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Sono sempre più le fondazione che rendono pubbliche sul web i loro archivi storici, fra le tante ora si aggiunge quella dell’archivio William Henry Fox Talbot, di cui è stato recentemente realizzato il catalogo ragionato. Iniziativa realizzata dalla Bodleian Libraries dell’’ University of Oxford.

The Armory Show 2017

Riprendono le grandi fiere statunitensi, fra le più gettonate in primavera sicuramente The Armory Show, che vuole bissare il grande successo dell'anno scorso, proponendo un variegato e ricercato programma di eventi ed incontri 

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This March, The Armory Show will debut Platform, a new, curated exhibitor section that stages large-scale artworks, installations and site-specific commissions across Piers 92 & 94. The inaugural edition of Platform, entitled An Incident and curated by Eric Shiner, encompasses thirteen artworks by internationally acclaimed artists from a range of generational perspectives.

The Platform section is a realization of The Armory Show’s new vision to stage ambitious projects that activate and draw inspiration from the fair’s unique industrial venue in Midtown Manhattan. Situated across the fair’s 250,000 square feet of exhibition space, Platform offers an opportunity for galleries to showcase artworks that extend beyond the traditional booth context.

Participating artists include: Abel Barroso, Patricia Cronin, Douglas Coupland, Abigail DeVille, Sebastian Errazuriz, Dorian Gaudin, Jun Kaneko, Per Kirkeby, Yayoi Kusama, Iván Navarro, Evan Roth, Fiete Stolte, Lawrence Weiner and Ai Weiwei.

“We aim to play a greater role in the artistic life of New York, supporting artists and commissioning new artworks to create exciting experiences for our visitors—experiences like no other art fair,” says Benjamin Genocchio, Executive Director of The Armory Show. “Piers 92 & 94 are an immense industrial venue prime for site-specific works and located in the heart of Manhattan; it is a tremendous opportunity to present artworks that activate and engage the space while creating a wholly unique fair experience.”

“With my selection of artists, I endeavor to present a series of incidents that start to change our relationship with the art fair—a series of happenings, interactive works, objects and images that make the viewer take pause, think, refresh, smile, and remember that art, by its very nature, is meant to provoke, incite and challenge,” says Eric Shiner. “It is my hope that the artists and works included in An Incident will bring a new energy to the art fair model, encouraging visitors to share in the moment, and to enjoy the phenomenal offerings in vendors’ booths with gusto.”

An Incident showcases an impressive collection of artworks ranging from new commissions to significant historical works restaged in a contemporary context. Victoria Miro (London) will present a recent, 11- piece installation by Yayoi Kusama, situated at the center of Pier 94 within the newly created Town Square. The presentation of Guidepost to the New World (2016) coincides with Yayoi Kusama: Infinity Mirrors at The Smithsonian's Hirshhorn Museum and Sculpture Garden in Washington D.C. and celebrates the beginning of a national tour of Kusama’s multi-reflective installations. Presented by Paul Kasmin Gallery (New York), Chilean artist Iván Navarro has created Chant, a text-based light and sound sculpture made specifically for The Armory Show. The loud and soft noises made by attendees during the fair will be captured by sensitive microphones and then represented in light, charting the various levels of sound intensity in a three-dimensional sculpture composed of metal and Plexiglas. Jun Kaneko’s monumental 63-foot painting, Mirage (2016), presented by Edward Cella Art & Architecture (Los Angeles), will serve as a dramatic entrance to the expanded and relocated VIP Lounge on Pier 92. Galerie Forsblom (Helsinki) will present a suspended sculpture made of bamboo and silk by renowned Chinese artist Ai Weiwei. Douglas Coupland’s installation Towers (2014), created for the artist’s 2014 survey exhibition Douglas Coupland: everywhere is anywhere is anything is everything at the Vancouver Art Gallery, will be presented by Daniel Faria Gallery (Toronto). Presented by Cristina Grajales (New York), Sebastian Errazuriz will suspend a large piano over the Champagne Lounge on Pier 94. Evan Roth, presented by Caroll / Fletcher, will display a multi-screen installation in the west end of Pier 94, within the Presents section.

On Pier 92, a recent sculpture by Abigail DeVille will welcome visitors while Dorian Gaudin’s hand- crafted, self-roving structure, Missing You (2016), will cut through the fair’s open-plan space, presented jointly by DITTRICH & SCHLECHTRIEM (Berlin) and Nathalie Karg Gallery (New York). Fiete Stolte, presented by albertz benda (New York), will engage visitors with Eye (2014), an interactive photo booth that uses a built-in camera and arranged mirror to create one-of-a-kind portraits that can be acquired for a nominal fee. Patricia Cronin will restage her acclaimed 1997-98 mixed media installation, Tack Room, which presents equestrian equipment and paraphernalia with oil paintings and bronze sculptures creating an erotically charged environment that addresses female autonomy, desire, power and class. GALLERI SUSANNE OTTESEN (Copenhagen) will present Per Kirkeby’s Mönchengladbach (1986) and Lawrence Weiner’s CAREFULLY BALANCED ON THE EDGE OF A HOLE IN TIME (1999), pairing two important historical works that form a dialogue between European and American Post-Minimalism. Presented by Pan American Art Projects, Cuban artist Abel Barroso’s seven part interactive installation, Emigrant's Pinball (2012) will activate the Pier 92 Mezzanine Lounge where visitors can play Barroso’s fictional pinball game, which employs New York iconography and gameplay to pose question about migration and cultural identity.

