SALVATORE ARANCIO Selected Texts & Press Review - Federica Schiavo Gallery
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SALVATORE ARANCIO
Selected
Texts & Press Review
Daniela Lotta, “Ceramics Now - I grandi artisti della ceramica contemporanea”, Espoarte, September 2018
FEDERICA SCHIAVO GALLERY ROMA MILANO
Daniela Lotta, “Ceramics Now - I grandi artisti della ceramica contemporanea”, Espoarte, September 2018
FEDERICA SCHIAVO GALLERY ROMA MILANO
Daniela Lotta, “Ceramics Now - I grandi artisti della ceramica contemporanea”, Espoarte, September 2018
FEDERICA SCHIAVO GALLERY ROMA MILANO
Daniela Lotta, “Ceramics Now - I grandi artisti della ceramica contemporanea”, Espoarte, September 2018
FEDERICA SCHIAVO GALLERY ROMA MILANO
Simon Ings, “Ceramic art is a clever foil for a collector’s science teaching aids”, NewScientist, September 2018
25/9/2018 Ceramic art is a clever foil for a collector's science teaching aids | New Scientist
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REVIEW 5 September 2018
Ceramic art is a clever foil for a collector’s science teaching aids
At the Surreal Science show cunningly crafted ceramic art create a fantastical experiment out of a master collection of 19th-century scienti c teac
aids
Francesco Garnier Valletti Two boxes of wax fruits (lemons and peaches) 19th century Turin Image, Courtesy George Loudon Collection, Photograph by Rosamond Purcell
By Simon Ings
Surreal Science: Loudon Collection with Salvatore Arancio, Whitechapel Gallery, London, to 6 January 2019
WHENEVER the artist Salvatore Arancio visits a new city, he heads for the nearest natural history museum. He goes partly for research
eclectic output, spanning photography and ceramics, explores how we categorise and try to understand natural and geological process
In the main, though, Arancio wants to be overwhelmed. “A lot of these collections are so vast, after a …
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https://www.newscientist.com/article/mg23931940-700-ceramic-art-is-a-clever-foil-for-a-collectors-science-teaching-aids/
FEDERICA SCHIAVO GALLERY ROMA MILANO
Simon Ings, “Ceramic art is a clever foil for a collector’s science teaching aids”, NewScientist, September 2018
FEDERICA SCHIAVO GALLERY ROMA MILANO
Laura Cumming, “George Loudon: Surreal Science review - riveting and bizarre”, The Guardian, September 2018
George Loudon: Surreal Science review riveting and bizarre
Whitechapel Gallery, LondonWith freakish flowers and picklings that prefigure Hirst, Loudon’s collection is a terrific
blurring between science and art
Laura Cumming
A
Sat 1 Sep 2018 15.00 BST
mushroom – vast, alarming – burgeons out of the gallery wall. It looks real, in just the artificial way of such fungi.
But we are not in a forest, and this is not just any botanical specimen. It emerges from a neat plaque of wood like
the lion’s head in a clubroom trophy. Real, unreal, certainly surreal: it is a phenomenon in monumental plaster.
Velvet toadstools, glass slugs, a pair of miniature turtles deep in conversation in their tank of formaldehyde – every
object in this spectacular show might be a work of contemporary art. But almost all were made in the 19th century. A turkey or
a tumour were hard to preserve for Victorian students of medicine and zoology; after dissection, moreover, they would have to
be thrown away. So why not make the bird in papier-mache, stripping it of feathers and skin so that its innards were visible,
while catching its clumsy not-quite-airborne flight? And why not make each tumour in tinted glass, so that the different
internal tissues were available to the inquiring eye?
What was designed for the purposes of knowledge might surely be beautiful, fragile, forceful, dramatic. Elucidation through
art; to see is to know. Sculptors made rare toads out of porcelain; embroiderers spun coral out of silk. Craftsmen took immense
pains to create flawless facsimile lemons from all round the world, staggeringly various in form: two-pronged, spherical,
shaped like a banana. Can they be real, either as varieties or actual fruit, you wonder?
