Good Fences Make Good Neighbors

L'autunno newyorchese sarà come sempre ricco di tantissimi eventi artistici, fra i più attesi quello di Ai Weiwei che invitato da Public Art Fund, che festeggia i 40 anni di attività, realizzerà dal 22 ottobre all'11 Febbraio 2018 una serie di interventi nella città .


This October, as a highlight of its 40th anniversary in 2017, Public Art Fund presents Good Fences Make Good Neighbors, a timely new exhibition across multiple boroughs by world-renowned artist Ai Weiwei. Inspired by the international migration crisis and tense sociopolitical battles surrounding the issue in the United States and worldwide, the artist has conceived of this ambitious, multi-site project as a way of transforming the metal wire security fence into a powerful artistic symbol. By installing fences in varying, site-specific forms at locations across the city – including sites like the New York City Economic Development Corporation-managed Essex Street Market on the Lower East Side, The Cooper Union for the Advancement of Science and Art on Astor Place, JCDecaux bus shelters in Brooklyn in partnership with the New York City Department of Transportation, Doris C. Freedman Plaza at Central Park and Flushing Meadows-Corona Park in Queens both in partnership with NYC Parks, and numerous others throughout the city – Ai will create striking installations that draw attention to the role of the fence as both a physical manifestation and metaphorical expression of division. In this way, he will explore one of society’s most urgent issues, namely the psychic and physical barriers that divide us, which is at the heart of debates about immigration and refugees today. Ai Weiwei: Good Fences Make Good Neighbors will be on view October 12, 2017 – February 11, 2018 at sites throughout New York City. 

“Ai Weiwei’s Good Fences Make Good Neighbors serves as a reminder to all New Yorkers that although barriers may attempt to divide us, we must unite to make a meaningful impact in the larger community,” said Mayor Bill de Blasio. “New York City has long served as a gateway to the United States for millions of immigrants seeking better lives and has long benefited from their contributions and service in every neighborhood across the five boroughs. This expansive public art project that explores themes of freedom and the power of self-expression is a perfect symbol and reminder for all of us, especially in the current political climate.”

“I was an immigrant in New York in the 1980s for ten years and the issue with the migration crisis has been a longtime focus of my practice,” says Ai Weiwei. “The fence has always been a tool in the vocabulary of political landscaping and evokes associations with words like ‘border,’ ‘security,’ and ‘neighbor,’ which are connected to the current global political environment. But what’s important to remember is that while barriers have been used to divide us, as humans we are all the same. Some are more privileged than others, but with that privilege comes a responsibility to do more.” 

Ai Weiwei’s interventions will appear in unexpected urban contexts across the city – on rooftops, in spaces between buildings, on bus shelters, as freestanding sculptures, and more – as if growing out of the existing urban landscape, while also changing how we perceive our environment. Rather than impeding daily life, the fences will serve as powerful metaphors in a city that has long served as a gateway to the United States for millions of immigrants. 

“Ai Weiwei transforms an ordinary architectural element into a series of striking installations, following in the radical tradition of artists who began to use the fabric of the city itself as a creative platform in the 70s,” says Public Art Fund Director & Chief Curator Nicholas Baume. “The culmination of his years of experience in architectural design, art and activism, Weiwei’s variations on the theme of the fence are not only inventive and elegant formal elaborations, but also potent objects with profound resonance. Good Fences Make Good Neighbors invites us to consider the role of the fence in a modern society as well as our own relationship to the object in question: Does this fence serve a purpose? Does it feel imposed or like it belongs? What does it separate me from? What side of the fence am I on? Does it protect me, or do I feel constrained?”

Ai Weiwei’s exhibition takes its name from the classic American poem Mending Wall by Robert Frost, which explores the role and impulse for boundaries in society, where tradition and habit often mask fear and narrow mindedness. Good Fences Make Good Neighbors is a conceptual work that engages subjects of division and separation: political, social, and personal themes made literal and visible in the form of wire fencing. 

Drawing attention to an issue that he sees as an international crisis with widespread effects, Ai’s interventions into the fabric of New York City are particularly significant in the wake of new U.S. policies on immigration and border control. New York City in particular has a long and meaningful history of immigration. In the late 19th and early 20th centuries, New York was the gateway to the United States for many new citizens, and today, the city continues to be a melting pot of different cultures and peoples from across the globe. Good Fences Make Good Neighbors will emphasize sites and locations that are important in that story, and in doing so, raises important questions about immigration and cultural exchange today. 

