivi in Uno, catafalco spiritico)
(Photo)
50x50 cm
Foto: Max Botticelli
Courtesy: Grossi Maglioni

 macchina per il teletrasporto, gabinetto spiritico, tavolo per sedute spiritiche, separet/catafalco per le trasformazioni e uijiboard in un unica macchina capace di trasformarsi in tutti i vari dispositivi che sono serviti al Magic Duo nel progetto Macchina Dematerializzante e Gabinetto Spiritico per l’Apparizione di Corpi Dispersi  per l’evetuale re-nactement di tutte le sue azioni. “Macchina dematerializzante e Gabinetto Spiritico” è un progetto basato sul dialogo tra la performance art, il modo di lavorare oltre i limiti fisici tipico dell’illusionista, l’approccio degli spiritisti alle manifestazioni soprannaturali, la scienza e l’occulto, attraverso una riflessione storica, etica e poetica.La performance art può essere lo strumento per il confronto e l’interazione tra il linguaggio della scienza e le pratiche dello spiritismo. Attraverso il re-enactment di quest’ultime si può gettare una nuova luce sulle pratiche scientifiche e sociali.



teleportation machine, spiritic cabinet, séance table, separet/catafalque for transformations and ouiji board all in one machine capable of turning itself in all the various devices that the Magic Duo have used during the project De-Materialization Machine and Spiritic Cabinet for disappeared bodies  in case of re-enactment of its actions / “De-materialization Machine ...” is a project based on dialogue between the performer, the illusionist’s way of working on body limits, and the spiritist’s approach on supernatural manifestation, science and occult.

Performance art could be the mean that allows a confrontation and interaction between the language of science and the practices of spiritism. It allows to reenact and, in doing so, to shed new light on scientific and social practices.

2012
(Performance Season open call (starring Valerio Marini))
(videostill)
Foto: Grossi Maglioni

Performance Season/ Performance-Art Didactic Festival è un festival sul web ideato dal The Grossi Maglioni Magic Duo, che ha coinvolto una serie di artisti e studiosi. Il festival promuove la ricerca storico/critica/metodologica sulla performance art ed in particolare l’esplorazione e lo sviluppo della OLP (on-line performance). Mediante un approccio che potremmo defi nire “didattico”, si è osservato come la OLP possa aprire nuove prospettive nella pratica artistica contemporanea, nel rapporto tra “pubblico” e “privato”, e nelle aspettative del pubblico sulle prestazioni degli artisti. Performance Season 09/10 si è svolto interamente on-line, rendendo possibile la partecipazione al programma di performance e a tutte le attività del festival. Il programma includeva oltre le performance e le interviste ai curatori in streaming, un archivio consultabile on-line, la presentazione degli artisti partecipanti e forum di discussione sui temi della performance art.

 



Performance Season/ Performance-Art Didactic Festival is a web festival conceived by The Grossi Maglioni Magic Duo, that involved a series of artists and contemporary art critics. The festival promotes historical/critical/methodological research around performance art with a focus on OLP (on-line performance) testing and development. This is to say, to determine how OLP could open new perspectives in the practice of contemporary art, as well as on the relationship between notions of “public” and “private,” and on audiences’ expectations of artists, while mediating these investigations through a approach that could be called didactic”.Performance Season 09/10 was available on-line, making it possible to participate in the performance program and all festival activities. The program includes performances and curator interviews in streaming, an on-line archive, participating artists’ presentations and discussion forums on performance art themes.

 

2012
(Powwow, press conference (Grossi Maglioni performance as festival's presentation))
(videostill)
Foto: Grossi Maglioni

Performance Season/ Performance-Art Didactic Festival è un festival sul web ideato dal The Grossi Maglioni Magic Duo, che ha coinvolto una serie di artisti e studiosi. Il festival promuove la ricerca storico/critica/metodologica sulla performance art ed in particolare l’esplorazione e lo sviluppo della OLP (on-line performance). Mediante un approccio che potremmo defi nire “didattico”, si è osservato come la OLP possa aprire nuove prospettive nella pratica artistica contemporanea, nel rapporto tra “pubblico” e “privato”, e nelle aspettative del pubblico sulle prestazioni degli artisti. Performance Season 09/10 si è svolto interamente on-line, rendendo possibile la partecipazione al programma di performance e a tutte le attività del festival. Il programma includeva oltre le performance e le interviste ai curatori in streaming, un archivio consultabile on-line, la presentazione degli artisti partecipanti e forum di discussione sui temi della performance art.