The most famous of the objects on show, all loaned by the Anglo-Dutch collector George Loudon, was made by the
extraordinary father-and-son team Leopold and Rudolf Blaschka. Leopold, a Czech immigrant to Dresden, was sailing to
America in 1853 when his ship was becalmed. He became enchanted by the sight of jellyfish glowing in the evening waters.
His praise of nature’s miracles took the form of tiny versions modelled (not blown) in glass; even now, specialists are not
precisely sure how they were made.
Spotlit in the gallery, as if floating in mid-air, is a translucent white creature with blue kiss marks on its side, a crest of cobalt
beads and fronds that trail like gorgeous sugar ribbons. It is closer to jewellery, or sculpture, than anything in nature; yet it is
based on a Portuguese man-of-war. Glass suspends the familiar motion; scale estranges.
Late 19th-century models of mushrooms. Photograph: Andrea Rossetti/Courtesy of
Federica Schiavo
The Blaschkas made hundreds of these objects, depicting sea creatures in such minute detail that marine biologists still use
them to search for rare species. You can see more in the Natural History Museum. But removed from their scientific context,
they emerge as exquisite artefacts; an example for contemporary glass artists such as Dale Chihuly.
It is this crossover that fascinates Loudon. Once he collected the standard blue-chip British artists, from Anish Kapoor to
Damien Hirst, until there was no more room in his house. Now it is as if he collects their original inspirations. Here are plaster
casts to make you think of Rachel Whiteread and picklings to prefigure Hirst. Here are those half-flayed anatomical figures
Hirst likes to enlarge; except that these 19th-century statues have powerfully expressive faces.
Who is to say whether they are artefact or art, these disturbing figures, whether they are example or portrait? None of the
works in Loudon’s collection is merely, or exactly, a facsimile of the object it is supposed to depict. There is no telling whether
the skull of some strange sea creature, fierce, nacreous – pearls for eyes – is real or imaginary, but so riveting is this bizarre
apparition one scarcely notices that the long tongue projecting from its jaws (and leading into an equally improbable snake’s
head) is in fact a rod of red ceramic, strategically placed there by the contemporary Italian artist Salvatore Arancio.
FEDERICA SCHIAVO GALLERY ROMA MILANO
Laura Cumming, “George Loudon: Surreal Science review - riveting and bizarre”, The Guardian, September 2018
Polychrome wax models of the development of Branchiostama lanceolatum, a small
marine inverterbrate, after Berthold Hatschek, made by Adolf Ziegler. Photograph:
Andrea Rossetti/Courtesy of the artist and Federica Schiavo
Arancio has interpolated some of his own works among the exhibits to confound the certainties even further. Mostly they
stand out by virtue of their iridescent glint, but just as you think you’ve got a clear sense of the division between old and new
comes a bizarre meadow of flowers, larger than life and somehow twice as bright, like a hybrid of Marc Quinn and Claes
Oldenburg. But these aren’t modern at all. They were made in papier-mache by French artists for the closer study of plant
forms.
Decoupled from their scientific purpose, these creations constantly astonish. Sometimes this is by virtue of their makers’
powers of illusion – the eye is entirely fooled, for instance, by the red-velvet toadstools – and sometimes by the sheer
imagination involved. Could these stained-glass animals, such as the extinct lion-mauling dog, ever have existed? And the
study of souls, in full colour, and by character, shape and hue: so far-fetched and yet so enchanting.
The idea that there is nothing new under the sun – very much a surrealist principle – is borne out all through the exhibition.
Paintings of snakes spotted on the Coromandel Coast in 1796 look like Disney cartoons. Victorian phrenology heads, got up in
jaunty ties, look forward to the art of Eduardo Paolozzi. And the ring of black plaster casts of upper jaws, neatly labelled and
arranged like a miniature Stonehenge, could be straight out of Marcel Duchamp.
‘Powerfully expressive’ – 19th-century plaster medical heads. Photograph: Rosamond
Purcell
A giant’s foot, about twice the size of a human being, or did it belong to some kind of strange beast? I still don’t know what I
saw; there is a terrific blurring here between truth and fiction. But the most shattering work, so to speak, is made from real
relics. This is the exploded skull from France, all its bones disassembled and rearticulated so that it seems to be flying apart.