"Ai Weiwei pours his heart and soul into art that asks big questions and is not constrained by artistic and social traditions. With Good Fences Make Good Neighbors, he challenges us to think about the function and rationale for a common barrier. Given that the immigrant experience is at the core of what binds us as New Yorkers, the exhibition compels us to question the rhetoric and policies that seek to divide us,” said First Lady Chirlane McCray.

One of the leading cultural figures of his generation who is recognized for the influence and profound social impact of his work, Ai Weiwei has built a remarkable interdisciplinary career working across a variety of media. He inhabits many roles, including those of sculptor, architect, filmmaker, photographer, writer, publisher, curator, and activist. Across all of these outlets he meaningfully explores the dynamics of institutional power and draws attention to urgent humanitarian crises and civil liberties violations through resonant images and installations. His most recent gallery exhibitions have been inspired by his experiences in many sites where the migration crisis is felt most urgently, including on the Greek island of Lesbos in 2016, a key entry point to Europe for thousands of Syrian refugees. In Vienna and in Berlin, his installations brought thousands of refugee life jackets from Lesbos to the Belvedere Palace pond and to the pillars of the Berlin Konzerthaus. While in New York, he filled the Jeffrey Deitch gallery with thousands of garments discarded from refugee camps and exhibited recent sculptures at Mary Boone Gallery and Lisson Gallery, New York, that were symbols for displacement. Good Fences Make Good Neighbors will be Ai Weiwei’s largest and most ambitious public art exhibition to date. 

This exhibition is curated by Public Art Fund Director & Chief Curator Nicholas Baume with the assistance of Associate Curator Daniel S. Palmer.


E’ l’ora del Kimono - L’arte del vestire

Tutto è iniziato alle ore 6,08 di Sabato 23 Luglio quando con una cerimonia orientale di saluto al sole è stata avviata la mostra “Y Kimono now” davanti al complesso del Filatoio di Caraglio, uno dei più antichi e meglio conservati d’Europa.

Il suggestivo ancestrale rito ha accolto i raggi del sole, illuminando gli spazi di questo stupendo spazio espositivo che per decenni ha prodotto pregiati filati molto simili a quelli che nel lontano Giappone erano usati per i bellissimi Kimono, ora giunti dalla vasta collezione di Nancy Stetson Martin, composta da più di ottocento pezzi.

Per questa bella mostra sono stati selezionati cento pezzi realizzati fra il 1868 e il 1945.

Proprio nel data del 1868 il Giappone riprende la sua attività di relazioni col mondo esterno avviando un vasto traffico di scambi commerciali, compreso quello del baco da seta con contatti anche italiani tra cui dei gestori del Filatoio di Caraglio.

La mostra è strutturata in quattro spazi dedicate al succedersi delle stagioni, al paesaggio, all’acqua e all’arte, realizzati con piacevoli allestimenti con i selezionati kimono; accompagnano le diverse parti delle piacevoli didascalie narrative.

La bellezza di questi manufatti, ben esaltata dall’esposizione, gioca su vari livelli di presentazione, sia nell’attenzione ai singoli abiti sia nell’assemblarli in piacevoli forme cromatiche. Alcuni pezzi affascinano per la bellezza dei ricami altri per la suggestione delle forme. Tutti molto belli.

La mostra è accompagnata da diversi eventi paralleli e da pratiche visite guidate.

Aperta fino al 5 Novembre 2017 presso il Filatoio di Caraglio
Orario: giovedì-sabato 14.30-19 / domenica e festivi 10-19




 Adam Cruces, To be determined (banana peeling), 2017

Prosegue il bel progetto 'Fondante', ideato dalla galleria G.Galotti, che invita un gruppo di artisti a relazionarsi col Museo della Frutta, che nel 2017 celebra i 10 anni di apertura nel Palazzo di Via Pietro Giuria 15, nel quartiere popolare di San Salvario.

