curated by Marco Antonini
19th September – 25th October 2008
Opening: 19th September 2008
Performance h 20.00 pianissimo Gallery, Via Ventura 4, Milan, Italy.
Shana Moulton’s video and performance works are the sublimation of a series of fears and anxieties ¬–both real and imaginary– that the artist shares with great part of the United States and the so-called Western World. Ideal litmus for the psychophysical insecurities of her generation, Shana’s videos dig in the forms and tropes suggested by the recent past of popular media, searching for the traces of this grand malaise, a collective obsession centered on the health and beauty of both body and mind.
What health and beauty are we talking about anyway? These two concepts have notoriously gone through some pretty radical tran- sformations in time, adapting to the changing popular feeling but also to scientific progress and to the dictates of an industry of the “Self” that has increasingly been anxious to create new esthetical standards for the women and men of the future. The ideals of beauty and health, once separated enough to allow the idealization of certain flaws as positive signs of wellbeing, are nowadays almost completely overlapping. One of the most immediate consequences of this overlapping can be verified in the superficiality of a renewed sense of trust in medical science and in the extension of the same expectations we would normally reserve to cosmetics and “miracle creams” to proper pharmacological products. The nonchalance we show in regards to invasive cosmetic surgery treatments that only twenty years ago wouldn’t have been used if not in case of extreme need is further proof of an escalading process along whose lines “official” medicine (and Big Pharma) has as much to win as it has to loose. Unsupported by proven knowledge, this trust is in fact unavoidably extended to techniques and products of little or no use. Autohypnosis, new age knickknacks and fortune cookies are therefore considered equal to lab procedures, orthopedic devices and prescription drugs.
Cynthia, Shana’s goofy alter ego, is a perennially sad and frustrated young woman, a hypochondriac in continuous search for this or
that new cure to her infinite aches. Deliberately switching between pills and yoga, chiromancy and aerobics, cosmetic and orthopedic devices, she is a true believer. The therapy rite and the connected lengthy research effort are ultimately more important to her than the possibility of a real cure. Punctually, Cynthia’s improbable efforts are revealed as the prologue to mind trips, hallucinations, and unexpected epiphanies of light, sound and color. Often near to old-school psychedelia, her visions revel in a trademark humor that is always ambiguously balanced between slapstick and grotesque.
A Snake on a Tree
with: Roberto Ago/ Cecilia Bonilla/ Joshua Callaghan/ Wojciech Gilewicz/ Pernille With Madsen/ Chris Moukarbel/ Ana Prvacki/ Moira Ricci/ Lucia Uni/ Virginie Yassef/ Young-Hae Chang Heavy Industries
WestGermany screening pics: Jakob Jensen, Ingo Gerken
What do we think when we read the words: "A snake on a tree"? This short phrase (the title of a text-based work by Roberto Ago), can function as the departure point for an inspiring exercise in "directed" imagination. A snake on a tree. Is it a biblical image? Does it suggest an ordinary or rather an unexpected, potentially threatening event? Is it just a metaphor? And of what, exactly?
This screening stages a conversation between videos that somehow need the viewer's attention and imagination to be "completed" and fully understood/enjoyed. Fragmentary discourses, visual suggestions and the uninhibited use of cinematic, lexical and vernacular tropes abound. Text is often used as image, while images tend to be flattened down, reduced to their literal meaning or used to conceal and mislead.
Thanks: Involved Artists, White Box, VAW, Raul Martinez, Monkeytown staff, Westgermany staff.
SCREENINGS:
White Box Gallery: 525, W26 St., New York. Sunday, March 30. Screening from 3 p.m. to 8 p.m. Monkeytown: 58, N3rd Street, Williamsburg, Brooklyn. Friday, June 13. Screening from 12:30 a.m. Westgermany: Skalitzerstr. 133, Zentrum Kreuzberg, Berlin. Wednesday, June 25. Screening from 11:30 p.m.
That's me... Performing Nin Brudermann's "Aurelio Z" game -show version at ISE foundation (!). In the context of: In the Private Eye January 18, 2008 - February 29, 2008. Artist(s): Nin Brudermann, Carlos Motta, Trevor Paglen, Dannielle Tegeder, Anna Von Mertens, Amy Westpfahl. Curated by: Yaelle Amir.
Are We There Yet? with:Stephane Couturier, Bill Dolson, Marco Evaristti, Cyprien Gallard, John Gerrard, Kazuhiko Kobayashi.