A huge thing, larger than life, depersonalised and as frightening as anything in Mary Shelley’s Frankenstein, it allowed medical
students to contemplate every bone in the head while reflecting, in Romantic fashion, on mortality. Man and Superman, it is
the centrepiece of this enthralling manifestation of the intersection between art and science.
• Surreal Science: Loudon Collection with Salvatore Arancio is at the Whitechapel Gallery, London until 6 January
FEDERICA SCHIAVO GALLERY ROMA MILANO
Source: The Times {T2}
Edition:
Country: UK
Date: Friday 24, August 2018
Page: Oliver Moody, “Animal, vegetable, mineral, art”, The Times, August
12 2018
Area: 844 sq. cm
Circulation: ABC 430660 Daily
Ad data: page rate £16,645.00, scc rate £75.00
Phone: 020 7782 5000
Keyword: Whitechapel Art Gallery
Animal, vegetable, mineral, art
A new exhibition
shines a light on
the weird world of
scientific models
— and it’s lovely,
says Oliver Moody
I
n the late 1920s a young man Arancio, responding to the rest) was
could be spotted splashing made in the 19th century with a
around the beaches and rock serious purpose: the elucidation of
pools of the French Riviera with scientific truth. Craftsmen laboured
a Debrie camera the size of a for months to create flawless wax
modern desktop printer strapped pomegranates or glass sea cucumbers.
to his neck. Jean Painlevé’s short Removed from the lecture theatre and
reels were probably the first displayed in an apparently artless
films you could reasonably describe as order, they take on a life of their own.
nature documentaries. They look like frozen hallucinations of
In their day they were a sensation. nature, both familiar and grotesque.
The Parisian intelligentsia queued to As Painlevé said of his hermit crabs:
watch silent footage of seahorses “At certain enlargements, this
copulating, aquatic snails waltzing in charming animal can be transformed
and out of shot like ghosts, or a hermit into a monster.”
crab staggering as it tried to cart “Just look at it,” says George
around a sea anemone five times its Loudon, the Anglo-Dutch banking
size. Was it art? Was it natural history? executive whose collection forms this
Painlevé could see no distinction show’s core. “To hell with what it is,
between the two. “Science,” he once just look at it enough to be interested
said, “is fiction.” in it. And then you can see later what
This might well be the motto of it is. I’m taking things dramatically out
Surreal Science, a new show at of context and saying, ‘Forget about
Whitechapel Gallery in east London what it was made for, because that in
curated by the artist Salvatore most cases is not particularly
Arancio. On one stand a stuffed kitten interesting. Look at them as objects.’ ”
with two heads at a right angle to each Loudon has been hoarding
other gazes wistfully out of a glass everything that catches his eye since
dome. Over the speakers a voice he was eight. It started with carpentry
earnestly describes the shapes of the tools. At Oxford University he moved
human soul. A bezoar, a sort of on to Gillray caricatures, and then to
gastrointestinal fatberg wrenched Chinese porcelain. In the 1970s he
from the stomach of a goat, floats began collecting contemporary art.
above a large ceramic pillow that He bought pieces by obscure young
looks like a cancerous brassica. artists with names such as Hirst,
Almost every object in this Kapoor and Basquiat.
exhibition (except a few pieces by He displayed his 700 artworks on
)
Reproduced by Gorkana under licence from the NLA (newspapers), CLA (magazines), FT (Financial Times/ft.com) or other copyright owner. No further
copying (including printing of digital cuttings), digital reproduction/forwarding of the cutting is permitted except under licence from the copyright
owner. All FT content is copyright The Financial Times Ltd.