Anders Holen, Stimulus, 2016/2017

La mostra prevede un intervento espositivo, all’interno delle sale storiche del museo, di opere di artisti che conducono una ricerca attinente alle tematiche della natura e della frutta in particolare, poste in relazione con gli ambienti che le ospitano. Obiettivo è quello di concedere una nuova lettura e riflessione attorno al lavoro realizzato nell’1800 da Francesco Garnier Valletti e la sua sublime tecnica di riproduzione, mediante l’inserimento di opere che si adattino al luogo posizionandosi tra documenti, fotografie, teche e strumenti presenti nel percorso espositivo, senza stravolgere l’allestimento originario.

Jala Wahid, I am charm, 2015, video

Il progetto si divide in otto capitoli, uno per ogni artista invitato, che sono presentati ogni due settimane tra Giugno e Settembre. Ogni opera sarà inserita nel Museo con l’intento di comporre la mostra nel tempo, dando modo ai visitatori di scovare passo dopo passo le opere. La mostra sarà completata solo con l'ultimo capitolo, e potrà essere visitata fino all'inizio di Novembre, come contributo alla settimana dell'arte di Torino.

A corollario della mostra, alcuni testi saranno elaborati da critici, curatori o amici invitati dagli artisti stessi, per completare le opere.

Il progetto è ideato e supportato dalla galleria Giorgio Galotti.

Stephanie Hier, Etude in E, 2016


Quest'anno l'evento Vienna Art Fair con le relative giornate ricche di eventi artistici sarà dal  21 al 24 Settembre. 

More than 110 galleries and institutions from 27 countries will present the works of over 500 artists, and a wide range of additional information on the contemporary art scene, at the Viennese Marx Halle from 21 to 24 September. In 2017, viennacontemporary again offers an extensive program with solo exhibitions of young and established artists in the special programs ZONE1 and Solo & Sculpture, a comprehensive retrospective of the development of the Hungarian art scene in the special presentation Focus: Hungary, and fascinating insights into the shows of selected Finish, Danish and Swedish galleries in Nordic HighlightsCinema will again present movies and videos by Austrian and international artists on the subject of my own little happiness

Art institutions in conversation: the Talks program of viennacontemporary
Talks: Borderline offers a range of public talks in which leading representatives of the international art scene share their ideas and insights. Curated by Kate Sutton, this year’s theme, Borderline, focuses on the comprehensive changes that European cultural institutions face on a political, social, and cultural level as seen from the perspectives of artists, art historians, international collectors, museum directors, dealers, critics, and curators. This series of conversations, panel discussions and presentations will look at people and projects seizing on the sudden structural flexibility and working to push the borders of institutions from within: from collectors experimenting with different formats for patronage, to galleries testing out new models for commercial collaboration, to artists, curators, and critics weighing the moral and ethical implications of activism and critique within the larger infrastructure of the globalized art world.
In addition to Talks: Borderline, a number of independent talks are held during the fair. The Talks takes place from Thursday, 21 September till Sunday, 24 September 2017 in the Talks Area. 

Tours: Guided tours at viennacontemporary 
For 2017, viennacontemporary has further developed the tours program and now offers guided tours on special subjects. This way, visitors can get an in-depth knowledge about what is on offer at the art fair. Three comprehensively organized tours – Focus on Central and Eastern EuropeUpcoming Artists, and Discoveries and Contemporary Classics – show the broad range of the galleries present at viennacontemporary and provide the chance to explore the focus programs in more detail. The tours take about one hour each and start at the Meeting Point. 

Family 2017
With the Family program, viennacontemporary offers a playful approach to contemporary art for children from 3 to 12 years of age. In 2017, viennacontemporary is collaborating with Künstlerhaus, which will offer its own special educational program for children and their families: Experience Künstlerhaus – Enabling the encounter with artists and conveying the diversity of the artistic production processes are the main objectives of Künstlerhaus. Their learning programs are realised in close collaboration with the artists of the Künstlerhaus Association and give the participants the unique opportunity to experience the creative world of art and culture first-hand. The international language of art acts as a medium to transfer skills and values, open new perspectives and enable social networks.

viennacontemporary treats its visitors to culinary delights
Also this year, viennacontemporary is offering a high end experience for all – not only in terms of art, talks and tours – but also with an impressive gastronomic offer, scoring with the best names of the Viennese restaurant scene. Indulge in culinary highlights by MOTTO, IKI Restaurant and Zum Schwarzen Kameel, taking you on a sensory journey from lovely urban delights, over Japanese Cuisine with a modern twist, onto unique creations illustrating the Viennese “Savoir-Vivre”.

viennacontemporary offers its guests maximum customer satisfaction.
Thanks to the longstanding partner JP Immobilien, the art fair can offer its customers again a most pleasant stay at the VIP-events. Again, the VIP-lounge was designed by steininger.designers. With the longstanding partners illy and Vöslauer, more top-brands are present at the fair.