This exhibition is presented by EFA Gallery, a program of The Elizabeth Foundation for the Arts. EFA Gallery is supported in part by
public funds from the New York Department of Cultural Affairs and the New York State Council on the Arts. Private funding for the Gallery has been received from The Carnegie Corporation Inc., The Foundation for Contemporary Art, The Helen Keeler Burke Charitable Foundation, Peter C. Gould, Materials for the Arts, and many other generous individuals.
curated by Marco Antonini
EFA Gallery. 323 W39 st., fl 2
November 30 – February 5, 2008
Hours: Wednesday to Saturday, 12noon – 6pm
opening Pics by Aoi Jesse.
Are We There Yet? focuses on works of art that reshape the notion of natural landscape in an active way, somehow corrupting the integrity of our own idealizations of it. Redefined by direct actions upon its elements, envisioned through the use of technology, or used as a point of departure for daring conceptualizations, natural landscape is followed and scrutinized in its continuous evolution of form and meaning.
“Are We There Yet?” the child’s obnoxious road-trip refrain, is a question/statement that implies a mix of excitement and inherent dissatisfaction with whatever place the parents might be driving to. Kids (…and artists?) are constantly expanding their knowledge of the natural world and raising the bar for future experiences. In short, they are perennially one step away from their own personal “frontier,” a place of learning as well as a physical threshold.
Are we all in need of a new frontier? All signs point to yes. We seem to be in constant need of expanding our boundaries, extending and streamlining the form and function of the natural landscape and adapting it to the speed, depth and quality of our daily life.
The outrageous, unsettling interventions of Bill Dolson, Marco Evaristti and Cyprien Gallard pave the way to an ephemeral, anti-monumental approach to Land-Art. Their unmediated approach flirts with vandalism to create statements: works of art that are concerned with the power, agency and the increasing responsibility of humankind for the environment. Our (now more than ever) radical ability and willingness to re-shape the sensible world as well as to “enhance” nature’s work is considered as a way to create new experiences, expectations and desires. Sharing a similar sensibility, the works of Stephane Couturier, John Gerrard, and Kazuhiko Kobayashi shift the focus from the landscape itself to our own personal perception and definition of it through the use of new forms of visualization and the definition of conceptually charged, unexpected point of views.
The Shape of Things to Come with: Manuel Acevedo, Matthew Bakkom, Charles Goldman, Christopher K. Ho,Tom Kotik, Catarina Leitao, Patrick Meagher, Jihyun Park and a text by Jeff Byles.
This exhibition is part of the "Out of Site" series. Together with upcoming projects by Sara Reisman, Andrew Cappetta & Jeff Pash and Kimberly Lamm, it was chosen to represent and celebrate the 10th anniversary of LMCC's Residency program. http://www.lmcc.net/art/residencies/tenyear/index.html
curated by Marco Antonini
Redhead Gallery. 125 Maiden Lane, fl 2, (off Water Street)
November 5 – December 14, 2007
Hours: Monday – Friday, 12noon – 6pm; Closed November 12, 22 and 23
Opening Reception: Friday, November 9, 2007, 6-8pm
Opening and installation Pics courtesy LMCC.
During the spring of 2001, fresh from graduation, I enjoyed a brief trip to New York with a friend. During those days, and in the midst of the bombardment of visual and intellectual stimuli that New York apparently never fails to deliver, I also realized the naiveté of some of my expectations. This happened exactly as I first set foot in Lower Manhattan. Back then, the ground zero of the so-called western world was not yet "Ground Zero". We toured the whole area in a single day, making all the requisite stops. Curiously, the few interiors (lobbies, indoor gardens and visitor centers) that we had the chance to see were what surprised and interested me most. Having grown up with shiny, flawless postcard images of Downtown drilled in my subconscious by TV and movies, I ended up being seriously disappointed. Disjointed paneling, flickering neon and bored, boring people were not exactly on my to-see list. A generally tired, frenetically lazy atmosphere wrapped up the whole experience. We left with no particular memories, off to some more rewarding experience somewhere else: anywhere else our wary feet and well-worn tourist guide would direct us.