The Armory Show announced details of Armory Live, which will bring together prominent curators, critics, artists and collectors for a thought-provoking series of conversations, panels and screenings, taking place at the fair and online.

Clocktower Productions, a radio station produced in collaboration with Pioneer Works in Red Hook, Brooklyn, will operate as an extended platform for Armory Live through a series of live broadcasts made available during the event. Listeners may tune in for live programming during the event, or download the recorded podcasts after at thearmoryshow.com/armory-live, and clocktower.org/radio.

Armory Live will take place Friday, March 3 – Sunday, March 5, 2017 at The Armory Show on Piers 92 & 94. The complete program is listed below.

In a series of conversations ranging from panels to intimate dialogues, current themes and visual cultures will intersect to highlight a number of crucial topics within the artistic community. Armory Live features 15 internationally celebrated contemporary artists, in addition to curators, collectors and critics from around the globe.

Armory Live participants include David Salle who will lead a conversation with fellow artists Joe Bradley, Alex Katz, Dana Schutz and Chris Martin on the painting life. Influential curator, Phaidon author and founder of MoMA’s video and media collection, Barbara London, will lead a discussion on art in the digital age with artists Marilyn Minter, Shiva Ahmadi and Charles Atlas, as well as producer and director, Thomas Allen Harris. Felix Burrichter, Editor and Creative Director of PIN UP magazine, along with Mark Davy, Founder of Futurecity, will engage Lonneke Gordijn and Ralph Nauta of Studio Drift in a conversation on technology, design and art in the public realm. Focus curator Jarrett Gregory will host Dutch artist Renzo Martens for a presentation and conversation about the projects of the Institute of Human Activities (IHA) and the Cercle d'Art des Travailleurs de Plantations Congolaises (CATPC). CATPC is featured in the fair’s Focus section concurrently with their exhibition at SculpureCenter in Long Island City. Writer and culture critic Glenn O’Brien and dealer Jeffrey Deitch and collector Andy Spade come together to discuss O’Brien’s recent book, Like Art: Glenn O’Brien on Advertising, which explores the relationship between art and advertising in the 1980s and 1990s. Platform curator, Eric Shiner, will host a conversation between artists Patricia Cronin, Shahzia Sikander and Executive Director of the National Academy, Maura Reilly, which will attempt to situate the history of feminism as it relates to art. Writer and critic Orit Gat will lead a three way conversation on the topic of

Internet and digital art with multi-media artist Joshua Citarella and Troy Conrad Therrien, Curator of Architecture and Digital Initiatives at the Solomon R. Guggenheim Museum.

Conversations on Collecting, presented by Athena Art Finance Corp., brings together prominent individuals across a variety of fields to address and debate the current state of the international art market—from the challenges posed by collecting digital art to the notion of the home as museum, to hypotheses on the future of a post-election market. Auctioneer and author Simon de Pury, collector Alain Servais and gallerist Dominique Lévy will join advisor Todd Levin and financier Andrea Danese of Athena Art Finance to debate predictions on the future of the art market in a conversation moderated by Kelly Crow, art market reporter for the Wall Street Journal. Erica Barrish, President of EAB Fine Art Services, will lead a conversation on the intersection of art, technology, preservation and posterity with Tabor Robak, artist; Chrissie Iles, Anne and Joel Ehrenkranz Curator, Whitney Museum of American Art; Michael Connor, Artistic Director, Rhizome; Sima Familant, curator and art advisor; and Michael Xufu Huang, collector and co-founder of M WOODS. Jane Stageberg, principal of Bade Stageberg Cox, architects of the 2017 fair, will discuss space and architecture as a context for contemporary art with architect Richard Gluckman of Gluckman Tang Architects, Suzanne Modica, art advisor and curator of Stonescape, and collectors Gregory Miller and Bernard Lumpkin.

As part of Jeffrey Deitch’s re-staging of his legendary “Florine Stettheimer Time Capsule Salon,” first presented at the 1995 Gramercy International Art Fair, Jeffrey Deitch will host a series of salon-inspired conversations at his booth during the fair. In the style of Stettheimer’s salon, artists, curators and art historians will be invited to lead discussions and exchange dialogue. The full schedule of these salon talks will be released in the coming weeks.

Sara Raza, UBS MAP Curator for the Middle East and North Africa, and Assistant Curator Amara Antilla, both of the Solomon R. Guggenheim Museum, acted as curatorial advisors to Armory Live.

The Armory Show announced the fair’s 2017 Focus section, encompassing twelve solo presentations of new or rarely seen work by some of today’s most relevant and compelling artists. The artists are chosen by Jarrett Gregory, Associate Curator of Contemporary Art at the Los Angeles County Museum of Art.

The Focus section is part of The Armory Show’s new vision to increase engagement with prominent international curators, emphasizing solo-artist presentations and strong curatorial viewpoints. In addition to the new Focus section, The Armory Show 2017 will include Platform, a new section for site-specific projects, curated by Eric Shiner.

“It is with great pleasure that we invite visitors to experience the Focus section. Promoting and supporting curators is at the core of The Armory Show’s mission and we are thrilled to be working with Jarrett Gregory of LACMA,” says Benjamin Genocchio, Executive Director of The Armory Show. “After seven years of looking at specific geographic regions we felt it was time for a change. The 2017 Focus section brings a strong and independent curatorial vision to the fair with the single defining criterion for the curator to assemble, in their view, the most relevant and vital art of the moment.”