Erste Group again partner of  viennacontemporary 
We see the partnership with viennacontemporary as an interesting complement to our cultural engagement in the countries of Eastern and Southeastern Europe. As one of the leading financial service providers in the CEE region, it is our responsibility to support civil society and cultural development in the region. viennacontemporary is a fitting platform for these aspirations,” explains Peter Bosek, Retail Banking board member, the Erste Group's decision to be a partner of viennacontemporary.

viennacontemporary fair week – collateral events no to miss
The importance of vienacontemporary for the Viennese art scene is underlined by the multifaceted events during the fair offering a broader view on the contemporary art scene. The events range from gallery events like curated by_vienna 2017 to Parallel Vienna and cross-disciplinary events linking art with science and tech, like the first VC CultTech Hackathon co-organized by PIONEERS and the second part of the series “Art & Science – Bridging Two Cultures” in cooperation with IMBA. 


Berlin art week

Eccoci di nuovo a segnalare prossimi eventi, infatti Settembre parte ricco di occasioni propositive fra le tanti sicuramente da non perdere quello dell'art week a Berlino che per sei giorni, dal 12 al 17 Settembre, animerà la capitale tedesca. 

For six days in September, art lovers from all over the world gather in Berlin for the Art Week. The Berlin Art Week combines several events that take place every September, for instance the two art fairs "abc art berlin contemporary" and "Positions Berlin". Furthermore, a number of Berlin-based institutions for contemporary art use the opportunity to collaborate with many artists and galleries for a series of events, promoting the city as a place for making, celebrating and discussing art.

Berlin Art Week - Stamping Ground for the International Art Scene

Major events of the Berlin Art Week such as opening receptions, talks, performances and art installations offer collectors, gallerists, media representatives, international guests and of course artists the opportunity to meet. At discussions, artists, collectors, gallery owners, curators and art enthusiasts from all over the world debate the latest artistic positions, adding yet another dimension to the Berlin Art week.

Participating Galleries and Venues

Among the participating venues are Station Berlin at Gleisdreieck, Postbahnhof at Ostbahnhof, Akademie der Künste, ESMT European School of Management and Technology, C/O Berlin, Deutsche Bank KunstHalle, Haus am Waldsee, HAU Hebbel am Ufer, KW Institute for Contemporary Art, me Collecetors Room, Nationalgalerie, Neuer Berliner Kunstverein (n.b.k.), Neue Gesellschaft für bildende Kunst (nGbK), Schering Stifitung, and Schinkel Pavillon.


Anselm Kiefer e Carsten Höller​ da Gagosian a New York

A New York la Gagosian Gallery propone negli spazi al 522 di West 21st Street una raccolta di opere di Anselm Kiefer raccolte sotto il titolo "Transition from cool to warm".

Mentre al 555 di West 24th Street c'è la grande istallazione "Reason" di Carsten Höller​.


What interests me is the transformation, not the monument. I don't construct ruins, but I feel ruins are moments when things show themselves. A ruin is not a catastrophe. It is the moment when things can start again.
—Anselm Kiefer

Gagosian is pleased to present new paintings, artists’s books, and watercolors by Anselm Kiefer. 

Employing broad-ranging and erudite literary sources, from the Old and New Testaments to the poetry of Paul Celan, Kiefer’s oeuvre makes palpable the movement and destruction of human life and, at the same time, the persistence of the delicate, lyrical, or divine.

Central to the exhibition are more than forty unique artists’s books, their pages painted with gesso to mimic marble, displayed in an installation of glass vitrines. Erotically charged female nudes and faces emerge from the pages. Artists’s books are an integral part of Kiefer’s oeuvre; over time they have ranged in scale from the intimate to the monumental, and in materials, from lead to dried plant matter. In this selection of books, the sequences of narrative information and visual effect evoke the fragile endurance of the sacred and the spiritual through the female figures on the marbled pages. They are a reminder perhaps of the sculptures of Auguste Rodin, and even of Michelangelo’s belief that his figures were “freed” from the stone with which he worked.