In my opinion, one of the most interesting aspects of the work of past and present guests of the LMCC residency program is the fact that it is so often boldly projected towards the future. A diary made of images, an index of premonitions: things that will be, things that could be and things that would never possibly be (but really should). The shape of things to come emerges in works that are deeply influenced by the unique setting of this residency program. The dramatic views of a -now more than ever- ghostly 91 st floor window. The chaos of a lost crowd of morning commuters funneled by the automated movement of a dark, shiny escalator. The evil eye of thousands and thousands of surveillance cameras... Downtown Manhattan was and is a place of great tension, the dispenser of a human energy that is constantly held back and released. This very tension, together with the idea of the Artist as Shaman (or Shaman/Showman, as Alighiero Boetti referred to himself) inspired the selection of a highly diverse group of artworks, visionary statements that draw their energy from the peculiar surroundings of Lower Manhattan to project it into the future of things and images.
The New Pulse of Lower Manhattan Artists
By Abby Luby
(...) Earmarking a tumultuous decade and celebrating the 10th year of the residency program is “Out of Site,” a series of exhibitions that considers the future while glancing over its shoulder at September 11. A tour led by LMCC Residency Director and Curator, Erin Donnelly last Saturday started at the council’s Maiden Lane office and exhibition space “Redhead.” Entitled “The Shape of Things to Come”, the show was curated by Marco Antonini and is based on the 1933 H. G. Wells novel of the same title about future events from 1933 to 2016. Work of the nine artists include video, photography, installation pieces, sculpture, ink drawings and reflects the artists’ experience of Lower Manhattan. Among them are a projected DVD loop of a man trashing an abandoned WTC office in the spring of 2001 entitled “Requiem for the New Economy” by Patrick Meagher and Dave Shim.
Matthew Bakkom’s large photograph shows a filing cabinet next to a slender WTC window overlooking New York Bay tagged to sell for five dollars entitled “Smartworld Technology, Suite 9127, 1 WTC, 2001/2007.”
“Downtown” by Jihyun Park is a small scale model of Lower Manhattan, made out of thousands of small incense sticks. Hovering upside down near the floor, the its underbelly reveals the two protruding rectangles of the WTC. Floating nearby is a miniature Statue of Liberty, also hanging upside down (...)
The works (...) are both intellectually accessible with a heady conceptual edge, but engrossing and stimulating overall. Steeped in the history of September 11, these artists seek to climb out of the past and move deftly to the future, embracing new unique formats that undoubtedly reflect the new pulse of artists in Lower Manhattan.
NACRE A project by Luca Bertini and Marco Antonini www.nacre.cc
The Pearl originates its beauty and singularity by reacting to external interferences. Organic materials, parasites and even mantle tissue of the oyster itself are considered a threat, and covered in nacre. Also known as "mother of pearl", nacre is composed of hexagonal platelets of a substance called aragonite .
Luca Bertini and Marco Antonini's NACRE is an ongoing project in which data inconsistencies retrieved from the net bloom into an ever-changing sprawling structure. Interferences and anomalies (the multi-faceted constituents of networks that are no longer able to produce a linear, unequivocal reality) are perceived as a hostile external body.
NACRE exists to give shape to this underworld of deceptive, ambiguous data, in a way that is neither creative nor critical. Its chaotic structure is built from huddling hexagonal platelets designed over information collected by a spider (an automatic computer program which crawls the net in search of data).
NACRE has a completely different approach to the economy and ecology of information. Its peculiar treatment of fragments of data sustains a completely useless, anti-iconic entity.
Unwilling to decipher a complexity which is perceived as completely unmanageable, scary and beautiful, NACRE stubbornly tries to protect itself from an overwhelming reality with its frantic, abnormal growth.
organized by Marco Antonini and Luca Bertini
NACRE is a recipient of the 2007 PEC (Emerging Curators Prize) of the ISE foundation, New York.
October 26 to November 24, 2007. ISE foundation (www.isefoundation.org). 555 Broadway, New York, NY.