Performance Season/ Performance-Art Didactic Festival is a web festival conceived by The Grossi Maglioni Magic Duo, that involved a series of artists and contemporary art critics. The festival promotes historical/critical/methodological research around performance art with a focus on OLP (on-line performance) testing and development. This is to say, to determine how OLP could open new perspectives in the practice of contemporary art, as well as on the relationship between notions of “public” and “private,” and on audiences’ expectations of artists, while mediating these investigations through a approach that could be called “didactic”. Performance Season 09/10 was available on-line, making it possible to participate in the performance program and all festival activities. The program includes performances and curator interviews in streaming, an on-line archive, participating artists’ presentations and discussion forums on performance art themes. 

2012
(The Bozarks)
(Polaroid)
Foto: Grossi Maglioni

“Bozarks” è un modo antico di chiamare le lottatrici. In questa performance, presentata in occasione della mostra Correspondance 2.2, il Magic Duo si sfida in una lotta corpo a corpo, incitate dal pubblico della galleria, che scommette su chi delle due vincerà l’incontro. La partecipazione degli spettatori, suscitata dalla violenza della lotta, incita le performer stesse, durante l’azione, ad essere più aggressive e motivate. Così la prestazione si modifica e si amplifica provocando reazioni inaspettate.

 



“Bozarks” is an old way to call women fighters. In this performance, presented at the exhibition Correspondance 2.2, the Magic Duo challenge itself to have a punch-up, incite the public to betting who is going to win the match by removing the adversary’s mask. The audience participation, inspired by the violence of the struggle, hots up the performers themselves, who become more aggressive the more they are motivated. Thus, the performance changes producing unexpected effects.

 

2012
(The Bozarks)
(Polaroid)
Foto: Grossi Maglioni


2012
(The Bozarks)
(Polaroid)
Foto: Grossi Maglioni


2012
(Spiritic Pictures)
(print on cotton paper)
40x50 cm
Foto: Max Botticelli


2012
Foto: Delfino Sisto Legnani


 

2012
(Effluvia)
(kaiserpanorama, 20 theather binoculars, 1 chair)
4 x 4m
Courtesy: Production Centrale Fies


2012
(untitled)
(Pen on "Max Weber's dictionary")
18x8x10
Foto: M.V.Trovato
Courtesy: the Artist and Supportico Lopez


2012
(Discovered Symbol)
(Fotografia)
47x35cm
Courtesy: Courtesy of the artist


2012


2012
(Passport, tickets, bank notes, coins and newspapers)
Tavolo / Table: 85x120x80cm
Courtesy: Courtesy of the artist


2012
(Exhibition view - 2013)
Foto: photo Dario Lasagni
Courtesy: Courtesy Furla Foundation


2012


2012


2012
(Performance)
Ogni esercizio: 5-10 minuti / Each exercise: 5-10 minutes
Courtesy: Courtesy of the artist


2012
(Performance)
Dimensioni variabli/Variable dimensions
Courtesy: Courtesy of the artist


2012


2012
(Performance)
Dimensioni variabli/Variable dimensions
Courtesy: Courtesy of the artist


2012
(Orbit)


2012


2012


2012


 

 

2012
(EarthWorm+Love)
(feromoni umani, materiali vari)


2012


2012
(icona m.lineare)
70x110
Courtesy: collezione privata


2012
(parrot ticket office)
Courtesy: italia tropici angelo maj occupato


2012
(malinconico electric hell)
0,7 x 21 cm


2012
(actor)

l' occhio chiuso rompe la simmetria del viso e, con essa, l'equilibrio visivo che ne deriva.
Il piccolo ritratto, intitolato "Actor", vuole forse sottolineare la pratica della recitazione come una disciplina che mette alla prova l'attore  che riesce a generare reazioni negli altri.



2012
(Anna)
(ceramica)

Mi interessa non solo il ritratto in se ma, in questo caso, anche il luogo dove è fotografato. Non c'è dubbio che la riproduzione fotografica di un'opera sia sempre un'interpretazione. Il ritratto è fotografato nei dintorni in cui Anna Vive, a Milano.