Article Page 1 of 4
431423481 - JOHCOR - A19109-1 - 140886035
FEDERICA SCHIAVO GALLERY ROMA MILANOSource: The Times {T2}
Edition:
Country: UK
Date: Friday 24, August 2018
Page: Oliver Moody, “Animal, vegetable, mineral, art”, The Times, August
12 2018
Area: 844 sq. cm
Circulation: ABC 430660 Daily
Ad data: page rate £16,645.00, scc rate £75.00
Phone: 020 7782 5000
Keyword: Whitechapel Art Gallery
the walls of his house, rehanging them century. Haeckel was convinced
every six months. He stacked them that the history of each animal’s
three deep, cramming them into a sort evolution was played out in the
of Darwinian battle royale for the development of its embryos. So
visitor’s eye. “I felt each work convinced, in fact, that he was accused
had to fight for its place,” he says. of doctoring his drawings to make
“If you hang them all up like postage nature fit his hypothesis.
stamps, then they’re all competing In 1881 Haeckel visited Ceylon (now
there. You soon see which are the Sri Lanka) with his friend Gabriel von
stronger works.” Max, an Austrian painter. Loudon has
One day in 2000 Loudon decided a lurid memento of the trip in the
he was fed up. “I don’t like the form of an engraving depicting a
contemporary art world because it’s all luminously naked woman encircled
about money now, and private jets and in the jungle by various hairy
openings in Basle or Miami, and it’s primates from her extended
become a sort of social game,” he says. evolutionary family.
“I think it’s absurd that artists are “Haeckel was a great artist and a
fetching prices which are several great romantic, and he quite fancied
multiples of what painters made in the the ladies,” Loudon says. “In all his
17th and 18th centuries. There are all work there’s an exaggeration and a
sorts of reasons for it and one of the pushing of the boundaries. Von Max
reasons is that the sort of people who was completely bonkers. He lived with
buy that stuff are name-buying, really.” live monkeys and dead ones, and he
Anish Kapoor and Jean-Michel painted these incredible scenes of
Basquiat were out. The scientific primates as humans looking at art.”
revolution was in. Loudon became Loudon is not the only person to
fascinated with an era in which have thought of taking scientific
scientists suddenly felt compelled to objects off their display stands and
win over readers and audiences with treating them as works of art in their
images of the things they own right. The Horniman Museum’s
were studying. The famously overstuffed walrus has been
result was nothing shown at Turner Contemporary in
short of an Margate in Kent. This
“explosion” of stuffed, year the Grey Art
pickled, sculpted, Gallery in Greenwich
glass-blown, engraved Village, New York,
and watercoloured exhibited the
oddities that are now breathtakingly
languishing in their gorgeous drawings of
tens of thousands in Santiago Ramón y
the archives of the Cajal, a Nobel
world’s natural history prizewinning
museums because neuroscientist who
nobody knows what was the first to stain
to do with them. individual neurons so
Again, is it art? Yes. that they could be
If you choose to look examined under
at it as art, it is. None a microscope.
of the more than 200 The great jumble of
works in Loudon’s horror, beauty and
collection is a perfect curiosity in Loudon’s
facsimile of the object it is supposed show has something
to describe. Take Ernst Haeckel, particular about it:
a German biologist who was one a sense that he has
of Darwin’s staunchest and most unlocked a strangeness and rawness
influential defenders in the late 19th that lurks beneath the ordered surface
Reproduced by Gorkana under licence from the NLA (newspapers), CLA (magazines), FT (Financial Times/ft.com) or other copyright owner. No further
copying (including printing of digital cuttings), digital reproduction/forwarding of the cutting is permitted except under licence from the copyright
owner. All FT content is copyright The Financial Times Ltd.
Article Page 2 of 4
431423481 - JOHCOR - A19109-1 - 140886035
FEDERICA SCHIAVO GALLERY ROMA MILANOSource: The Times {T2}
Edition:
Country: UK
Date: Friday 24, August 2018
Page:
Area:
Oliver Moody, “Animal, vegetable, mineral, art”, The Times, August
12
844 sq. cm
2018
Circulation: ABC 430660 Daily
Ad data: page rate £16,645.00, scc rate £75.00
Phone: 020 7782 5000
Keyword: Whitechapel Art Gallery
of every natural history museum. “You
can find this stuff anywhere,” he says.
