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14/2/2023 - SALVATORE ARANCIO - SURREAL SCIENCE - TEYLERS MUSEUM, HAARLEM (NL)

February 17 - September 03, 2023 Enlarged flowers of papier mâché, velvet toadstools, lifelike snails of glass: collector George Loudon…

February 17 - September 03, 2023

Enlarged flowers of papier mâché, velvet toadstools, lifelike snails of glass: collector George Loudon is fascinated by the beauty of 19th-century scientific teaching models. At the exhibition Surreal Science – Wunderkammer of Art and Science, 250 objects from his collection will be shown. The Italian artist Salvatore Arancio prised them from their original function as teaching models and presents them as a contemporary art installation, making use of sound, light, film and his own ceramic sculptures.

New Perspective

Artist Salvatore Arancio (Catania, Italy, 1974) is fascinated by nature and by the human obsession to understand it. He selected 250 objects from Loudon’s collection and combined them with sound, light, film and his own objects, putting them in an entirely new perspective. A mysterious and wondrous installation is the result, a fascinating cross-fertilization of art and science at the oldest museum in the Netherlands. Surreal Science was shown in the spring of 2018 at Whitechapel Gallery in London. Thanks to a collaboration with Whitechapel, this Wunderkammer of Art and Science will be on at Teylers Museum from 17 February until 3 September 2023.

At the Book Cabinet, Realistic Science will be on from 21 January until 23 July. This exhibition shows why scientific models and illustrations were so important to research and education in the 19th and early 20th centuries, on the basis of books from the historical library of Teylers Museum.

Artists

13/7/2022 - SALVATORE ARANCIO | FORTHCOMING EXHIBITIONS

Schiavo Zoppelli Gallery annouces the forthcoming exhibitions of Salvatore Arancio: We don't find the pieces they find themselves, MIC, Faenza,…

Schiavo Zoppelli Gallery annouces the forthcoming exhibitions of Salvatore Arancio:

We don't find the pieces they find themselves, MIC, Faenza, Italy (solo exhibition)

Strange Clay: Ceramics in Contemporary Art, Hayward Gallery, London, UK (group exhibition)

Everywhere Was Nowhere, and Nowhere Everywhere, Pi Artworks, London, UK (group exhibition)

Dirty Work, The Art Station, Saxmundham, Suffolk, UK (group exhibition)

 

13/7/2022 - PANORAMA MONOPOLI 2022

Schiavo Zoppelli Gallery announces its participation at Panorama Monopoli, a city-wide exhibition curated by Vincenzo de Bellis, from 1-4 September.…

Schiavo Zoppelli Gallery announces its participation at Panorama Monopoli, a city-wide exhibition curated by Vincenzo de Bellis, from 1-4 September.

ITALICS has chosen Monopoli (Bari) for the second edition of the city-wide exhibition Panorama curated by Vincenzo de Bellis, Curator and Associate Director of Programs, Visual Art at the Walker Center in Minneapolis.

Panorama is the special event ITALICS periodically holds in some of the most extraordinary places in the Italian landscape. Afert last year's first edition on the wonderful island of Procida, from Thursday 1 to Sunday 4 September 2022, ITALICS is organizing a new itinerary in one of the most fascination places on the Adriatic Coast: Monopoli.

 

Artists

13/5/2022 - ARTEFIERA | SIMONE BERTI e FRANCESCO ARDINI

FRANCESCO ARDINI Francesco Ardini develops a technique that strongly calls into question the plastic aspect of the material, thus aiming…