What Is To Be Done? borrows its title from Nikolai Chernyshevsky’s eponymous 1863 novel, composed while the author was imprisoned. Through constructed characters and storylines, What Is To Be Done? laid the groundwork for Russia’s socialist revolution and is considered to be one of the most influential works of Russian literature. The Focus section includes twelve artists grappling with some of the world’s most pressing social and political issues.

“Each artist demonstrates an acute awareness of his or her local conditions as well as the failing structures, conflicts and ideologies that define our era,” says Gregory. “This project emerged from conversations with artists during trips to the Democratic Republic of the Congo and Moscow, where I witnessed, among other things, the aftermath of widespread social and economic failure. Following this research, power structures have been at the forefront of my mind.”

Gregory cites the artist Jimmie Durham as a source of inspiration for her curatorial statement. In his text “Creativity and the Social Process,” Durham argues for art that does not speak to other art, but that speaks to life: “To use art as an escape,” he writes, “is a sign of inhumanity.” What Is To Be Done? takes this statement as a point of departure, bringing together artists who employ various methods of engagement to probe the relationship between creation and participation.

Highlights include new works by American-born Pakistani artist Amna Asghar whose work reflects on the exchange of imagery between East and West; sculptures from the Cercle d'Art des Travailleurs de Plantations Congolaises (CATPC) that confront the trauma of colonialism; a film by Johan Grimonprez exploring the global arms trade; Deana Lawson’s striking photographs, which investigate the body’s ability to channel personal and social histories; a new installation by Ibrahim Mahama; an installation by Mexican artist Teresa Margolles; Senga Nengudi’s sculptures from the 1970s; new works by Vietnamese artist Tuan Andrew Nguyen; Polish artist Roman Opalka’s attempts to paint infinity; a video and installation by Mathilde Rosier; collaborative experiments by Koki Tanaka, who represented Japan in the 55th Venice Biennale; and a new project by Moscow-based artist Anya Titova.

"This is not political art, nor does it have an agenda – it is art that helps us to see the historic moment in which we are living,” says Gregory. “These artists aren't afraid of big questions, and they approach their subject matter with varying degrees of purity or interference. I'm incredibly grateful to The Armory Show for the support and creative liberty they have afforded me in developing this project."

The Armory Show

The Armory Show is New York’s premier art fair and a definitive cultural destination for discovering and collecting the world’s most important 20th and 21st century artworks. Staged on Piers 92 & 94, one of the city’s industrial gems, the fair features presentations by leading international galleries, innovative artist commissions and dynamic public programs. Since its founding in 1994, The Armory Show has served as a nexus for the international art world, inspiring dialogue, discovery and patronage in the visual arts.

Il lato oscuro dell'arte

Fra gli articoli più interessanti di questo mese sul Giornale dell’Arte va segnalato quello sull’inchiesta di Francesca Sironi, che è poi diventato un documentario proposto su Sky nel mese di Dicembre,  sui possibili legami tra il mercato dell’arte e il riciclaggio di denaro tra free port, mediatori e fondi d’investimento.

Un lungo e interessante tentativo di mettere un poco di chiarezza, ma con molti limiti e difficoltà, su quello che sembra essere una realtà fiorente di questo settore, che da sempre non ha mai brillato per chiarezza e coerenza.

Il sistema dell’arte continua a presentarsi come un luogo in cui la cultura e il valore reale è sempre più distante.In questa realtà oramai scarseggia la qualità e si privilegiano aspetti che con l’arte non hanno nessun legame.

La giostra gira per altre energie che stanno erodendo sempre più la sua nobile “storia” creando un ennesimo annoiato circolo di traffici economici spesso troppo oscuri.

Tancredi ritorno da Peggy

Il Peggy Guggenheim di Venezia ha in corso fino al 13 Marzo una importante retrospettiva su Tancredi Parmeggiani, tra gli interpreti più originali e intensi della scena artistica italiana della seconda metà del Novecento.

Tancredi è stato l’unico artista, dopo Jackson Pollock, con il quale Peggy Guggenheim stringe un contratto, promuovendone l’opera, facendola conoscere ai grandi musei e collezionisti d’oltreoceano e organizzando alcune mostre, come quella del 1954 proprio a Palazzo Venier dei Leoni.

Dopo oltre sessant’anni, dunque, l’artista ritorna protagonista indiscusso alla Collezione Guggenheim con una straordinaria selezione di lavori, che ricostruiscono in modo intimo e capillare, tra produzione creativa ed emotività prorompente, la parabola breve, ma folgorante, di questo grande interprete dell’arte del secondo dopoguerra.

Per la prima volta, dai tempi di Peggy, sono esposti capolavori come la Primavera, proveniente dal MoMA di New York e Spazio, Acqua, Natura, Spettacolo, oggi al Brooklyn Museum.

Anicka Yi al Guggenheim

La mostra del vincitore del Premio Hugo Boss 2016, Anicka Yi, avrà luogo al Guggenheim di New York dal 21 Aprile al 5 Luglio, ecco il comunicato stampa dell'esposizione. 

From April 21 to July 5, 2017, an exhibition of new works by artist Anicka Yi, winner of the 2016 Hugo Boss Prize, will be on view at the Solomon R. Guggenheim Museum, New York. Interweaving Yi’s ongoing study of microorganic forms, data collection, and sensory perception, this exhibition presents a densely layered examination of the intersecting biological, social, political, and technological systems that define our lives. Yi is the 11th artist to receive the biennial prize, which was established in 1996 to recognize significant achievement in contemporary art and which recently marked its 20th anniversary.

The Hugo Boss Prize 2016: Anicka Yi is organized by Katherine Brinson, Curator, Contemporary Art, and Susan Thompson, Assistant Curator, Solomon R. Guggenheim Museum.