Thanks to Tekserve and Transcreen® "the old, reliable mac shop" // 119 W. 23rd St. NYC 10011 // T 212.929.3645 F 212.463.9280 www.tekserve.com
L'insostenibile leggerezza della rete
di Marco Mancuso
(...) Nacre, questo il nome dell'opera di net art all'indirizzo www.nacre.cc , non vuole spiegare la complessità della Rete, vuole al contrario nascondersi da essa. Non intende comprendere, illustrare, non ambisce a fare parte di un mondo che altresì, sembra non comprendere più: al contrario tende a scapparne, a difendersi, a chiudersi. Così come una perla produce la sua bellezza, il suo caratteristico rivestimento di madre-perla (Nacre), reagendo a delle influenze esterne (materiali organici e parassiti, possono costituire per l'ostrica un motivo di pericolo al quale reagire) difendendosi e producendo sottili strati di petali esagonali di una sostanza chiamata Aragonite, l'entità digitale di bertini e Antonini sembra pulsare di vita propria, modificando la propria struttura, proteggendosi da interferenze e anomalie percepite come entità ostili di una Rete non più in grado di relazionarsi in maniera lineare e inequivocabile (...)
Twenty Five!
Triangle Arts Celebrates its 25th Anniversary.
Come check this out during the d.u.m.b.o Art under the Bridge festival! (http://dumboartscenter.org/festival/2007/index.html)
I am lending a hand to the Triangle team, contributing to the organization and curation of the Triangle Alumni DUMBO Art Festival Exhibition (September 28, from 7pm. Corner of Washington and Front St. - F train to York or A-C to High Street, Brooklyn).
With (among the others and in random order): Malado Baldwin, Jason Lujan, Eve Bailey, Claudia Weber, Ian Burns, Nora Herting, Richie Budd, Catarina Leitao, Johlyne Davis, Samantha Donnelly, Cuillin Bantock, Rosemary Williams, Amy Bouse, Eduardo Valderrey and, of course, Anthony Caro (Triangle's Founder) himself, who will also give a speech with Frank Stella at the Drawing Center (35 Wooster St, in Soho) on October 16, 7pm. SEE BELOW FOR DETAILS ON ALL THE EVENTS.
curated by Marco Antonini
July 10, 2007. Japan Society, New York. www.japansociety.org
ph. courtesy Allison Maletz
"The Garden could be said to stand at the crossroads of nature and culture, of matter and consciousness. It is neither purely the one nor the other; it discloses both in the form of Human Art".
Gunter Nitschke - "Japanese Gardens, Right Angle and Natural Form", Taschen, 1999
Inspired by the curator's interest in zen gardening, geomancy and the psychological importance of the concept of nature in japanese art, this screening will present a series of animation and video works from contemporary japanese artists. The conversation between the works will be sustained by the recurrent presence of natural elements and landscapes, represented trough and informed by the different approaches and sensibilities of the selected artists.
Works of art that allow a physical or metaphorical distance from nature and landscape imply considering the latter as objects of contemplation, as places of meaning as opposed to places of pure form. Traditional japanese art used to see no difference between nature and human creation. This idea, together with the tendency to assimilate exterior stimula and develop them in a formal way, gave birth to the great tradition of japanese landscape gardening, a tradition that left unmistakable marks on the general approach and understanding that japanese artists have towards nature.
Two general processes seem to be particularly representative of this approach, and they can both be related to wider issues in japanese culture. One is a process of compacting, miniaturization which, in Camelia Nakagawara's words "can be considered an act of abstraction, since the reduction in scale implies a reverse in the process of understanding, where knowledge of the whole precedes the knowledge of the parts". Architect Toyo Ito's words, comparing the structure of a microchip to a Zen Garden, also come to mind. The other process is one of extreme close-up, where the natural elements "invade the beholder's consciousness with their proximity, readily transporting him to a meta-experiential realm".
More than Nature Features a selection of contemporary works that show an eclectic mix of digital and analog techniques and a very diverse, if not clashing, range of intentions and approaches.
This screening was made possible by the generous support and general help of: Japan Society, Kodama Gallery, Mizuma Gallery, Gallery Koyanagi and of all the involved artists.
Tobias Collier /Timothy Hull / Shana Moulton / Damien Roach / Michael Bell - Smith
curated by Marco Antonini
From 31 May to 30 June, 2007. Pianissimo. Via Ventura 5, Milano. www.pianissimo.it
If and when we remember to have one, we find our spiritual dimension to be a more and more shallow and fragile one. Half-experiences and continuous parallels with a Beyond whose shapes are inconsistent and whose essence is watered-down, tend to define the height, width and depth of a perpetual dissatisfaction. Linking the many lacks of our spiritual experiences with this or that religion, philosophy or school of thought won't help, either. These daily frustrations are carefully designed to appear as a succession of small successes, but they actually reinforce the desire in a supernatural dimension that we end up looking for in the reconfiguration of the images and information that surround us. These scattered bits of knowledge resemble a succession of ascending marks on a perennially half-empty glass, and give place to a myriad of different spiritual dimensions. Our notion of Beyond resembles more and more a MySpace page: kind-of personalized, kind-of transcendent ... kind-of Beyond.
this one is for the Business Community! :)
"Workflow" is a two-person exhibit featuring works by Luca Lazar and Anthony Di Paola. Co-curated with Helen Varola of ArtAssets LLC for Hines International. It will be on view in the lobby of Hines, at 750 Broadway, NY for the whole 2007. Check it out if you stroll by Times Square (..why should you?.. well, you never know..)