“There’s nothing unique about this
collection. It’s just drawing attention to
the fact that this stuff has been tucked
away for such a long time that people
have forgotten about it.”
Surreal Science: Loudon Collection
with Salvatore Arancio is at
Whitechapel Gallery, London E1,
020 7522 7888, from tomorrow
to January 6
y
Source: The Times {T2}
Edition:
Country: UK
Date: Friday 24, August 2018
Page: George 12 Loudon at home surrounded by his strange collection
Area: 844 sq. cm
Circulation: ABC 430660 Daily
Ad data: page rate £16,645.00, scc rate £75.00
Phone: 020 7782 5000
Keyword: Whitechapel Art Gallery
Top: papier-mâché
botanical models,
1866-1927. Above:
19th-century plaster
medical heads by
Casciani and Sons.
Right: a botanical
painting on wood panel
1878 b Chik i K
Reproduced by Gorkana under licence from the NLA (newspapers), CLA (magazines), FT (Financial Times/ft.com) or other copyright owner. No further
copying (including printing of digital cuttings), digital reproduction/forwarding of the cutting is permitted except under licence from the copyright
owner. All FT content is copyright The Financial Times Ltd.
Article Page 3 of 4
431423481 - JOHCOR - A19109-1 - 140886035
FEDERICA SCHIAVO GALLERY ROMA MILANOSara Boggio, “Ceramica Nuova materia d’arte”, Arte, July 2018
Arte
Arte
FEDERICA SCHIAVO GALLERY ROMA MILANOSara Boggio, “Ceramica Nuova materia d’arte”, Arte, July 2018
Arte
Sculture; installazior,i e pro
S
i puo visitare fino al 7 ottobre la mostra che cele
bra gli ottant'anni del Concorso intemazionale
getti performativi di .artisti della ceramica d'arte nonche i sessant'anni de!
Premio Faenza: due anniversari importanti, che
italiani e stranieri p�rgli ot steggia
i!Mic (Museo internazionale delle ceramiche) faentino fe
con un'esposizione speciale. Curata da un gruppo
tant'anni del·cox,�Qr§Sara Boggio, “Ceramica Nuova materia d’arte”, Arte, July 2018
Arte
Salvatore Arancio. A soft land
no longer distant. 2017.
e matura sullo stato dell'arte dell'o direttore, che ne raccoglie l'eredita e
pera in ceramica e sul suo potenziale fa si che il pensiero de! predecessore,
espressivo, mai come ora in tensione gia pienamente avviato nel 1948, di
di crescita e rinnovamento. venti realta con l'intemazionalizza
zione de! premio, a partire dal 1963».
UN PASSO INDIETRO. «Nell'ambito
della produzione ceramica Faenza e SCUOLA DI MAESTRI. I protagonisti
punto di riferimento attivo dal Me di questa storia - coloro che avvie
dioevo», spiega Claudia Casali, di ranno il cambiamento piu significati
rettrice de! Mic da otto anni. «Le ra vo nel modo di intendere la ceramica
dici di questa tradizione aHondano - vengono individuati gia a partire
nei territori che la circondano, le fa dagli anni '50: artisti canonizzati co
mose "terre azzurre" tanto apprez me Lucio Fontana e Renato Guttu
zate da Leonardo, adatte a produrre so, e poi ancora Fausto Melotti, Pie
manufatti ceramici e in particolare tro Melandri, Carlo Zauli. Le giurie,
maiolicati. La produzione ebbe ii scrive Casali nella presentazione in
suo apice nel Cinquecento con i co catalogo, includono "referenti indi
siddetti "bianchi di Faenza", che scussi della storia dell'arte ceramica
infatti saranno conosciuti ovunque e della critica d'arte". Ne! 1960 e al
con il nome di fai:ence». II museo e lestita la prima grande retrospettiva
stato istituito nel 1908 per volonta di italiana sulla produzione ceramica
Gaetano Ballardini, che ne fu diret di Picasso. Nello stesso decennio
tore fino al 1953, e la sua vocazione e la collaborazione con ambasciate,
intemazionale fin dagli albori, con la istituti di cultura e centri formativi
precisa aspirazione a un dialogo e a ceramici esteri diventa via via piu si
un confronto tra realta locale e sovra stematica e consente di raccogliere
nazionale. «Da una parte», spiega opere che arrivano da tutta Europa
Casali, «c'e la congiuntura produt ma anche da Egitto, Israele nonche
tiva dell'Italia, che dopo la Prima Giappone, Paese con il quale !'Italia
guerra mondiale avverte l'esigenza ha instaurato una proficua collabo
di potenziare i centri di produzione, razione che continua tuttora.