The large array of new watercolors in this exhibition marks a significant return in Kiefer's work to the elusive and sensuous medium. The exhibition’s title, “Transition from Cool to Warm,” refers to a celebrated book of watercolors that he produced from 1974 to 1977, in which cool, blue marine land and seascapes transform into warm female nudes. Kiefer's fascination for eidetic process, rather than teleological outcome is underscored by the alchemical effects he achieves in these new works—aleatory, and as luminescent as the natural forms they evoke.

The watercolors and books are complemented by romantic landscape paintings, in which lakes can be glimpsed through screens of trees or where surfaces of splashed molten lead peel back to reveal the sea or landscape depicted beneath.

“Transition from Cool to Warm” is accompanied by a fully illustrated publication with essays by Karl Ove Knausgaard and James Lawrence, and an interview with Kiefer by Louisa Buck.

Anselm Kiefer was born in 1945 in Donaueschingen, Germany, and lives and works in France. His work is collected by museums worldwide. Recent institutional exhibitions include Louisiana Museum of Modern Art, Humlebæk, Denmark (2010); “Shevirat Hakelim,” Tel Aviv Museum of Art, Israel (2011); “Beyond Landscape,” Albright-Knox Art Gallery, Buffalo (2013); Royal Academy of Arts, London (2014); “L’Alchimie du livre,” Bibliothèque nationale de France, Paris (2015); Centre Georges Pompidou, Paris (2015). In 2009, he directed and designed the sets for Am Anfang (In the Beginning) at the Opéra national de Paris. “Kiefer Rodin” will be on view at the Musée Rodin, Paris until October 2017, subsequently traveling to the Barnes Foundation, Philadelphia. In November 2017, Kiefer will receive the J. Paul Getty medal for his contribution to the arts.


I start with a formula to get a process going, then the formula takes over and continues into infinity on its own. It is not about creative decisions anymore; there is no choice, only reason.
—Carsten Höller

Gagosian is pleased to present “REASON,” an exhibition of recent work by Carsten Höller, his first in New York since “Experience” at the New Museum in 2011.
Giant mushrooms, mirrored revolving doors, abstract paintings, hyperreal little fishes, an environment for children in the form of a huge dice: Höller unites art, play, and phenomenology to transform the gallery into a laboratory that is equal parts rationality and incomprehensibility. Trained in the natural sciences, he has long been fascinated by the methods through which we seek to understand the world, studying the unique attributes and behaviors of humans, fungi, insects, and animals by imposing standardized systems of logic. Revolving Doors (2004/16), constructed according to triadic division, engulfs the viewer in a mise-en-abîme of ever-changing, turning reflections. Beyond this, the overall scheme for the two galleries is predicated on binary, asymptotic division—with color gradations, light intensity, and the placement of the works themselves following a pattern of diminishing halves. The Divisions paintings, as well as the murals that fully cover two adjacent walls of the gallery, follow this same logic. Divisions (Rose-grain Aphid and Surface) (2017) provides the geometric structure with a biological equivalent, revealing the parthenogenesis of a female rose aphid against a red background. The aphid produces offspring autonomously through division, while the vivid red sections become smaller and less intense, moving from left to right.
The Giant Triple Mushroom (2014–15) sculptures—an organic corollary to the planar environment of the Revolving Doors—combine enlarged cross-sections of three different fungal species, hybrids that seem at once empirical and surreal. Fly agaric mushrooms always make up at least half of these sculptures, with two other species attached in quarters; like many of Höller’s topics, they are both formally and conceptually captivating, as incarnations of “irrationality with a method.” When ingested, fly agaric mushrooms can induce hallucinogenic effects—as seen in Muscimol 3. Versuch(1997), an early video that Höller made while under the influence. Flying Mushrooms (2015) is a giant stabile with moving parts, which turns when its lowest arm is pushed, causing a crop of seven fly agaric replicas to orbit slowly through the air, exemplifying their name. Each mushroom is cut vertically down the middle, then reassembled so that one half is upright and the other upended, the distinctive white-spotted red caps spinning like propellers at either end of their stems. Eliminating subjectivity, Höller instead allows divisional formulae to determine each composition. He searches for reason only to escape or disprove it, providing a model for infinity through dispassionate yet exquisite symmetry.