Through concepts and techniques drawn from scientific research, Anicka Yi’s installations create vivid fictional scenarios that ask incisive questions about human psychology and the workings of society. Challenging the dominance of vision in encountering an artwork, she expands the perceptual experience of the “viewer” into a broader sensory immersion. The artist has a longstanding interest in smell and its potent link to memory and subjectivity, at times activating her installations with scents designed to evoke specific emotional states or cultural identities. Her work studies the ramifications of both the digital and corporeal realms, with a focus on how biology, particularly in relation to gender or race, is frequently politicized.

In October Yi was selected as the winner of the 2016 Hugo Boss Prize from a short list of six finalists that included Tania Bruguera, Mark Leckey, Ralph Lemon, Laura Owens, and Wael Shawky. The 2016 jury comprised of Katherine Brinson; Dan Byers, Mannion Family Senior Curator, Institute of Contemporary Art/Boston; Elena Filipovic, Director and Chief Curator, Kunsthalle Basel; Michelle Kuo, Editor in Chief, Artforum International; and Pablo León de la Barra, Guggenheim UBS Map Curator, Latin America, Solomon R. Guggenheim Museum. The jury described their decision in a statement: “In recognition of the milestone 20th anniversary marked by this year’s prize, we carefully considered the spirit of the project over the past two decades and the innovatory achievements represented by the list of past recipients. In selecting Anicka Yi as the winner from an exceptionally strong group of nominated artists, we wish to highlight the singularity of her vision and the generative new possibilities for artistic production offered by her practice. We are particularly compelled by the way Yi’s sculptures and installations make public and strange, and thus newly addressable, our deeply subjective corporeal realities. We also admire the unique embrace of discomfort in her experiments with technology, science, and the plant and animal worlds, all of which push at the limits of perceptual experience in the ‘visual’ arts.”

This exhibition is made possible by HUGO BOSS.

HUGO BOSS PRIZE HISTORY

The Hugo Boss Prize 2016 marks the 11^th presentation of the award at the Solomon R. Guggenheim Museum. Since its inception in 1996, the prize has been awarded to American artist Matthew Barney (1996), Scottish artist Douglas Gordon (1998), Slovenian artist Marjetica Potrč (2000), French artist Pierre Huyghe (2002), Thai artist Rirkrit Tiravanija (2004), British artist Tacita Dean (2006), Palestinian artist Emily Jacir (2008), German artist Hans-Peter Feldmann (2010), Danish artist Danh Vo (2012), and American artist Paul Chan (2014). Previous finalists have included Laurie Anderson, Janine Antoni, Cai Guo-Qiang, Stan Douglas, and Yasumasa Morimura in 1996; Huang Yong Ping, William Kentridge, Lee Bul, Pipilotti Rist, and Lorna Simpson in 1998; Vito Acconci, Maurizio Cattelan, Michael Elmgreen and Ingar Dragset, Tom Friedman, Barry Le Va, and Tunga in 2000; Francis Alÿs, Olafur Eliasson, Hachiya Kazuhiko, Koo Jeong-a, and Anri Sala in 2002; Franz Ackermann, Rivane Neuenschwander, Jeroen de Rijke and Willem de Rooij, Simon Starling, and Yang Fudong in 2004; Allora & Calzadilla, John Bock, Damián Ortega, Aïda Ruilova, and Tino Sehgal in 2006; Christoph Büchel, Patty Chang, Sam Durant, Joachim Koester, and Roman Signer in 2008; Cao Fei, Roman Ondák, Walid Raad, Natascha Sadr Haghighian, and Apichatpong Weerasethakul in 2010; Trisha Donnelly, Rashid Johnson, Qiu Zhijie, Monika Sosnowska, and Tris Vonna-Michell in 2012; and Sheela Gowda, Camille Henrot, Hassan Khan, and Charline von Heyl in 2014. A timeline and a video on the history the Hugo Boss Prize, as well as an archive of past prize catalogues, are available at guggenheim.org/hugobossprize.

PUBLICATION

In conjunction with the Hugo Boss Prize 2016, the Guggenheim has published a catalogue featuring projects by each of the nominated artists and newly commissioned critical essays illuminating their practices. The catalogue includes texts by Clare Davies, Tim Griffin, Anthony Huberman, Caroline A. Jones, Alex Kitnick, and Lucía Sanromán, along with an introduction by Brinson and Thompson. The volume also contains a special commemorative section devoted to the Prize’s 20-year history with texts by Thompson. Designed by Frith Kerr and Ben Prescott of the London-based firm Studio Frith, the catalogue is available for $40 at the Guggenheim Store or online at guggenheimstore.org.

ABOUT HUGO BOSS AG

Since 1995 HUGO BOSS has provided critical support to many Guggenheim programs. In addition to the Hugo Boss Prize, the company has helped make possible retrospectives of the work of Matthew Barney (2003), Georg Baselitz (1995), Ross Bleckner (1995), Francesco Clemente (1999–2000), Ellsworth Kelly (1996–97), Robert Rauschenberg (1997–98), and James Rosenquist (2003–04); the presentation Art in America: Now (2007) in Shanghai; the Felix Gonzalez-Torres (2007) and Ed Ruscha (2005) exhibitions in the U.S. Pavilion of the Venice Biennale; and the exhibition theanyspacewhatever(2008–09) at the Solomon R. Guggenheim Museum. At the 54th Venice Biennale in 2011, the fashion and lifestyle group HUGO BOSS was the lead sponsor of the Allora & Calzadilla exhibition in the U.S. Pavilion. For more information, visit group.hugoboss.com/en/group/sponsoring/art-sponsoring or hugoboss.com/us/magazine/arts.