compresi I'alto artigianato artistico e
semi-industriale. D'altra parte biso MANUFATTO O PRODOTTO ARTI
gna assolutamente dare atto alla lun STICO? A fronte di tutto questo la
gimiranza dei direttori museali, per voro, e constatando che nell'ambito
primo proprio Ballardini, che e stato del contemporaneo non esistono
un genio della museologia, e dopo preclusioni di sorta (ne di linguag
di Jui Giuseppe Liverani, ii secondo gio ne di medium), occorre ancora
Anne Wenzel.
106Arte Under construction. 2018.
Ritaglio stampa ad uso esclusivo del destinatario, non riproducibile.
FEDERICA SCHIAVO GALLERY ROMA MILANOSara Boggio, “Ceramica Nuova materia d’arte”, Arte, July 2018
Arte
«Storici dell'arte e operatori di settore hanno consentito
di superare confini disciplinari ormai anacronistici»
ribadire che la ceramica none (sol e cambiata radicalmente: l'opera di
IN ASIA E NEGLI USA tanto) manufatto artigianale? «Oggi Perry era appunto un vaso in cera
LA CERAMICA HA la ceramicae un linguaggio contem mica, vista pero con uno sguardo
poraneo e l'approccio critico e molto completamente nuovo».
UN POSTO D'ONORE cambiato.Storici dell'arte e operatori
NELL'ARTE DI OGGI di settore hanno create un discorso DA TUTTO IL MONDO. I lavori dei
in grado di superare confini disci 53 artisti, quasi tutti inediti, sono
plinari ormai anacronistici, ma si esposti nei 600 metri quadri degli
tratta di un cambiamento piutto spazi museali. Includono sculture,
sto recente. Se rileggiamo i testi di ma anche installazioni e progetti
vent'anni fa, dell'oggetto ceramico performativi.Tra gli italiani trovia
troviamo solo una lettura tecnica, mo artisti che all'uso de! materiale
non poetica». Un atteggiamento che, hanno dedicato tutta la propria ricer
secondo Casali, ha causato una "em ca. Come Alessio Tasca, classe 1929,
passe critica" superata con grande ceramista nato a Nove, nella pro
difficolta. Una "pigrizia interpreta vincia vicentina (un altro luogo di
tiva" nostrana o diffusa? «Il contesto radicata tradizione ceramica), dove
asiatico e quello americano hanno e cresciuto anche Paolo Polloniato
sdoganato da tempo il concetto di (1979), per il quale il rapporto con ar
ceramica come opera d'arte. Quella gilla e derivati e "legame di sangue",
europeo non del tutto, ma tomiamo da ultimo rappresentante di una
al discorso di prima: tocca a critici e famiglia che lavora ii materiale fin
operatori tenere alta la soglia della dall'Ottocento. Tra i fedeli al mezzo
qualita e creare un discorso ... Siamo non potevano mancare gli emiliani
noi che facciamo la nostra storia». Il Bertozzi & Casoni, operativi dal
punto di svolta di questo cammino, 1980 (quando la ceramica, come lo
secondo Casali,e stato ii Turner Pri ro spesso ricordano nelle interviste,
ze a Grayson Perry, nel 2003. «Da non entrava facilmente in galleria).
allora la percezione della ceramica Poi ci sono artisti come Bruno Cec-
Arte101
Ritaglio stampa ad uso esclusivo del destinatario, non riproducibile.