Inspired by the graphics of Leisure-Suit-Larry (1987), AVERAGE SHOVELER (2004-05 Rhizome.org at The New Museum commission) is an online game challenging the boundaries between photo, paintings and short movie. The location is the NYCπs East Village. Itπs snowing, and you have to keep your way cleaned. Each flake of snow contains an image taken live from Yahooπs news feed while people tell you top stories in cartoon bubble gathered from the same sources. All this is set to music composed by Gabriel Yared, award-winning composer of scores for movies such as The English Patient and Cold Mountain.
Martin Bricelj / Mauro Ceolin / James Paterson / Pirandélo / Qubogas / Urkuma
curated by Marco Antonini
GALERíA GALOU (www.galeriagalou.com)
from: June 2 to: June 25, 2006
Click Here to Download a video of the Exhibit's Set Up
OPENING RECEPTION: Friday, June 2, 2006. From 6 p.m. to 9 p.m.
Working with an exquisitely "new" range of possibilities and techniques, artists contributed to a radical reshaping of the concept of Nature from the early nineties. Using both the dynamic and formal qualities that New Media increasingly offered as unprecedented "construction material", today's artists relate to physical realities in a mix of inspired quotation and pure invention, often giving birth to new worlds, with physical rules of their own. This show will try to offer a sample of different attitudes towards this topic, highlighting conceptual similarities and contrasts.
Artists relating to the generic cathegories of Nature, Landscape, Environment, can choose between evoking and quoting what we have (or what we had, as nature as-it-used-to-be becomes a more and more endangered subject), or actually create their own functional environments. The array of tools available for this construction game is impressive: the internet, for instance, can be easily read as a roots-system replica, as a rhizome, as a relatively autonomous growing being... playfield of endless visual as well as socio-political experimentation. At the same time, data, pictures, sounds and personal records stored in our HD's have become a "natural" extension of our human body (giving access to more and more sensorial stimula) and mind (with the possibility of interlocking and linking data trough machine-induced paths and strategies).
Long time ago, we were able to transform nature's materials and energy into tools, extensions of our bodies and minds that quickly started to condition our needs and behaviours, becoming part of ourselves and ultimately reshaping our whole environment, with the dramatic consequences we all know. Nature appears nowadays as an expanded, human-centric concept: not only the delicate, endangered, world we (and other species that we hopelessly neglect and/or exploit) live in but more and more the very projection of our own take on it.
Thanks to Tekserve and bitforms gallery
"the old, reliable mac shop" // 119 W. 23rd St. NYC 10011 // T 212.929.3645 F 212.463.9280 www.tekserve.com
The debate on how much and how the director of a documentary can influence the way it portraits Nature was born together with documentary itself and is still pretty actual. The Documentary, as a genre, is nowadays being invaded by the narrative and filmic features of fiction. It is becoming more and more a testimonial of men's unobjective point of view on a Nature, a subject that that we can't understand if not via an absurd comparison with the human society and its dynamics.
The artwork of austrian artist Nin Brudermann is focused on an unobjective, sympathetic vision of nature that needs no scientific validation. Trough images that can be sweet or sour, sometimes violent, on the border line between documentary and fiction, Brudermann finds a different approach to nature and her starring actors: the animals.
Soundtrack and editing allow Brudermann to transform her documentaries into dreams. The video/performance "the Swan" (2005), records the adventure of a swan, lost in the salty waters of New York's East River. The images of the animal, stranded between rusty piers, dirt and dangerous boat traffic, build up a fable noir, paced by the artist's narrating voice and sweetened by a magic finale. Understanding where reality starts and where fantasy ends is impossible, but this is not the point: these images don't need validation. The installations "Baby Vogerl" and "Sonntagsausflug" confirm the intentions of the artist, giving us "Stories" where the animals trigger elaborate personal fantasies that seem to refuse any need for objectivity and never slide into the impossible or unbelievable.