HUGO BOSS GLOBAL ARTS PROGRAM

Contemporary art is an integral part of the HUGO BOSS corporate culture. In conjunction with the Solomon R. Guggenheim Museum the Group established the HUGO BOSS Prize in 1996 which has evolved into an internationally renowned art award. The prize was complemented by the HUGO BOSS Asia Art Award in 2013, focusing on upcoming Asian artists. HUGO BOSS has also been supporting numerous international exhibitions of contemporary art. To date, these have presented works by Ross Bleckner (1995), Georg Baselitz (1995 and 1996), Dennis Hopper (2001), James Rosenquist (2003), Olafur Eliasson (2005) and Josephine Meckseper (2007). In 2012 HUGO BOSS sponsored the very first solo exhibition of Jeff Koons at a Swiss museum. Since 2014 the Group has started a special partnership with the Vitra Design Museum in Weil am Rhein, supporting exhibitions like Konstantin Grcic, Panorama (2014) and in 2015/2016 The Bauhaus#itsalldesign.

ABOUT THE SOLOMON R. GUGGENHEIM FOUNDATION

Founded in 1937, the Solomon R. Guggenheim Foundation is dedicated to promoting the understanding and appreciation of art, primarily of the modern and contemporary periods, through exhibitions, education programs, research initiatives, and publications. The Guggenheim network that began in the 1970s when the Solomon R. Guggenheim Museum, New York, was joined by the Peggy Guggenheim Collection, Venice, has since expanded to include the Guggenheim Museum Bilbao (opened 1997), and the Guggenheim Abu Dhabi (currently in development). The Guggenheim Foundation continues to forge international collaborations that celebrate contemporary art, architecture, and design within and beyond the walls of the museum, including the Guggenheim UBS MAP Global Art Initiative and The Robert H. N. Ho Family Foundation Chinese Art Initiative. More information about the Solomon R. Guggenheim Foundation can be found at guggenheim.org.

VISITOR INFORMATION

Admission: Adults $25, students/seniors (65+) $18, members and children under 12 free. The Guggenheim’s free app, available with admission or by download to personal devices, offers an enhanced visitor experience. The app features rich multimedia content on special exhibitions, the Guggenheim’s landmark building, and artworks in the museum’s permanent collection. Verbal Description guides for select exhibitions also are included for visitors who are blind or have low vision. The Guggenheim app is supported by Bloomberg Philanthropies.

Museum Hours: Sun–Wed, 10 am–5:45 pm; Fri, 10 am–5:45 pm; Sat, 10 am–7:45 pm; closed Thurs. On Saturdays, beginning at 5:45 pm, the museum hosts Pay What You Wish. For general information, call 212 423 3500 or visit the museum online at: guggenheim.org.

Annette Messager a Villa Medici

Fino al 23 aprile 2017, l’Accademia di Francia a Roma – Villa Medici accoglie la prima mostra personale in Italia di Annette Messager, una delle artiste francesi più note, radicali e anticonformiste del panorama artistico contemporaneo, parte di una rassegna  artistica voluto fortemente dalla direttrice di Villa Medici Muriel Mayette-Holtz, curato da Chiara Parisi.

Si tratta di un evento che attraversa questi magnifici spazi, raccontando del lungo percorso creativo dell’artista francese e delle tante declinazioni del suo fare artistico.

Il titolo della mostra “Messaggera” ci avvia sullo spirito ironico, a volte anche doloroso, con cui l’artista opera; il cognome posto come azione diventa veicolo di emozioni, riflessioni, dubbi e paure.

«Trasformare» spiega l’artista «per me è come giocare. Ma giocare seriamente, come fanno i bambini. E mi considero una bambina molto antica». Con queste parole, Annette Messager ci introduce nel suo mondo in bilico tra familiare e perturbante, fra sogno e incubo, fatto di tessuti, matite colorate, immagini manipolate, bambole di pelouche e animali naturalizzati.

Così Villa Medici si popola di creature che prendono forma da una fervida immaginazione, tutte realizzate appositamente per la mostra: la celebre Fontana della Loggia viene animata da serpenti-giocattolo; nel giardino, i cespugli di bosso prendono la forma di curiosi animali, e il Mercurio del Giambologna brandisce uno scalpo che oscilla al vento, capelli che rimandano a una femminilità libera e spregiudicata. «Mi chiamo Messager, certo, ma non rilascio alcun messaggio. È lo spettatore a delineare la strada con la propria storia e la propria immaginazione», dice l’artista. Questa capigliatura evoca le azioni dell’artista che negli anni ‘70 tagliavi i suoi lunghi capelli per utilizzarli in disegni, come fossero tentativi di dominare questa materia libera e incontrollabile.

Nell’Atelier di Balthus Annette Messager ricopre le pareti con una carta costellata da disegni di uteri, e da una Gioconda che riporta l’irriverente slogan “Balthutérus” o “No God in my uterus”. «Ho disegnato l’utero» spiega «perché richiama i vasi di fiori; alcuni fiori però, come le orchidee, possono sembrare minacciosi. La donna fa sempre un po’ paura. Non va dimenticato che l’isteria deriva dalla parola utero».

Nelle Gallerie interne l’installazione monumentale Eux et Nous, Nous et Eux (2000) occupa la grande scalinata centrale: dal soffitto pendono specchi, sui quali campeggiano diverse specie di animali naturalizzati con protesi di pelouche.