FRANCESCO ARDINI

Francesco Ardini develops a technique that strongly calls into question the plastic aspect of the material, thus aiming to achieve a sense of lightness and refinement in the physical essence and visual appearance of his sculptures and installations. The irregular surfaces, the evident dissolution, the linearity threatened by cracks result in a naturalism of biological circles in which dissolution is always followed by formal definition: in the shadow of natural laws that are no longer absolute but relative, in a world in which everything is conditioned and precarious.
The last few years have given the artist the opportunity to return to the pleasure of reflecting on issues and forms dear to him. Among these, first of all, working with ceramics in its essentiality, going to fish out distant images in the mind and bringing them back to a close aesthetic. In the essentiality of the technique, the artist’s fingers are visible on the whole surface of the vase, while the color is given only by the chosen finish that creates an effect of opacity and a particular sensation to the touch.
The title of the series, Archetipo, refers to a deep reflection on time that has become more dilated and intimate in the last two years. Each of these works is itself a container of time, of the time Ardini spent to generate them and of all the times that, with their shapes, they evoke in our imagination.FRANCESCO ARDINI
Francesco Ardini develops a technique that strongly calls into question the plastic aspect of the material,
thus aiming to achieve a sense of lightness and refinement in the physical essence and visual appearance
of his sculptures and installations. The irregular surfaces, the evident dissolution, the linearity threatened
by cracks result in a naturalism of biological circles in which dissolution is always followed by formal
definition: in the shadow of natural laws that are no longer absolute but relative, in a world in which
everything is conditioned and precarious.
The last few years have given the artist the opportunity to return to the pleasure of reflecting on issues
and forms dear to him. Among these, first of all, working with ceramics in its essentiality, going to fish
out distant images in the mind and bringing them back to a close aesthetic. In the essentiality of the
technique, the artist’s fingers are visible on the whole surface of the vase, while the color is given only by
the chosen finish that creates an effect of opacity and a particular sensation to the touch.
The title of the series, Archetipo, refers to a deep reflection on time that has become more dilated and
intimate in the last two years. Each of these works is itself a container of time, of the time Ardini spent to
generate them and of all the times that, with their shapes, they evoke in our imagination.
SIMONE BERTI
Remember the story about the rhinoceros with the crutches? And the one about the bar with the wheels? Have you ever come across that little garden suspended on springs? And those two guys balancing on tall stilts? Have you seen them walking, slow and careful like cranes, through swampy land? And the very pregnant women together in little groups? You’ll have heard them speaking with absolute naturalness, although on their heads were growing hats totally out of scale with respect to the conventions of our time?
Not everyone will remember having come across these images when they first appeared, and others are perhaps too young to have done so. So you need to keep in mind that, many years ago, in the context of what is, by convention and desire for status, usually called the “art world”, these and other strange images began to circulate, at exhibitions and events, and in catalogues and publications of various kinds. I was there, I was right there, so I can assure you that, beginning in the second half of the 1990s, an artist named Simone Berti, having completed his studies in a well-known Napoleonic academy in the Lombard capital, began to publish a series of bizarre creatures, hybrid forms that were a mix of human and natural, animal and mechanical. They could be videos, photographs, drawings, paintings, performances. The medium was not important, because in those years it was thought that any instrument was valid for giving shape to the artist’s visual imagination. In Berti’s case – as with, even more than his companions of that time – what was surprising was the coherence of the imagery in these visions, despite the difference of medium. When meeting these characters, objects and shapes in a well-known Milanese gallery, as well as at famous international exhibitions, it was easy to see how they shared certain features. Whether they were people, animals or plants – in the Berti’s world such distinctions seem pointless – they were all equipped with some sort of prosthesis, generally of the homemade kind, which seemed to serve a double role of hinderance and elevation. While it’s true that these prostheses confined people, animals and plants into single position, it’s equally true that they not only gave them the ability to overcome certain fixed obstacles and morphological risks, but they also lent them a degree of regality, as though elevation were not just a physical question.

 

Artists

1/4/2022 - 3/4/2022 - MIART 2022 I BOOTH A25 - ESTABLISHED I SALVATORE ARANCIO

The main interest at the core of Salvatore Arancio's artistic practice lies in the potential of images. More specifically in…

The main interest at the core of Salvatore Arancio's artistic practice lies in the potential of images. More specifically in the way images and their meaning can be revisited and reinterpreted. Every facet of his practice contains an intertwined juxtaposition of the origins and representation of images: natural and artificial, mineral and vegetable, scientific and mythological. Distancing from their literal meaning, using a range of media such as ceramics, printmaking, collage, animation and video, Arancio creates new images that are both beautifully evocative and deeply disturbing, aiming to create a kind of atlas of confusion.

The shift from two-dimensionality to ceramics, which has characterised Arancio's production in recent years, has allowed him to open his work to possibilities that he felt were precluded by the mere use of photography. Ceramics is a living material that allows the artist to deepen his interest in the origins of symbolic and abstract creation by subverting the relationship between the present and the past, merged into a single form. At the same time, ceramics lends itself to a more visceral expressiveness thanks to the direct contact with the material, its power to resist control and finally the use of colour.

Over the last year the artist has been seeking these prospects in his works on paper, finding in painting the tool through which he can renew his freedom in experimenting with different languages thus expressing his mental images and sensations. Photography, in the form of two images of distinct landscapes mounted together, is once again the basis of the work. With no intention of creating a new narrative to the image, it is only the starting point capable of catalysing a creative and poetic process through the pictorial gesture. Photography and painting are two seemingly unrelated and distant elements that the artist merges to create unexpected suggestions and levels of meaning. The different temporal dimensions, the instant fixed in the photograph and the pictorial flow let emerge from the artist's imagination, seem to collapse into a single image that is both evocative and disorienting.