Paris Internationale 2017

Anche quest’anno torna il progetto espositivo delle gallerie emergenti Paris International, che quest’anno avrà una nuova sede vicino a nord del Marais.

Paris Internationale 2017

October 18–22
11, Rue Beranger
75003 Paris

Tuesday, October 17th
Professional Preview, 11—6pm
Opening, 6—9pm
By invitation only.

The third edition of Paris Internationale will continue the effort to support a young generation of galleries and their artists. The fair will adhere to the spirit of the first two editions, but will see a complete departure from their aesthetic by exchanging the ornate settings of the hôtels particuliers on Avenue d’Iéna for a converted multi–storey car park in the Haut–Marais that housed the headquarters of Libération, a newspaper co-founded by Jean-Paul Sartre in 1973 in the wake of the Paris protest movements of May 1968, for almost thirty years.

In this context, that will resonate with current challenges to journalism and urban development, Paris Internationale will welcome 55 galleries as well as seven project spaces from 17 countries. Responding to the current climate of art fairs in regard to artistic production and reception, Paris Internationale is a joint initiative from five emerging galleries – Crèvecoeur, High Art, Antoine Levi, Sultana and Gregor Staiger – as a collective attempt to develop an appropriate model for fostering new advanced initiatives in contemporary art.

Exhibitors 2017

1857, Oslo  /  Aoyama|Meguro, Tokyo / Antenna Space, Shanghai / Antoine Levi, Paris / The Approach, London / Arcadia Missa, London / BFA Boatos Fine Arts, São Paulo / Bodega, New York / BQ, Berlin / Carlos/Ishikawa, London / Caro Sposo, Paris /  Chapter, New York / Chateau Shatto, Los Angeles / Company Gallery, New York / Crèvecoeur, Paris  /  Croy Nielsen, Vienna/Ker Xavier, Paris / Daniel Marzona, Berlin / Dawid Radziszewski, Warsaw / Deborah Schamoni, Munich  /  Edouard Montassut, Paris / Emalin, London / Federico Vavassori, Milan / François Ghebaly, Los Angeles / Freymond-Guth Fine Arts, Basel  /  Gianni Manhattan, Vienna / Goton, Paris / Gregor Staiger, Zurich / High Art, Paris / Hunt Kastner, Prague  /  Jack Hanley, New York / Jan Kaps, Cologne / Jenny’s, Los Angeles / Joseph Tang, Paris / Koppe Astner, Glasgow  /  Kristina Kite, Los Angeles / Lefebvre & Fils, Paris / Maria Bernheim, Zurich / Marfa’, Beirut / Marta Cervera, Madrid  /  Mary Mary, Glasgow / Max Mayer, Dusseldorf / Mother’s Tankstation, Dublin / Norma Mangione, Turin / Park View/Paul Soto, Los Angeles  /  Project Native Informant, London / Redling Fine Art, Los Angeles / Sandy Brown, Berlin / Sans Titre, Paris / Section 7 Books, Paris  /  Shanaynay, Paris / Simone Subal, New York / SpazioA, Pistoia / Stereo, Warsaw / Sultana, Paris / Tanya Leighton, Berlin  /  Temnikova & Kasela, Tallinn / Tonus, Paris / Treize, Paris / Union Pacific, London


Scatti e video al Jeu de Paume di Parigi

 Ed van der Elsken

Le Jeu de Paume di Parigi ospita, fino alla fine di Settembre, tre belle mostre di figure artistiche molto originali: Ed van der Elsken, Ismaïl Bahri e Oscar Murillo.

Artisti che giocano sui margini della percezione e sulla realtà quotidiana. 


Ed van der Elsken (1925-1990) est une figure unique de la photographie et du cinéma documentaire néerlandais du XXe siècle. En photographie, son domaine de prédilection était la rue. En rupture avec la photographie documentaire de son époque, il fait corps avec son sujet. La modernité de ses images et leur caractère quasi cinématographique s’accordent avec le modèle de vie anticonformiste des jeunes gens dont il partage le quotidien. À Paris, Amsterdam, Hong Kong ou Tokyo, il aimait aller « à la chasse ».
Souvent qualifié de « photographe des marginaux », il recherchait en réalité une forme d’esthétique, de vérité plastique, sans artifice, une beauté parfois ouvertement sensuelle et même érotique. Ed van der Elsken était fasciné par ces personnages fiers, exubérants et plein de vitalité...