Altro riferimento imprescindibile è Pinocchio, cui Annette Messager si è ispirata per l’opera Casino che le è valsa il Leone d’oro alla Biennale di Venezia nel 2005. «Pinocchio è un eroe universale, una metafora dell’uomo. È il bello e il brutto, il lato oscuro e il lato meraviglioso, pieno di fantasia degli esseri umani. Tutti noi lottiamo come burattini manipolati». L’installazione Histoire de traversins (2004-2005) invade lo spazio della mostra: si tratta di un lavoro che può rimandare ai prigionieri di Auschwitz come alle lotte di cuscini dei ragazzi. Al cuore di questa installazione sensuale e inquietante, sorgono delle opere poetiche come Tutu dansant (2013).

«Quando ho iniziato – racconta Messager – il mondo dell’arte era quasi esclusivamente maschile. Da allora, la percentuale di donne è aumentata. Eppure i pregiudizi sono duri a morire. Una donna artista immediatamente desta sospetti: mi viene chiesto della mia vita privata, mi viene chiesto se ho figli. Le scrittrici sono accettate meglio, probabilmente perché hanno ereditato la tradizione dello scrivere il diario». Con il suo personalissimo modo di interpretare il nostro tempo, di raccontare storie e creare ambientazioni spiazzanti, Annette Messager contribuisce a rompere stereotipi, interrogando la società sui cliché legati alla femminilità.

Il catalogo pubblicato in occasione della mostra, edito da Electa, è il primo di una nuova collezione sull’arte contemporanea e nasce come libro d’artista: si tratta infatti del diario intimo di Annette Messager, dedicato a Villa Medici, accompagnato da un poster edito per l’occasione.

Ad Annette Messager seguiranno, a maggio, le mostre di Yoko Ono e Claire Tabouret, mentre in ottobre sarà presentato il dialogo tra Camille Claudel e Elizabeth Peyton e, all’inizio del 2018, la personale di Tatiana Trouvé, un progetto globale che prende il nome di Une, interamente curato da Chiara Parisi.

Orari di apertura della mostra: da martedì a domenica, chiuso il lunedì, dalle 10.00 alle 19.00 (ultimo ingresso alle 18.30).

Biglietto unico per la mostra e la visita guidata a Villa Medici e ai giardini: 12 € (tariffa intera) / 6 € (tariffa ridotta*). Ingresso libero per la mostra tutti i giovedì dalle 17.00 alle 19.00 (ultimo ingresso alle 18.30).

Accademia di Francia a Roma – Villa Medici

viale Trinità dei Monti, 1 - 00187 Roma

T +39 06 67611 www.villamedici.it 

Gli artisti di Skulptur 2017

Ieri è stata resa pubblica la lista degli artisti selezionati per la nuova edizione di Skulptur Projekte Münster, che si svolgerà dal 10 Giugno al 1 Ottobre, unica italiana Lara Favaretto.

Ei Arakawa (born 1977, Fukushima, Japan)

Aram Bartholl (born 1972, Bremen, Germany)

Nairy Baghramian (born 1971, Isfahan, Iran)

Cosima von Bonin (born 1962, Mombasa, Kenya)

Andreas Bunte (born 1970, Mettmann, Germany)

Gerard Byrne (born 1969, Dublin)

“Camp” with Shaina Anand (born 1975, Mumbai, India) and Ashok Sukumaran (born 1974, Hokkaido, Japan)

Michael Dean (born 1977, Newcastle Upon Tyne, England)

Jeremy Deller (born 1966, London)

Nicole Eisenman (born 1965, Verdun, Germany)

Ayşe Erkmen (born 1949, Istanbul)

Lara Favaretto (born 1973, Treviso, Italy)

Hreinn Fridfinnsson (born 1943, Bær í Dölum, Iceland)

Monika Gintersdorfer (born 1967, Lima, Peru) and Knut Klaßen (born 1967, Münster)

Pierre Huyghe (born 1962, Paris)

John Knight (born 1945, Los Angeles)

Xavier Le Roy (born 1963, Juvisy sur Orge, France) with Scarlet Yu (born 1978, Hong Kong)

Justin Matherly (born 1972, New York)

Sany (Samuel Nyholm) (born 1973, Lund, Sweden)

Christian Odzuck (born 1978, Halle, Germany)

Emeka Ogboh (born 1977, Enugu, Nigeria)

Peles Empire with Barbara Wolff (born 1980, Făgăraș, Romania) and Katharina Stöver (born 1982, Gießen, Germany)

Alexandra Pirici (born 1982, Bucharest)

Mika Rottenberg (born 1976, Buenos Aires)

Gregor Schneider (born 1969, Rheydt, Germany)

Thomas Schütte (born 1954, Oldenburg, Germany)

Nora Schultz (born 1975, Frankfurt)

Michael Smith (born 1951, Chicago)

Hito Steyerl (born 1966, Munich)

Koki Tanaka (born 1975, Tochigi, Japan)

Oscar Tuazon (born 1975, Seattle)

Joelle Tuerlinckx (born 1958, Brussels)

Cerith Wyn Evans (born 1958, Llanelli, Wales)

Herve Youmbi (born 1973, Bangui, Central African Republic)

Barbara Wagner (born 1980, Brasilia) and Benjamin de Burca (born 1975, Munich)

MUSEORAMA. Spazio, tempo e architettura

MUSEORAMA. Spazio, tempo e architettura nel “GDM - Grand Dad’s Visitor Center” di Laure Prouvost è il primo appuntamento del Public Program|Laure Prouvost, una serie di incontri e proiezioni dedicati ad ampliare e approfondire la visione della mostra “GDM - Grand Dad’s Visitor Center”, ospitata nello shed di Pirelli HangarBicocca fino al 9 aprile 2017. Concepita come un immaginario museo, la mostra è lo spunto per un programma che invita a riflettere sui temi del lavoro di Prouvost e più in generale dell’arte contemporanea. La tendenza a sovrapporre differenti fonti visuali e culturali, la ricerca di una relazione coinvolgente e spiazzante con lo spettatore, la volontà di creare narrazioni complesse e stratificate sono alcuni dei temi al centro di quattro appuntamenti con la presenza di ospiti italiani e stranieri, che comprendono anche una serata di proiezioni video e un concerto/performance concepito con la partecipazione dell’artista.