2012

veduta parziale della mostra Cose Cosmiche, a cura di Silvia Hell e Helga Franza, ARTRA, Milano 2011



2012
(Stedelijk Museum Bureau - Amsterdam)
Foto: Photo Sander Van Wettum
Courtesy: In collaboration with the International Institute of Social History, Amsterdam (IISH)


2012
(Stedelijk Museum Bureau - Amsterdam)
Foto: Photo Sander Van Wettum
Courtesy: In collaboration with the International Institute of Social History, Amsterdam (IISH)


2012
(Exhibition view: La magnifica ossessione, MART Rovereto Italy)
Foto: GardaPhoto srl


Exhibition view: La magnifica ossessione, MART Rovereto Italy.

from left Conclave (photograph 07), lambda print, 105x145 cm, 2013.

Conclave (drawing 012), silver tip on cardboard, 35x50 cm, 2013.

Conclave (drawing 013), silver tip on cardboard, 35x50 cm, 2013.

Conclave (photograph 06), lambda print, 205x145 cm, 2013.

2012
(02 - Exhibition view: La magnifica ossessione, MART Rovereto Italy)
Foto: GardaPhoto srl


Exhibition view: La magnifica ossessione, MART Rovereto Italy.

from left Conclave (photograph 07), lambda print, 105x145 cm, 2013.

Conclave (drawing 012), silver tip on cardboard, 35x50 cm, 2013.

Conclave (drawing 013), silver tip on cardboard, 35x50 cm, 2013.

Conclave (photograph 06), lambda print, 205x145 cm, 2013.

2012


2012


2012


2012


2012


2012


2012
(Gli elementi)


2012


L’Italia in cerchio / Italy in a Circle
2009-ongoing.
Prototype games inspired by the Tour of Italy 1934.

Milano-Torino (Matteo Rubbi)
Torino-Genova (Dafne Boggeri)
Genova-Livorno (Béatrice Bailet)
Livorno-Pisa (Iris Touliatou)
Pisa-Roma  (Emiliana Sabiu)
Roma-Napoli (Pedro Barateiro)
Napoli-Bari (Marco Colombaioni)
Bari-Campobasso (Leonardo Chiappini)
Campobasso-Teramo (Cleo Fariselli)
Teramo-Ancona (Michele Gabriele)
Ancona-Rimini (Alek O.)
Rimini-Firenze (Derek Maria Francesco Di Fabio)
Firenze-Bologna (Fiammetta Caime)
Bologna-Ferrara (Vincenzo Latronico)
Ferrara-Trieste (Alice Mandelli)
Trieste-Bassano del Grappa (Isa Griese)
Bassano del Grappa-Milano (Giovanni Giaretta)

A choral work composed by a series of games invented by a group of artists and friends who set out a new and crazy map of Italy. The full game, entirely feasible in succession, is left to the public, along with dice, cards, checkers and rules.
The starting point of the work lies in the genesis of a game, made up of rules being drawn, close to sharing, testing, negotiation. Each player is expected to discuss a rule, to imagine a new one, to invent a plot, a possible ending.

2012


Marco-Colombaioni

Napoli-Bari

2012


Giovanni Giaretta

Bassano del Grappa-Milano

2012


Pedro Barateiro

Roma-Napoli

2012


Iris Touliatou

Livorno-Pisa

2012


Isa Griese

Trieste-Bassano del Grappa

2012


Emiliana Sabiu

Pisa-Roma

2012
(Dragon?s Eyes)
(Lambda print on Plexiglas, two dodecagonal elements)
160x160 cm each
Foto: Fondazione, Barriera di Milano, Torino.
Courtesy: Luca Pozzi


Light drawings on phosphor paint are photographed at the moment of maximum emergence prior to their subsequent and inevitable disappearance.

2012


2012
(Generally dark and dim)
(pencil graphite brass theard on paper)
150x122cm
Courtesy: courtesy Artist and Paradise Row gallery


2012
(Untitled)
(Untitled, pensil, serigraphy and theard on paper)
50x35cm
Courtesy: Artist and Paradise Row gallery


2012
(Unitled)
(mix media on canvas)
Courtesy: Artist and Paradise Row gallery


2012
(Untitled)
(mix mediaon paper)
40x60cm
Courtesy: Artist


2012
(Madame T (IGER))
(Bronze)


2012
(Untitled)
(bread)
25x3,5x8 cm


2012


2012


2012


 

2012


2012


2012


2012


2012


2012


MACRO, Rome 

2012


MACRO, Rome 

2012


2012


2012
(Alla memoria del)


2012
(Cisalpine Overseas Bank Limited)
(3D print prototype)
30x20x2 cm


Prototype for stab whose shape is taken from the cisalpine overseas bank logo.