With these new productions, Arancio pushes the language of images even further towards the limit of abstraction, without ever completely losing their sources, the natural element and the landscape

Artists

18/12/2021 - FRANCESCO ARDINI | FIRST JINGDEZHEN INTERNATIONAL BIENNAL OF CERAMIC ART - ITALIAN PAVILION | IN BIANCO

  From 18 December 2021 to 17 March 2022 the first Jingdezhen International Biennial of Ceramic Art will be held…

 

From 18 December 2021 to 17 March 2022 the first Jingdezhen International Biennial of Ceramic Art will be held in Jingdezhen, China, at the Ceramic Art Avenue Art Museum, organised, on behalf of the Chinese Ministry of Culture, by Zhong Art International (Italy) together with the Carlo Zauli Museum (Italy), the China International Exhibition Agency and the Ceramic Art Avenue Art Museum.  The Biennale is organised by the Municipality of Jingdezhen (China), the China Arts and Entertainment Group Ltd., the Jingdezhen Ceramic University and the Municipality of Faenza (Italy). It is under the patronage of the Bureau of International Exchanges and Cooperation, Ministry of Culture and Tourism of China, the Italian Embassy in Beijing, the Italian Association of Ceramic Cities (AiCC) and the European Route of Ceramics.
The theme of this first edition of the Biennale is the 'Spirit of Ceramics' and the exhibition of the Italian pavilion is entitled In bianco. La porcellana nella ceramica d'arte italiana contemporanea, a project curated by Matteo Zauli and Xiuzhong Zhang that will see the participation of about thirty Italian artists, divided into two sections, including: Francesco Ardini, Silvia Celeste Calcagno, Chiara Camoni, David Casini, Alberto Garutti, Eva Marisaldi, Ornaghi & Prestinari, Mimmo Paladino, Andrea Salvatori, Italo Zuffi.
Translated with www.DeepL.com/Translator (free version)

From 18 December 2021 to 17 March 2022 the first Jingdezhen International Biennial of Ceramic Art will be held in Jingdezhen, China, at the Ceramic Art Avenue Art Museum, organised, on behalf of the Chinese Ministry of Culture, by Zhong Art International (Italy) together with the Carlo Zauli Museum (Italy), the China International Exhibition Agency and the Ceramic Art Avenue Art Museum.  The Biennale is organised by the Municipality of Jingdezhen (China), the China Arts and Entertainment Group Ltd., the Jingdezhen Ceramic University and the Municipality of Faenza (Italy). It is under the patronage of the Bureau of International Exchanges and Cooperation, Ministry of Culture and Tourism of China, the Italian Embassy in Beijing, the Italian Association of Ceramic Cities (AiCC) and the European Route of Ceramics.

The theme of this first edition of the Biennale is the 'Spirit of Ceramics' and the exhibition of the Italian pavilion is entitled In bianco. La porcellana nella ceramica d'arte italiana contemporanea, a project curated by Matteo Zauli and Xiuzhong Zhang that will see the participation of about thirty Italian artists, divided into two sections, including: Francesco Ardini, Silvia Celeste Calcagno, Chiara Camoni, David Casini, Alberto Garutti, Eva Marisaldi, Ornaghi & Prestinari, Mimmo Paladino, Andrea Salvatori, Italo Zuffi.

 

Artists

11/11/2021 - PATRICK TUTTOFUOCO | X at VETRA BUILDING, MILANO

  Thursday 11 November 2021 sees the inauguration of the Vetra Building (piazza Vetra, 17), designed by the international architecture…

 

Thursday 11 November 2021 sees the inauguration of the Vetra Building (piazza Vetra, 17), designed by the international architecture and design company, Il Prisma, on behalf of AXA IM Alts, unveiled with the light installation 'X' by the artist Patrick Tuttofuoco, in the presence of Mayor Giuseppe Sala and the director of the Neighbourhoods and Municipalities Directorate, Franco Zinna.
A project of urban regeneration with social benefits, a collaboration between public and private with the lever of public art. A new dialogue with the city has been re-established, a link between monumental Milan and the contemporary city through the creation of a new museum. and the contemporary city through the reactivation of open spaces, of the nearby redeveloped park, of the redeveloped park, commercial activities for families and local residents. A corner of Milan transformed from a place of transit and decay into a public space.
This new public art intervention (commissioned by AXA IM Alts) was under the artistic direction of Artribune's artistic direction, curated by Helga Marsala, and the coordination of the international design company international design company, Il Prisma.

Thursday 11 November 2021 sees the inauguration of the Vetra Building (piazza Vetra, 17), designed by the international architecture and design company, Il Prisma, on behalf of AXA IM Alts, unveiled with the light installation 'X' by the artist Patrick Tuttofuoco, in the presence of Mayor Giuseppe Sala and the director of the Neighbourhoods and Municipalities Directorate, Franco Zinna.

A project of urban regeneration with social benefits, a collaboration between public and private with the lever of public art. A new dialogue with the city has been re-established, a link between monumental Milan and the contemporary city through the creation of a new museum. and the contemporary city through the reactivation of open spaces, of the nearby redeveloped park, of the redeveloped park, commercial activities for families and local residents. A corner of Milan transformed from a place of transit and decay into a public space.

This new public art intervention (commissioned by AXA IM Alts) was under the artistic direction of Artribune's artistic direction, curated by Helga Marsala, and the coordination of the international design company international design company, Il Prisma.