new entries back to the future the galleries main section

artissima n˚17 INTERNATIONAL FAIR OF CONTEMPORARY ART IN TORINO • 5-7 NOVEMBER 2010 • OVAL lingotto fiere
issue no. 03
vol . xvii
In this issue:
House of
Contamination
Poetry in the
Shape of a Rose
Picnic
for the Mind
Hypnotic
Show
Visualising
Transformation
Exhibitions
in Town
Michel Journiac, hommage
to freud, 1972. Courtesy of
Patricia Dorfmann, Paris
artissima is an art fair,
and as such it is a trade
event. But also, the short
duration of the event, just
three days, lends itself to
a particularly risky form
of cultural experimentation: one that echoes the
innovative proposals by
participating galleries who
represent emerging artists.
The cultural element of
artissima acts not so much
to justify or lend credibility
to its commercial side, but,
rather, to fully inhabit the
ambiguity of the fair and
exploit its potential. The
aim of artissima’s curatorial programme is to offer
a space in which current
cross-fertilisation between
art forms can be put to the
test. It provides a context
for playing around with
new strategies of production, display and reception,
and for the public to
consider the success and reliability of these strategies.
The programme borrows
its title directly from Pier
Paolo Pasolini’s Poesia in
forma di rosa (Poetry in the
Shape of a Rose), the book
that marked his return to
poetry following the success
of his early films. In the
same publication, Pasolini
also experimented with
graphic design by using
concrete poetry to arrange
his verse.
Just as the interchange
between various disciplines is the theme of the
curatorial programme, so
the interaction between
different periods is explored
through the juxtaposition of
works from various times.
Amid the contributions of
emerging artists in the main
section and new entries
section, a temporal leap
will bring forth the works
in the back to the future
section, which is devoted to
art from the 1960s and 70s.
Both the trade event and
the curatorial programme
have as their focus the
theme of advanced
experimentalism which,
by its nature, incorporates
the possibility of making
mistakes as a condition
for inventing new ways of
creating meaning.
Paley, London; Francesco
Pantaleone, Palermo;
Parra & Romero, Madrid;
Parrotta, Stuttgart, Berlin;
Alberto Peola, Torino;
Peres, Berlin, Los Angeles;
Giorgio Persano, Torino;
Photo&Contemporary,
Torino; Photology, Milano;
Pinksummer, Genova;
Gregor Podnar, Berlin,
Ljubljana; prometeogallery,
Milano, Lucca; RAM,
Roma; Raucci/
Santamaria, Napoli; Lia
Rumma, Milano, Napoli;
S.A.L.E.S., Roma;
Federica Schiavo, Roma;
Suzy Shammah, Milano;
Franco Soffiantino,
Torino; Sprovieri, London;
Micheline Szwajcer,
Antwerp; TaiK, Helsinki;
The Breeder, Athens;
Caterina Tognon, Venezia;
Tucci Russo, Torre Pellice;
Jonathan Viner, London;
Vistamare, Pescara; Nicolai
Wallner, Copenhagen;
Wilkinson, London; Žak |
Branicka, Berlin, Cracow.
NEW ENTRIES
Artissima’s new location: oval , Lingotto Fiere. Photo: Max Tomasinelli, 2010
THE GALLERIES
Crespi, Milano; Ellen
de Bruijne, Amsterdam;
Monica De Cardenas,
The Selection
Milano, Zuoz; Massimo De
Commitee – Daniele
Carlo, Milano; Umberto
Balice, Balicehertling, Paris; Di Marino, Napoli; Duve,
Isabella Bortolozzi, Isabella Berlin; frank elbaz, Paris;
Bortolozzi, Berlin; Mario
Konrad Fisher, Düsseldorf,
Cristiani, Continua, San
Berlin; Fonti, Napoli;
Gimignano, Beijing, Le
Enrico Fornello, Milano;
Moulin; Darren Flook,
freymond-guth, Zurich;
Hotel, London; Franco
Fruit & Flower Deli, New
Noero, Franco Noero,
York; gb agency, Paris;
Torino; Gregor Podnar,
GDM, Paris; Gentili,
Gregor Podnar, Berlin,
Prato; Green Cardamom,
Ljubljana – has chosen
London; Grimm,
98 galleries for the main
Amsterdam; Barbara
section and 28 for the
Gross, Munich; Reinhard
new entries section.