Giovedì 23 febbraio, Pirelli HangarBicocca presenta un incontro con le architette e designer Anna Barbara e Aurora Destro all’interno di “GDM – Grand Dad’s Visitor Center”, il museo realizzato da Laure Prouvost per la mostra omonima.

Le due protagoniste di questa conversazione conducono il pubblico attraverso le opere di Laure Prouvost e alcuni dei temi affrontati nel suo inafferrabile museo: il corpo e i sensi, il linguaggio e la finzione. Il dialogo coinvolgerà anche il pubblico presente e giocherà con l’ironia del misunderstanding – uno dei temi chiave del lavoro di Prouvost – per poi interrogarsi su chi sia veramente il protagonista di questo “museorama”: l’artista, il nonno, la nonna – prima ispiratrice del progetto – o il visitatore?

Anna Barbara, professore di Interior Design alla Scuola di Design del Politecnico di Milano, tiene lezioni e corsi presso numerose università internazionali negli Stati Uniti e in Cina e la sua ricerca è focalizzata sulle relazioni che intercorrono tra sensi, tempo e spazi, nel design, interior design e architettura.

Tra le sue pubblicazioni più note, Storie di architettura attraverso i sensi (Bruno Mondadori, 2000, riedizione Postmedia Books 2011); Architetture invisibili. L’esperienza dei luoghi attraverso gli odori (Skira 2006); Sensi, tempo e architettura. Spazi possibili per umani e non (Postmedia Books, 2012) e il recente saggio Forms of space and time (in S. Yelavich e B. Adams, Design as future-making, Bloomsbury Publisher 2014). Nel 2016 ha fondato SenseLab.

Aurora Destro vive e lavora a Milano dove è architetto-designer e “visual-jockey”.

I prossimi appuntamenti del Public Program|Laure Prouvost:

Giovedì 2 marzo 2017, ore 20.30

INCONTRO

LOST IN CREATION. Montaggio e concatenazione come pratica artistica

Marco Senaldi – filosofo, curatore e teorico d’arte contemporanea – ripercorre in modo evocativo la storia dell’arte e degli artisti che hanno fatto del collage e del montaggio una pratica e una scelta linguistica, da Marcel Duchamp a Pierre Huyghe.

Giovedì 23 marzo 2017, ore 20.30

PROIEZIONE

GDM CINEMA. Video da tank.tv

Un appuntamento dedicato alla piattaforma online tank.tv – progetto pionieristico di ricerca, curato tra il 2003 e il 2010 da Laure Prouvost. Durante la serata viene proposta una selezione di video e una conversazione tra Ajay Hothi, direttore di tank.tv, Lucia Aspesi e Fiammetta Griccioli di Pirelli HangarBicocca sull’attività curatoriale dell’artista.

Sabato 1 aprile 2017, ore 22

PERFORMANCE MUSICALE

Un evento in occasione di miart. A cura di Pedro Rocha.

Jayde Fish per Gucci

Il gruppo Gucci realizza un progetto artistico a New York nel quartiere di Soho, si tratta di uno spazio murale situato in Lafayette Street su cui farà intervenire un artista che coopererà anche con alcuni aspetti dei prodotti del gruppo.

Il primo intervento è con Jayde Fish, una illustratrice di San Francisco. L'opera sarà visibile fino alla fine di Marzo.

Sémiosphère du Commun

La sémiosphère du Commun è un progetto che si svolgerà a Ginevra presso lo spazio Utopiana che sta realizzando una realtà per condividere percorsi d'arte in forma di residenze, incontri, confronti.

CS

« Changer les signes peut changer l’ordre des choses existant. Les organismes vivants modifient leur environnement sur la base de leurs propres images de cet environnement. » Kalevi Kull

Le projet « La sémiosphère du Commun » émerge de l’espace même du Commun.
Nous avons pris connaissance qu’en 2006, le Service des bâtiments avait mandaté l’entreprise d’ingénierie – environnement – sécurité, Ecoservices SA afin de procéder à l’analyse des polluants susceptibles d’être présents dans le BAC. Parallèlement, le STEB (Service de toxicologie de L’environnement bâti du Canton de Genève) a procédé à des mesures de la qualité de l’air dans différents locaux. Sur la base de prélèvements ponctuels dans les sols et les faux plafonds, les laboratoires ont effectué des analyses concernant la présence de métaux lourds, HAP (hydrocarbures aromatiques polycycliques) et d’amiante, une pollution importante aux hydrocarbures, héritée de la période industrielle des locaux, de toutes les surfaces échantillonnées dans les sols en pavé de bois ou chape. Les HAP sont également présents et sont libérés plus ou moins intensément en fonction des variations de température. Les métaux lourds sont présents en excès de manière ponctuelle. Concernant l’amiante, les analyses ont montré la présence d’amiante dans les colles utilisées sous les pavés de bois du rez-de-chaussée et dans des plaques. L’amiante décelée est non friable et ne pose pas de problème pour la santé, tant qu’il n’y a pas d’intervention dessus. En conclusion, la maison Ecoservices considère que le site est contaminé, mais sans danger pour les occupants à moyen terme.