FEDERICA SCHIAVO GALLERY ROMA MILANOSara Boggio, “Ceramica Nuova materia d’arte”, Arte, July 2018
Arte
cobelli (1952), che ricordiamo nella Evgeny Antufiev (1986); le creature
«PENSOCOME "nuova Scuola romana" con Pizzi metamorfiche di Anna Dorothea
UNARTI STA, Cannella e Dessi (il "Gruppo di San Klug (1984); le strutture disadome
Lorenzo", secondo la definizione dalle potenti cromie di Irina Ra
PLASMOCOME di Achille Bonito Oliva), Salvatore zumovskaya (1990), gia medaglia
UNARTIGIANO» Cuschera (1958), che alle geometrie d'argento nella scorsa edizione de!
di grandi dimensioni in ferro affian Premio faentino. E se per artisti come
ca la ceram.ica policroma, Antonio Johannes Nagel (1979) !'opera e l'e
Violetta (1953) con le sue strutture sito di un processo non premeditato,
megalitiche, Luigi Mainolfi (1948), come la forma ritmica nell'improv
la cui (altissima) ricerca, materiale e visazione jazz, la generale fedelta
spirituale, e tutta orientata al "ritor a!J'impegno manuale sembra inag
no alla terra". Piu contaminati il lin girabile (proprio Nagele un sapiente
guaggio di Salvatore Arancio (1974, fautore della colata insabbia, che usa
il piu giovane tra gli italiani selezio senza I' ausilio di ulteriori strumenti
nati all'ultima Biennale di Venezia e e limitando le forme a quelle possibi
tra gli artisti del Premio Cairo 2014) li attraverso l'uso delle mani). Forse
e di Arianna Carossa (1979), che alla la visione che meglio riassume tan
scultura e arrivata dopo la pittura e ta eterogenea vitalita e la sintesi con
parallelamente alla performance. cui Po!Joniato riassume il suo lavoro:
«Penso come un artista, plasma co
FUORI PORTA. Oltre il confine italia me un artigiano». Nessuna immagi
no (e qui la provenienza spazia dalla ne piu chiara a esprimere come i due
Russia agli Stati Uniti, dall'India a mondinon siano (piu) in contrappo
Taiwan), da tenere d'occhio le geo sizione, ma si integrino l'un l'altro. ■
metrie de! danese Anders Ruhwald
(1974), che mimano arredi e utensili CERAMICS NOW. ARTE CONTEMPORANEA
quotidiani; le composizioni tote INTERNAZIONALE. Faenza, Mic
miche (metafore surreali) de! russo (www.micfaenza.org). Fino al 7 ottobre.
10a Arte
FEDERICA SCHIAVO GALLERY ROMA MILANODaniela Jurman, “Al via la Biennale della ceramica”, Arte, June 2018
Arte
FEDERICA SCHIAVO GALLERY ROMA MILANOLa Redazione, “‘Ceramics Now’ al MIC di Faenza”, In Piazza, June 2018
Data 06-2018
Pagina 26 Data
Foglio 1
Pagin
Foglio
.
FEDERICA SCHIAVO GALLERY ROMA MILANOMarco Enrico Giacomelli, “Manifesta 12 a Palazzo Mazzarino. Con un catalogo in Virtual Reality”, Artribune, June 2018
28/6/2018 Mostra a Palazzo Mazzarino di Palermo e il catalogo virtuale | Artribune
Manifesta 12 a Palazzo Mazzarino. Con un catalogo in
Virtual Reality
By Marco Enrico Giacomelli - 16 giugno 2018
Installazioni, mostre, opere negli spazi di Palazzo Mazzarino: l’edi�cio di proprietà della famiglia
Berlingeri mette in scena è uno dei luoghi espositivi più a�ascinanti di questa art week palermitana.