Hauff, Stuttgart; Hotel,
London; Hussenot, Paris;
In Arco, Torino; In Situ /
Fabienne Leclerc, Paris;
MAIN SECTION
1/9 unosunove, Roma;
A Palazzo, Brescia; Air
De Paris, Paris; Arena
México, Guadalajara;
Artericambi, Verona;
Alfonso Artiaco, Napoli;
Enrico Astuni, Bologna,
Pietrasanta; Balicehertling,
Paris; Federico Bianchi,
Milano; Blancpain Art
Contemporain, Geneva;
Bonomo, Bari, Roma;
Bortolami, New York;
Isabella Bortolozzi, Berlin;
Brändström, Stockholm;
Bugada & Cargnel, Paris;
Cardi Black Box, Milano;
Chert, Berlin; Antonio
Colombo, Milano;
Connoisseur, Hong Kong;
Continua, San Gimignano,
Beijing, Le Moulin; Pilar
Corrias, London, Raffaella
Cortese, Milano; CorviMora, London; Guido
—Francesco Manacorda Costa, Torino; Riccardo
Alison Jacques, London;
Kalfayan, Athens, Salonica;
kaufmann repetto,
Milano; Peter Kilchmann,
Zurich; Lisson, London;
Federico Luger, Milano;
Lüttgenmeijer, Berlin;
Kate MacGarry, London;
Magazzino d’Arte
Moderna, Roma; Norma
Mangione, Torino; Primo
Marella, Milano, Beijing;
Kamel Mennour, Paris;
Francesca Minini, Milano;
Massimo Minini, Brescia;
Monitor, Roma; Museum
52, London, New York;
Nelson-Freeman, Paris;
Franco Noero, Torino;
Noire, Torino; Lorcan
O’Neill, Roma; Opdahl,
Stavanger, Berlin; Maureen
Ancient & Modern,
London; annex14, Bern;
Niklas Belenius, Stockholm;
Conduits, Milano; Cortex
Athletico, Bordeaux;
Tiziana Di Caro, Salerno;
Fluxia, Milano; Cinzia
Friedlaender, Berlin;
Gaudel de Stampa, Paris;
GMG, Moscow; Gonzalez y
Gonzalez, Santiago; Sonja
Junkers, Munich; Karma
International, Zurich;
Khastoo, Los Angeles;
Leto, Warsaw; lokal_30,
Warsaw; Maskara,
Mumbai; Room, Milano;
Rachmaninoff ’s, London;
RaebervonStenglin,
Zurich; Sabot, ClujNapoca; September,
Berlin; Seventeen, London;
SpazioA, Pistoia; Steinle,
Munich; Super Window,
Kyoto; Supportico Lopez,
Berlin; The Third Line,
Dubai.
List updated September 20TH, 2010
BACK TO THE
FUTURE
Nanni Balestrini, untitled. Courtesy of Giacomo Guidi & MG, Roma
In the theory of parallel
universes, the simultaneity of events far apart in
time is possible. Yet, when
viewed in linear time the
same events are in fact a
great distance apart on the
space–time continuum.
The back to the future
section presents a time
shift creating a simultaneity of works and practices
that are temporally very
remote from one another.
In this sense, artissima
1
artissima n˚17 INTERNATIONAL FAIR OF CONTEMPORARY ART IN TORINO • 5-7 NOVEMBER 2010 • OVAL lingotto fiere
offers to its visitors not
only a group of modern
art pieces, but also an
experiment in which the
present-day relevance of
these works is defined.
The appointment of the
Selection Committee
of curators—consisting
of Massimiliano Gioni,
Christine Macel and
Jessica Morgan—is based
on the expertise of its
members in recognising
the contemporary, even
in the past. artissima
has entrusted them with
selecting works that, even
though made in the past,
nevertheless, resonate with
the interests and obsessions of emerging artists
today. To heighten the
effect of this shift in time,
the exhibitions in the back
to the future section will
be located in an area of the
fair that also includes two
bookshops with historical
material from the same
period, 1960-79.
PRESENT FUTURE
Somewhere between a
group exhibition, a series
of unprecedented solo
displays and a memorandum, present future
2010 will feature a group
of artists from different
countries, selected by Mai
Abu ElDahab, Richard
Birkett, Thomas Boutoux
and Luigi Fassi.
The culmination of
months of exchange between artists and curators,
present future includes a
number of works created
especially for the fair, as
well as projects shown in
Europe for the first time.