Ismaïl Bahri

Le Jeu de Paume ouvre ses portes à Ismaïl Bahri pour sa première exposition d’ampleur. Né à Tunis en 1978, l’artiste évolue entre Paris et Tunis. Il privilégie la vidéo sans cependant négliger le dessin, la photographie et l’installation. Les travaux d’Ismaïl Bahri résultent souvent d’une série d’opérations dont les acteurs sont toujours des éléments simples issus du quotidien, tandis que l’intrigue se noue dans l’interaction qui s’établit entre eux : une goutte d’eau qui, apposée sur la peau, réagit aux pulsations artérielles, un fil qui se rembobine, les fibres d’un papier qui s’imprègnent d’encre... Par son regard attentif, son sens du détail et son goût pour l’énigme, l’artiste provoque des micro-événements dont il interroge les conditions de visibilité...

Oscar Murillo 

Le travail d’Oscar Murillo (né en 1986) puise au creuset que constituent les expériences et souvenirs personnels, notamment ceux qu’il a conservés de sa ville natale de La Paila, en Colombie. Multipliant les interactions entre différents médiums – peinture, sculpture et vidéo –, l’artiste crée des installations composites qui invitent à l’immersion. Loin de se confiner à un type particulier d’environnement spatial, son travail procède d’une pratique élargie qui englobe interventions publiques, performances et participations de la communauté. C’est au gré de ses voyages que Murillo collecte une bonne part de sa matière première : facturettes, documents de voyage, images et autres ephemera dont l’association produit des rencontres inattendues. Comme en écho à l’hyperproductivité des économies globalisées d’aujourd’hui, le travail de l’artiste évoque un système ouvert d’échanges, de distribution et de transformation opérant par le biais de la production. Influencé par les pratiques non occidentales de consommation culturelle, Murillo nous encourage à dénoncer les formes que revêt l’hégémonie tout en proposant d’autres façons d’être et de vivre ensemble...


Anomalie | Spazi e Produzioni Culturali

L’iniziativa è strutturata presso la Cavallerizza Reale di Torino, lungo tre giorni, con un primo giorno (Giovedì 14) di apertura informale. Le giornate di Venerdì 15 e Sabato 16 Settembre vedranno alternarsi workshop, incontri ed assemblee sui temi dell’autogoverno, degli usi civici e della produzione culturale: Le serate di Venerdì e Sabato e la giornata di Domenica saranno invece dedicate al teatro, alla musica e all’esibizione delle produzioni degli spazi partecipanti.

Oltre al partecipare con le istanze politiche che caratterizzano la Vostra azione sociale e politica sui territori, vi invitiamo quindi a rispondere alla chiamata indicando, se lo volete, una produzione proveniente dal vostro percorso da portare con voi e da programmare all’interno della tre giorni.

Chi siamo?

La Cavallerizza Reale di Torino è un centro culturale indipendente in autogoverno dal Maggio del 2014. Bene comune e già patrimonio UNESCO, si inserisce ed agisce all’interno del percorso politico già sperimentato da altri soggetti sul territorio nazionale negli ultimi anni.

La sperimentazione e la pratica quotidiana di un modello di governance innovativo basato sulla partecipazione della cittadinanza e lo scardinamento degli standard giuridici sull'individualismo proprietario, lo sviluppo di nuovi paradigmi produttivi e di distribuzione della cultura, la costruzione e la crescita di una comunità di artisti, cittadini e attivisti basata sull’interdipendenza dei ruoli e sulla distribuzione dei poteri: queste sono le sfide che stiamo affrontando, questa è Cavallerizza oggi.

Al suo interno è nata spontaneamente una comunità aperta, inclusiva ed auto-organizzata che, senza finanziamenti pubblici, ha generato nel corso di 3 anni un’importante produzione culturale garantendo un’accessibilità totale al pubblico, promuovendo la condivisione dei mezzi di produzione, la formazione gratuita di nuove competenze, il coinvolgimento attivo degli abitanti della città nell’autogoverno dei beni pubblici per trasformarli in beni comuni emergenti.

Un esempio su tutti della produzione di Cavallerizza è “Here”, festival delle arti a chiamata internazionale giunto quest’anno alla seconda edizione che ha visto coinvolti 400 artisti, registrando in 10 giorni più di 10.000 presenze.

