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31/05/18

2018 MAXXI BVLGARI Prize



Oggi sono stati presentati gli artisti selezionati per il premio 2018 Maxxi Bvlgari Prize, sono Talia Chetrit, Invernomuto e Diego Marcon, sono esposti i loro lavori in un progetto curatoriale di Giulia Ferracci presso il Maxxi di Roma 




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Rome, 31 May 2018 - The 2018 MAXXI BVLGARI Prize, the museum’s project supporting and promoting young art, is gathering pace. This year, thanks to its important partnership with Bvlgari, it has been revised and enriched as it opens to the international artistic scene.
From 1 June to 28 October 2018, the works from this edition’s shortlisted artists - Talia Chetrit (1982),Invernomuto (Simone Bertuzzi, 1983 and Simone Trabucchi, 1982) and Diego Marcon (1985) - will be shown in an exhibition at MAXXI curated by Giulia Ferracci.

Chosen by an international jury composed of David Elliott Independent Curator, Yuko Hasegawa, Artistic Director at MOT in Tokyo, Hans Ulrich Obrist, Artistic Director at the Serpentine Galleries in London, Hou Hanru, Artistic Director at MAXXI and Bartolomeo Pietromarchi, Director of MAXXI Arte, the shortlisted artists were selected for their “awareness of the historical moment in which we are living and their capacity for expanding the confines of the artistic idiom”. Their works will now be featured in an exhibition from which the jury will choose a winner in October 2018, and whose work will be acquired by the museum.

Yesterday the press was offered a preview and guided tour of the exhibition at the presence of the artists, after an introduction by Giovanna Melandri, President of the Fondazione MAXXI, Jean Christophe Babin, CEO of the Gruppo Bvlgari, the judges Yuko HasegawaHou Hanru and Bartolomeo Pietromarchi, in the presence of the three artists.

The exhibition starts with the duo Invernomuto (Simone Bertuzzi, Piacenza, 1983 and Simone Trabucchi, Piacenza, 1982, living in Milan), who presents a new, complex installation composed of a film, sound, a sculpture and a perfume, in that blend of diverse idioms that characterises their artistic research. An environment shrouded in half-light has as its focal point a large screen on which the short film Calendola: SUROS is projected in loop. Images with an antique flavour, such as an elephant that appears to evoke the legend of Hannibal, alternate on the screen with other images taken on the beach at Sabaudia, where a group of three zombie-like figures are walking. These surreal images act as a backdrop to an audio track with high and low frequency sounds and a fragrance of an eastern flavour diffused in the air. The installation is completed with the sculpture ZOa, realised by applying plastic material to an original 1990 work by Mimmo Rotella entitled, Replicante. The installation, juxtaposing historical and contemporary elements, evokes a reflection on the diverse speeds of history and the colonial heritage of the western world.



The exhibition continues with Diego Marcon (Busto Arsizio, 1985, lives in Milan), whose new video work Ludwig, employing CGI (computer-generated imagery), is projected on an entire wall. Ludwigpresents us with the image of a child lighting a match in a suspended space that we then discover to be that of a ship at the mercy of a storm. As the match burns, the child sings a song with verses written by the artist that touch on themes related to the desperation and fatigue of existence. The match goes out, the music stops and then everything starts again in a loop. The music was composed by Federico Chiari and the work was performer by the Coro di Voci Bianche, Accademia Teatro alla Scala in Milan. This work, like others in his oeuvre, explores experimentation into the image and the evocative power of that which is not immediately visible.

The exhibition closes with Talia Chetrit's 
(Washington D.C. 1982, lives in New York) project Amateur, a body of over 20 photographs from her recent artistic output, together with images from her personal archive and a video. Exploring themes such as the spontaneity of the subject in front of the camera and the confine between the public and private spheres, Chetrit is frequently the protagonist of her own photos, alongside her partner, friends and relations, in a story that investigates the mysteries of the confines of the body, intimacy, adolescence and sexuality. An image of her parents on the beach alternates with very intimate portraits and self-portraits, at times extremely explicit and erotic, shots in which she uses her own body to undermine the conventions of the self-portrait and its mechanisms of control. Chetrit make use of complex theatricality to describe the relationship between the subject and the viewer, as well as to test the boundaries of vulnerability and exposure.


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