—Luigi Fassi
SOLO SHOWS INCLUDE:
Giorgio Andreotta
Calò, Zero, Milano;
Zbyněk Baladran,
prometeogallery, Milano,
Lucca; Andreas Bunte,
Ben Kaufmann, Berlin;
SOLO PRESENTATIONS INCLUDE: Koenraad Dedobbeleer,
ProjecteSD / Micheline
Szwajcer, Barcelona /
Nanni Balestrini,
Antwerp; Melanie Gilligan,
Giacomo Guidi &
Franco Soffiantino, Torino;
MG, Roma, Gozzano;
Leslie Hewitt, D’Amelio
Gianfranco Baruchello,
Terras, New York; Iman
Michael Janssen, Berlin;
Issa, Rodeo, Istanbul;
Bill Bollinger, Häusler,
Runo Lagomarsino,
Zurich, Munich; Vlassis
Caniaris, Kalfayan, Athens, Elastic, Malmö; Sophie
Nys, Greta Meert,
Salonica; Dadamaino,
Brussels; Laure Prouvost,
Carlina, Torino; Noël
MOT International,
Dolla, Dominique Fiat,
London; Reto Pulfer,
Paris; Koji Enokura,
Balicehertling, Paris;
McCaffrey Fine Art, New
Lili Reynaud-Dewar,
York; Franco Guerzoni,
Nicoletta Rusconi, Milano; Kammel Mennour,
Paris; Will Rogan, Laurel
Jan Håfström, Fruit &
Flower Deli / Brändström, Gitlen, New York; Clément
Rodzielski, Chantal
New York / Stockholm;
Crousel, Paris; Luke
Carmen Herrera, Arratia,
Stettner, Stene, Stockholm.
Beer, Berlin; Paolo Icaro,
Massimo Minini, Brescia;
Michel Journiac, Patricia
Dorfmann, Paris; Birgit
Jürgenssen, Hubert
Winter, Vienna; Maria
Lai, Isabella Bortolozzi,
Berlin; John Latham,
Architectural models
Lisson, London; Bob
have, to some extent, been
Law, Thomas Dane,
made obsolete by 3D
London; Adolf Luther,
computer-graphic simula401contemporary, Berlin;
tions. Furthermore, while
Anna Maria Maiolino,
Raffaella Cortese, Milano; a small-scale maquette
provides a sense of a projAntoni Miralda, Senda,
ect’s spaces and volumes,
Barcelona; Hitoshi
Nomura, McCaffrey Fine it still requires viewers
to project their presence
Art, New York; Gianni
within the prototype and
Pettena, Enrico Fornello,
Milano; Sylvia Sleigh, I-20, adapt it mentally to a
New York; Goran Trbuljak, full-scale version. For the
house of contamination,
Gregor Podnar, Berlin,
artissima has invited
Ljubljana; Gil J.Wolman,
raumlaborberlin to create
Lara Vincy, Paris.
a life-size prototype of a
TH
List updated September 20 , 2010
cultural centre that promotes cross-fertilisation, or
‘contamination’, between
the arts. The purpose of
prototypes is to assess the
practicality and reliability of a project, as well as
HOUSE OF
CONTAMINATION
2
its results, for example
when the model of a new
car is tested on a circuit.
Similarly, the structure by
raumlaborberlin and its
associated programme will
be test run during the fair
to evaluate the hypotheses
on which they are both
based: of dialogue and
shared languages between
the arts.
POETRY IN THE
SHAPE OF A ROSE
SECTIONS IN THE
PROGRAMME INCLUDE:
ALL THE REST
IS LITERATURE
Raymond Queneau, cent mille milliards de poèmes, Gallimard, 1961 © Pilar Pinchart - All the Rest is Literature
on whether art writing is
a literary genre; a lecture
performed by Gernot
Strictly speaking, All the Wieland on the therapeuRest is Literature could be a tic permanence of some
contemporary art museum written words; the first
focused on writing, or a
Italian edition of Daniel
literary salon for artists
Spoerri’s seminal Topograonly. Either, or.
phy of Chance; a conversaIf it were a contemtion on fiction with Keren
porary art museum, it
Cytter; and a showcase
would have a permanent
for Jonathan Safran Foer’s
collection: The Malady
new, subtractive narration.
of Writing, an exhibition
But All the Rest is Literature
presented by Chus Maris not, strictly speaking, a
tinez after being shown
literary salon.
at MACBA, Barcelona. It
Either, or, else: All the
would also, naturally, host Rest is Literature gathers
temporary exhibitions:
art critics whose criticism
a survey of artist fiction
could be fiction; artists
curated by Maria Fusco
whose books are books
and a retrospective on
even if they aren’t by artliterary experiments from
ists; novels that are novels
the 1960s, presented by
only because it is a writer
the Definitively Tempowho wrote them; hybrids,
rary Secretary of Oulipo,
hybrids. All the rest, it’s
Paul Fournel, upon the
literature.
organisation’s 50th anniversary. But All the Rest
is Literature is not, strictly
speaking, a contemporary
Curated by Joseph del Pesco
art museum.
and Dominic Willsdon
If it were a literary
salon it would host: a
Five faculties from varicombinatorial reading by
ous localities and cultural
Nanni Balestrini; a debate fields make a selection
between artists and critics from events scheduled to
Curated by Vincenzo Latronico
Pickpocket Almanack
take place, at any venue
in their region, during
November 2010. Each
faculty gives its selection a
title and description, and
transform it into a course.