Marcin Dudek, Giochi senza frontiere, 2018. Installation view at Palazzo Mazzarino, Palermo 2018
Luoghi palermitani dotati di personalità spiccatissima stanno ospitando in questi giorni la
12esima edizione della biennale itinerante Manifesta. E spesso le opere d’arte contemporanea
ne fanno le spese, soccombendo clamorosamente nel confronto. Fortunatamente, tuttavia, in
alcuni casi il dialogo si intesse con maggior successo, grazie al lavoro più meditato di artisti e
curatori. Succede così a Palazzo Mazzarino, splendido edi�cio di proprietà della famiglia
Berlingeri, dove al piano nobile si susseguono sale imponenti “arredate” con Damien Hirst e
Giovanni Boldini, ceramiche cinesi e tele di Zurbarán, mentre al pianterreno sono ben quattro
le mostre visitabili. Due sono opere singole, concepite appositamente per gli spazi: nella corte,
la scultura interattiva Giochi senza frontiere del polacco Marcin Dudek, promossa dalla
galleria Edel Assanti e drammaticamente attuale, visti i recenti sviluppi della politica nostrana
in tema di migrazioni; nella cavallerizza, invece, va in scena l’imponente installazione di Per
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FEDERICA SCHIAVO GALLERY ROMA MILANOMarco Enrico Giacomelli, “Manifesta 12 a Palazzo Mazzarino. Con un catalogo in Virtual Reality”, Artribune, June 2018
Marco Enrico Giacomelli, “Manifesta 12 a Palazzo Mazzarino. Con un catalogo in Virtual Reality”, Artribune, June 2018
28/6/2018 Mostra a Palazzo Mazzarino di Palermo e il catalogo virtuale | Artribune
Barclay (promossa dalla galleria di Francesco Pantaleone e con adeguato contorno di
champagne Ruinart), che ha inondato d’olio nero la sala colonnata, generando così un
caleidoscopico e�etto specchiante.
IL RICHIAMO DI CHTULU
E ancora, la collettiva La febbre curata dall’artista palermitano Vincenzo Schillaci, con opere
di Pennacchio Argentato, Ann Iren Buan, Lisa Dal�no & Sacha Kanah (autori della copertina
di Artribune Magazine in distribuzione proprio in questi giorni), Dominik Lang, John
Henderson, Emiliano Maggi, Alessandro Piangiamore, Namsal Siedlecki, Johannes Wald e lo
stesso Schillaci. In�ne, con la regia di Aldo Colella e la curatela di Lorenzo Benedetti, Il
richiamo di Cthulhu, group show che raccoglie ottime opere di Domenico Mangano e Marieke
van Rooy, Pietro Ru�o, Giovanni Ozzola, Fabrizio Cotognini, Gianni Politi e Salvatore
Arancio. Qui, senza nulla togliere al lavoro eccellente degli artisti, spicca per novità il catalogo
realizzato in collaborazione con il Virtruvio Virtual Museum. Scaricando infatti una app
realizzata speci�camente per l’occasione e inquadrando le singole opere riprodotte su carta,
queste ultime si “animano” in VR. Una operazione ad altissimo rischio di kitsch, che invece è
risolta nel migliore dei modi, dando un grande valore aggiunto al prodotto-catalogo e
costituendo così un’opera a sé. Tutto questo lo trovate raccontato con dovizia di particolari nel
video che abbiamo realizzato durante l’inaugurazione.
– Marco Enrico Giacomelli
http://www.palazzomazzarino.com/
Scoprite tutte le mostre, i musei, le inaugurazioni e gli appuntamenti culturali della giornata a
Palermo in un’unica web app: Arte Intorno, raggiungibile da telefono, tablet e computer
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Il richiamo di Cthulhu. Installation view at Palazzo Mazzarino, Palermo 2018
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FEDERICA SCHIAVO GALLERY ROMA MILANOLizzie Lloyd “Is This Planet Earth?’, Art Monthly, May 2018
FEDERICA SCHIAVO GALLERY ROMA MILANOLizzie Lloyd “Is This Planet Earth?’, Art Monthly, May 2018
FEDERICA SCHIAVO GALLERY ROMA MILANOLa redazione, “SF and Art: ‘Is This Planet Earth?’”, Vector, March 2018
FEDERICA SCHIAVO GALLERY ROMA MILANOLa redazione, “SF and Art: ‘Is This Planet Earth?’”, Vector, March 2018
FEDERICA SCHIAVO GALLERY ROMA MILANOYou can also read