Brudermann's work delivers a form of documentary that is liberated from the standards of this art form, presenting a vision of nature that's informed and loyal to the (artist's ) truth, and enriching them with personal narratives and subplots.
Live Performance with Dorit Chrisler. ph.Luca Bertini
Tomorrow Now : Pratiche artistiche contemporanee nella cultura digitale
MARTEDí 6, MERCOLEDí 7 e GIOVEDí 8 DICEMBRE 2005, ore 18:00 / Palazzetto Tito / Dorsoduro 2826, Venezia
mostra: La Linea Sottile a cura di Marco Antonini e Francesca Colasante
con opere di:
Radical Software Group
Bianco e Valente
Mark Lombardi
Beatrice Gibson e Celine Condorelli
Urkuma e Pleo
Roberto Cuoghi
La Linea Sottile: logiche dell' invisibile:
a cura di Marco Antonini e Francesca Colasante
da Sabato 22 Ottobre a Domenica 20 Novembre, h.19:00 / Museo Laboratorio ex-Manifattura Tabacchi
Cittá S.Angelo (Pescara)
Click Here to visit a photo gallery of the opening
Click Here to Download a video of the Exhibit's Set Up
La mostra La linea sottile, logiche dell'invisibile (a cura di Marco Antonini e Francesca Colasante), presentata nell'ambito della terza edizione del Peam - Pescara Elecronic Artists Meeting - sarà ospite nei locali del Museo Laboratorio di Città Sant'Angelo dal 22 ottobre al 20 novembre. In occasione dell'inaugurazione, prevista per la sera di sabato 22, dalle ore 19:00, i musicisti Luca Miti e Francesco Michi si esibiranno in una performance sonora sperimentando soluzioni creative utilizzando tecnologia povera e strumenti musicali, come da loro consolidato percorso di ricerca artistica.
Quest'anno il tema centrale del Peam, manifestazione che opera per la promozione delle arti elettroniche, si articola attorno allo slogan The new human being positionin' , per cui s'intende la ricollocazione dell'essere umano, ibridato dalle moderne culture elettroniche, nello spazio geografico, nei tempi esistenziali e nelle sue facoltà cognitive. La linea sottile si propone di indagare i modelli di rappresentazione visiva del mondo e dei suoi macro-sistemi dal mapping alle pratiche psicogeografiche passando attraverso gli stadi del riconoscimento, della conoscenza, del procedimento. Ciò comporta una riflessione sui paradigmi di riferimento dalla nascita dello spazio allo spazio interconnesso, dove la mappa è l'interfaccia ideologicamente posizionata.
L'esposizione artistica si focalizza su progetti di arte elettronica sviluppati tra l 1997 e il 2005, non senza fare le opportune citazioni di quelle suggestioni, volontà, visioni o poetiche ritenute importanti per un corretto profilo del contemporaneo. Tre sono le macro-sezioni dialettiche in cui sono intervenuti gli artisti invitati: 1) mapping = mappe, vere e proprie connessioni con geografie e psico-geografie; 2) architetture = interfacce, sistemi di rappresentazione visiva; 3) visioni = riorganizzazioni visionarie, poetiche, approcci diversi alla conoscenza.
Artisti in mostra : Area3 spa
Bianco Valente ita
Celine Condorelli e Beatrice Gibson uk
Guerriglia Marketing e Molleindustria ita
Josh On usa
Lumeta usa
Marcos Weskamp arg
Marek Gibney ger
Mark Lombardi usa
Radical Software Group usa
Roberto Cuoghi ita
Urkuma & Pleo ita
Yellowarrow usa
Thenetobserver ita
Live performance di Luca Miti Francesco Michi ita
Sono previsti un momento espositivo per la "messa in scena" e l'interazione con i progetti artistici selezionati e un momento discorsivo per illustrare motivazioni, metodologia e risultati della ricerca.
c/o Museo Laboratorio Ex Manifattura Tabacchi di Città S. Angelo, PE Vico Lupinato 1 direzione di Enzo De Leonibus (www.museolaboratorio.org)
Lecture:
"La Linea Sottile: Sistemi visivi, mappature e psico-geografie nella New Media Art, 1997-2005" di M. Antonini/F. Colasante
- 23 ottobre, h. 19:00 c/o Porta Nuova Arte, Pescara
nei locali dell'Ecoteca di Pescara (www.artificialia.com/ecoteca)
- 8 novembre, 18:00 c/o Fondazione Bevilacqua La Masa, Venezia
The Evening Traveling:
animazioni, sogni e visioni dal Giappone contemporaneo.