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I tavoli si svolgeranno Sabato 16 Settembre dalle 10 alle 13, e dalle 15 alle 20


- rapporti con le istituzioni
- usi civici e altre forme di riconoscimento

- mutuo sostegno politico nei processi di autogoverno e di riconoscimento istituzionale 
- piattaforma di comunicazione ed elaborazione comune: narrazione, confronto, coordinamento, avanzamento
- Proposta di costruzione di momenti tematici a livello nazionale e internazionale


- finanziamento e sostenibilità
- circuitazione delle produzioni e delle competenze fra gli spazi della rete (programmazione artistica e autoformazione allargata)
- rapporto fra produzione culturale indipendente e mercato culturale mainstream

- mappatura mezzi di produzione negli spazi: laboratori, spazi per la musica, sale cinema, etc
- adozione strumenti comuni per la circuitazione delle produzioni indipendenti e la promozione di un nuovo modo di produzione nel mercato mainstream (ex. CTRL) 
- proposta piattaforme di aggregazione tra produttori a livello nazionale (ex. festival etichette indipendenti etc) 
- lancio di momenti di elaborazione sulle filiere in cui sono già attivi percorsi (ex:incontro tra i festival di editoria/fumetto/illustraz./serigrafia)


- accessibilità
- economie
- autogoverno

- mappatura delle forme di governance
- scambio informazioni 

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Giovedì 14 settembre – Apertura informale – 
h 22.00 - 01.30: Mystic Jam 

Venerdì 15 settembre 
Pomeriggio: accoglienza
Sera: conferenza - “Beni comuni e usi civici urbani” (provvisorio)
Arti della scena e musicali

Sabato 16 settembre
Giornata: Tavoli ore 9:30 – 13:00 e 15:00 – 20:00
Sera: Arti della scena e musicali

Domenica 17 settembre
Mattino: plenaria di chiusura, rilancio percorso - ore 11:30 – 13:00
Giornata – ore 16:00 – 00:00

Concerto e performances dei gruppi di lavoro degli spazi che chiederanno di partecipare (Musica, teatro, arti visive etc)

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Cultural production and institutional process
From 14 to 17 September 2017 | Cavallerizza – Turin

International call to cultural production spaces Self-governed by community of citizens and workers .

The meeting aims to create a space and relationship between the participants and foster the definition of a network for exchange of information, for system setting and mutual enhancement of cultural productions and for the proposed collective action aimed at mutual political support in self-government processes.
Cavallerizza, like other commoning experiences in independent cultural centers born and grows through the direct participation of citizenship in a living process of creating social and cultural value: An invaluable value that is released into the territories as a constituent force of a new way of accessing art, knowledge and production tools.
Rely on cultural markets, intellectual property, and instrument ownership: Promoting new chain management models is a means of struggle ,in a historic moment in which cultural industries tremble under the shots of technological innovation and the decentralization of financing and distribution processes is dominant.
The initiative is structured over three days, with an informal opening on Thursday (14th). Friday and Saturday (15-16 September) will be alternating workshops, Meetings and assemblies on issues of self-government, civic use and cultural production, Friday and Saturday evenings and Sunday will be dedicated to the theater, music and to the exhibition of the productions of the participating spaces.
In addition to participating with the political instances that characterize your social and political action on the territories, we invite you to respond to the call by indicating a production from your path, to be taken with you and scheduled within the three days.
Who are we?
The Cavallerizza Reale in Turin is an independent cultural center in self-government since May 2014. Common and already UNESCO heritage, it fits in and acts within the political path already experienced by other subjects on national territory in recent years.
The experimentation and the daily practice of a model of innovative governance based on citizen participation and the discarding of legal standards on proprietary individualism, the development of new productive paradigms and the distribution of culture, the construction and growth of a community of artists, citizens and activists based on the interdependence of roles and the distribution of powers; These are the challenges we are facing, this is Cavalry today.
An open, inclusive and self-organized community was spontaneously born within it that has generated an important cultural production over the course of 3 years without public funding, ensuring total public access, Promoting the sharing of means of production, new skils free training, The active involvement of the inhabitants of the city in the self-government of goods Public to transform them into emerging commodities.
An example of all of Cavallerizza's production is here; this year's International calling arts festival second edition that has involved 400 artists, recording 10 days in more than 10,000 appearances.