2012
(La Programatica Anaelina)
(Archive photograph)
Courtesy: Archivo General la Nación Ministerio del Interior y Transporte Buenos Aires


2012
(Installation View, The London Open. Whitechapel Gallery, London, 2015)
Foto: Stephen White
Courtesy: 2015. Courtesy Whitechapel Gallery


2012
(single channel, HD video, colore, audio)
digital version: 4':52
Courtesy: the artist and Mendes Wood DM, São Paulo

E così chiamarono Lot e gli dissero:

«Dove sono quegli uomini che sono entrati da te questa notte?

Falli uscire da noi, perché possiamo abusarne!». 

Genesi 19:5 (Lot saluta gli Angeli)

 

 

Per Vas Nefandum è un sermone illustrato sull'arrivo dell'Apocalisse e della Prostituta di Babilonia, trasmesso da IC 2118 (Witch Head Nebula) e creato in occasione della mostra Prediction a cura di Milovan Farronato presso la galleria Mendes Wood DM.

ll sermone verrà reso pubblico sulle piattaforme digitali in due puntate. Release date: 28 marzo, 1 aprile 2016.



And they called unto Lot, and said unto him,

«Where are the men which came in to thee this night?

bring them out unto us, that we may have sex with them!». 

Genesis 19:5 (Lot welcomes the Angels)

 

 

Per Vas Nefandum is an illustrated sermon about the End of the World and the arrival of the Babylon Whore, transmitted from IC 2118 (Witch Head Nebula) and created on occasion of the group exhibition Prediction curated by Milovan Farronato at Mendes Wood DM Gallery. The proje to awaken the world that is filled up with satanic ideologies, sexual promiscuities and idolatry.

The sermon will be released on digital platforms in two parts. Release date: 28th march, 1st april 2016.

 

 

2012


Installation view, Level, Peep-Hole, Milano

2012


Installation view, "La sculpture langue morte", Institut Culturel Italien de Paris, Paris

2012


installation view, Strozzina CCC, Firenze, Italy
2012


Installation view at Artissima, Turin

2012
(color print)


A detail taken from a Pirelli ad dated 1920 becomes a corporate watermark. This watermark shows two arms in the act of holding and erasing a third one, using a Pirelli eraser. The original picture of the ad is from a drawing by Luigi Daniele Crespi in which the colonial collective imagination of the African population is used for the promotion of a national industry product.

2012
(Play)
(Interactive installation: 5 black coffin dolby surround, footboard, backlight box with insertcoin)
Interactive installation variable dimension
Courtesy: Center of Contemporary Art L.Pecci, Prato, I


PLAY, 2010

Interactive installation

Collection Art Center Luigi Pecci, Prato. Winning Work of Maretti Prize, 3rd edition, 2011 

Installation view: Liverpool Biennial 2010

In the work Play presented as a site-specific project at the Liverpool Biennial 2010 everything is based on the cause-effect automatism due to the interaction of the public with the dispositive built by the artist. When the viewer inserts a coin in the slot the installation turns on and 5 coffin-shaped speakers (each one of 1000 watt). Thanks to a software that operated 5 soundtracks (as in a concert) each speaker reproduces the sound of an instrument and all together play the Italian national hymn.

In the moment in which any person in the world takes some money from her/his pocket, with this action creates reactions that some times finish in a war with casualties. The installation aims to subvert the relationship between the public and the work, putting the spectator at the center thanks to the interactive dispositive that metaphorically re-uses the concept of reality show (the viewer becomes the actor) applied to a reflection on the media at the same time to the transformation of the fashion system, from author bran to street style.

2012
(L'ordine spontaneo)
(polyurethane, resin, iron)
150 x 80 x 80 cm


2012
(L'ordine spontaneo)
(polyurethane, resin)
150 x 80 x 80 cm


2012
(the one strow revolution)
variabili
Courtesy: quadriennale di Roma


2012
cm 50 x 35
Foto: Andrea Rossetti


2012


 

 

2012
Foto: Andre Germar


Installation view, Kunstverein Langenhagen, De

2012


2012


2012


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