Venerdí 14 Ottobre, h.18:30 / Multisala "CinemaCity" (sala 12) / Ravenna, Italy
The Evening Traveling: animazioni sogni e visioni dal Giappone contemporaneo / viaggia verso Ravenna, dove verrá ospitato in occasione dell' "Ottobre Giapponese", nell'ambito della rassegna NIPPONICA05 (www.nipponica2005.com). La rassegna di 8 film d'animazione di Akino Kondoh, EYE, Takagi Masakatsu, Zon Ito, Ryoko Aoki, Keiichi Tanaami, Aihara Nobuhiro e Tomoko Konoike, a cura di Marco Antonini, verrá presentata al multisala CinemaCity di Ravenna.
Spoltore (Pescara) dal 20 al 28 agosto 2005 Occhi Nuovi : rassegna di giovani artisti italiani & The Evening Traveling: animazioni sogni e visioni dal Giappone contemporaneo.
In occasione della kermesse teatrale dello Spoltore Ensamble, fortemente voluta dal Presidente dell'Ente Manifestazioni, Albano Paolinelli, aprirà la rassegna "Occhi nuovi", a cura di Antonio Zimarino e Sibilla Panerai con Francesco Andrisano, Domenico Boffa, Cristiana Califano, Alessandro Boni, Luca Borzillo, Andrea Buccella, Daniela D'Incecco, Andrea Di Cesare, Marco Di Vincenzo, Antonella Ferri, Luigi Forese, Daniele "Giotto" Giuliani, Simone Lisciani, Paride Petrei, Giuseppe Spinozzi, Sara Tatoni, Matteo Fato. 18 giovani artisti per un' immersione nel "nuovo vedere" delle prossime generazioni. La sezione "The Evening Traveling": animazioni sogni e visioni dal Giappone contemporaneo, a cura di Marco Antonini, presenterá invece il lavoro recente di 8 videoartisti giapponesi: dai maestri Keiichi Tanaami e Aihara Nobuhiro alle recentissime (e a volte inedite) animazioni di Zon Ito, Ryoko Aoki, Takagi Masakatsu, EYE, Akino Kondoh, Tomoko Konoike.
from left to right: Sibilla Panerai, Antonio Zimarino and me + exhibit views // ph courtesy Andrea Antonini, Arianna Bonanni
Spoltore (Pescara) from August 20 to 28, 2005 Occhi Nuovi (New Eyes): young art in Italy & The Evening Traveling: animations, dreams and visions from contemporary Japan.
The 2005 edition of the performing arts festival Spoltore Ensemble will host this year two visual arts projects, thanks to the far sighted direction of Albano Paolinelli. "Occhi Nuovi" (curated by Antonio Zimarino and Sibilla Panerai) will showcase the work of Francesco Andrisano, Domenico Boffa, Cristiana Califano, Alessandro Boni, Luca Borzillo, Andrea Buccella, Daniela D'Incecco, Andrea Di Cesare, Marco Di Vincenzo, Antonella Ferri, Luigi Forese, Daniele "Giotto" Giuliani, Simone Lisciani, Paride Petrei, Giuseppe Spinozzi, Sara Tatoni, Matteo Fato. 18 young artists for a full-immersion in the new italian scene, in search of new visual attitudes. "The Evening Traveling" (curated by Marco Antonini), on the other side, will present recent animations from 8 japanese video-makers, from masters like Keiichi Tanaami and Aihara Nobuhiro to the youger talents of Zon Ito, Ryoko Aoki, Takagi Masakatsu, EYE, Akino Kondoh, Tomoko Konoike.
// //
Images (clockwise from top left) details from: Akino Kondoh, EYE, Ryoko Aoki, Tomoko Konoike, Takagi Masakatsu, Zon Ito.
Thanks to:
Antonio Zimarino, Yuki Minami (Transplant Gallery), Mizuma Gallery, Kodama Gallery, and my brother Andrea, for watching Anime and reading Manga with me all along the way. Images courtesy of the artists and respective galleries.
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