Dans ses activités, Utopiana s’intéresse à ces questions et aux méthodes alternatives de décontamination, ainsi en 2015 nous avons proposé à la Ville de Genève un projet in situ, comme un geste artistique interventionniste, qui aurait consisté en la décontamination partielle du sol du Commun par une action de remédiation grâce aux champignons et au phytomining.

Nous considérons cette situation comme une opportunité d’élargissement des champs de connaissance pour revenir plus profondément sur la question de l’environnement. Il s’agit de concevoir tout autrement l’idée même d’environnement (Umwelt) pour qu’il intègre différents facteurs théoriques, institutionnels, politiques et prenne en compte divers engagements pragmatiques.

La solution de ces problèmes requiert, outre la connaissance des processus écologiques, une compréhension du comportement humain, car les aspects sémiotiques des relations homme-nature sont partout d’une grande importance, et ceux-ci ne sont pas encore suffisamment pris en compte ou compris.

L’échafaudage qui s’érige depuis l‘espace du Commun se présente comme une « biosphère relationnelle » qui essaye de tisser des trames unissant les « deux cultures », les sciences humaines et les arts, d’une part, et les sciences naturelles et techniques de l’autre. Plus largement, les champs culturels et ceux qui traitent des phénomènes naturels. Considérer la culture humaine comme une sphère des processus de signes, une sémiosphère, une entité ouverte, qui influence et est influencée, et puis souligner l’importance des processus de symbiose aux frontières intérieures et extérieures de cette sémiosphère, nous permettrait de comprendre et agir dans la situation écologique actuelle. Tout comme la biosphère est nécessaire à l’existence des différentes espèces terrestres, la sémiosphère précède l’existence des sens qui la peuplent. Le Commun emboîte l’espace réel, physique et l’espace social, virtuel.
Il nous faut saisir les dynamiques analogues qui se produisent à tous les niveaux du vivant (sémiosphère, biosphère, Umwelt) pour comprendre la rupture que l’homme a mis en place dans son milieu avec la production et les accumulations des matières qui ne participent plus au recyclage d’éléments du cycle de notre écosystème.

Le concept de sémiosphère est pris dans sa capacité relationnelle pour un devenir de l’écologie de la pensée, de la subjectivité, du désir, du pouvoir, de l’affect – en un mot des modes d’existence.  (Anna Barseghian)

L’association a été fondée en 2001 par Anna Barseghian et Stefan Kristensen. Elle a organisé des projets et mis en place une structure en 2003 en Arménie (www.utopiana.am). Depuis 2010, l’association occupe une maison mise à disposition par la Ville de Genève dans laquelle elle développe ses activités et accueille des artistes en résidence.

Les activités d’Utopiana sont dirigées par Anna Barseghian en forte collaboration avec  la comité de l’association.

Anna Barseghian
Après des études d’architecture en Arménie, Anna Barseghian a continué comme artiste visuelle. Elle a obtenu un diplôme postgrade en communication visualisation infographiques à l’Université de Genève. Parallèlement à son travail en tant que directrice artistique d’Utopiana, Anna Barseghian développe un travail artistique et curatorial. Dernièrement, elle a conçu et réalisé l’événement Désir sans destin qui a eu lieu au Théâtre Saint-Gervais en collaboration avec Stefan Kristensen, la compagnie Sturmfrei de Maya Bösch, en mai 2013 à Genève.
En tant qu’artiste, elle est co-auteur de deux grands projets de recherche documentaire : Arménographie (2005-08) en collaboration avec Stefan Kristensen, et Spectrographie (2010-11), en collaboration avec Stefan Kristensen et Uriel Orlow. Le premier est un essai sur la représentation de la dispersion des Arméniens à travers des photos, des interviews vidéo et des textes, tandis que le second est une exploration de l’existence des « fantômes » dans les anciennes terres des Arméniens en Turquie orientale, à travers des vidéos et photos.

Stefan Kristensen
Stefan Kristensen est docteur en philosophie (Genève / Paris 1) depuis 2007. Il est actuellement postdoctorant à l’Unité d’histoire de l’art de l’Université de Genève et boursier de recherche de la Fondation Alexander von Humboldt, à l’Université de Heidelberg. Il a publié de nombreux articles au voisinage de l’art, de la philosophie et de la psychologie du 20e siècle. Il est cofondateur de l’association Utopiana avec Anna Barseghian et a participé activement à la conception et à l’organisation de la plupart des événements et des projets. Il mène également avec Anna Barseghian une démarche artistique centrée sur la figuration de l’absence.

Isabelle Papaloïzos
Isabelle Papaloïzos a fait des études d’histoire de l’art et de littérature américaine. Elle a travaillé au Centre pour l’image contemporaine, Saint-Gervais Genève et développe une activité curatoriale, privilégiant le travail de production avec les artistes et les interventions in situ. Elle participe à des projets artistiques et culturels dans le cadre de collaborations avec Utopiana à Genève, le CHUV à Lausanne et wonderBox pour la production de films d’artistes. Elle enseigne en atelier arts visuels en tant que théoricienne au CFPAA, Genève. Ces différentes pratiques l’ont amenée à réfléchir sur les questions de visibilité et de production de savoirs.