Thus, each course takes
pre-existing events out of
context and gives them
a new narrative frame.
Anyone can enroll for one
of the five courses for free
at the fair. The organisers will also be present at
the enrollment to teach
potential students to devise their own Pickpocket
Almanacks and to connect
them with the remote
selectors.
Pickpocket Almanack sits
on a spectrum between a
list of recommendations on
one end (which is typically
a casual and unsystematic offering by a friend or
colleague) and a formal
school or university on the
other (with a community of
students, fixed site and apparatus, and defined roles,
protocols and measures).
Pickpocket Almanack is not
a school, not even an experimental one. But it is an
attempt to generate something like a curriculum out
of everyday cultural life,
in specific localities, and
to bring strangers together
to reflect and act on its
content.
Pickpocket Almanack originated in San
Francisco (as a project of SFMOMA)
Typography
by Dexter Sinister
dexter sinister will
demonstrate their Metathe-difference-betweenthe-two-Font, a typeface
derived from MetaFont,
the 30-year-old computer typography system
originally programmed by
Donald Knuth. The font
will be primarily applied
throughout artissima’s
architecture in the form of
vinyl wall signage, while
its backstory will be exhibited as a 3D caption in a
dedicated space within the
fair. MetaFont is, at once,
a programming language
and its own interpreter, a
swift trick in which it both
provides a vocabulary and
decodes its syntax back to
the native binary machine
language of 1s and 0s. This
yields what is essentially
a skeleton of a typeface,
ready for manipulation
by five base parameters:
PEN, WEIGHT, SLANT,
SUPERNESS and
CURLYNESS.
Thinking
Through Cinema
(Deep Red)
Curated by Benjamin Cook and
Mike Sperlinger of LUX, London
raumlaborberlin, house of contamination, 2010
In 1975, film director
Dario Argento shot his
giallo masterpiece Profondo
rosso in Turin. Featuring
David Hemmings and
with a soundtrack by
prog-rock band Goblin,
the film, like all Argento’s
best work, is at once a
gripping horror and a slyly
self-reflexive meditation
artissima n˚17 INTERNATIONAL FAIR OF CONTEMPORARY ART IN TORINO • 5-7 NOVEMBER 2010 • OVAL lingotto fiere
on the dubious pleasures
of voyeurism.
For Thinking Through
Cinema (Deep Red),
Argento’s film becomes
a stand-in for cinema as
a whole; a starting point
from which to explore the
differences between film
(as a physical medium)
and cinema (as the cultural, architectural and
social space in which film
has traditionally been
experienced).
Six commissioned artists
will each present their
‘version’ of Profondo rosso,
using Argento’s film as a
source text but perhaps
without showing a single
frame of the original.
The artists’ projects will
be presented over the
course of the fair as part
of a rolling programme of
timed events, hosted in a
specially constructed space
modelled on a cinema auditorium. Thinking Through
Cinema (Deep Red) offers
an opportunity for artists
to completely re-imagine
cinema – its history, its
limits and its untapped
possibilities – from the
perspective of both creator
and audience. Artists
include Juliette Blightman,
Torsten Lauschmann and
Emily Wardill.
guide the other. Building
on the fair’s concept of
‘contamination’, the
contributions that make
up The Dancers interrupt
and overlap with each
other, as elements of each
successive performance
accumulate on stage over
the duration of the fair.
Including well-known
experimental choreographers such as Xavier Le
Roy and emerging visual
artists such as Ei Arakawa
and Amy Granat, the
series wanders through
performance, sculpture,
film and dance, with each
participant adding new
layers of meaning and
different perspectives
from which to appreciate
the relationship between
dance and art. The Dancers
also features the premiere
of new works by major
artists such as Joachim
Koester, whose film Tarantism (2007, inspired by the
uncontrollable bodily convulsions caused by a spider
bite) has been included in
several dance-related museum exhibitions around
the world.
assembling an index of
tools for improving the
urban environment, with a
specific focus on political
processes. To collect testimonies on this subject,
a mobile unit resembling
an expandable toolbox –
designed by Pedro Reyes
– will be the venue for a
series of live exchanges
of knowledge between
strategic agents, citizens,
politicians and decision
makers. When fully open,
the ugp unit becomes a
fully-functional open-air
TV recording studio in
which interviews can be
conducted and recorded.
This pool of knowledge
will then be organised as
an index that will constitute the ugp archive.
A key component of the
ugp archive will be a series
of in-depth interviews with
current or recent mayors
of cities around the world.
Hand in hand with the
world’s rapid urbanisation
goes an equivalent rise in
the prominence and influence of the figure of the
mayor. The conventional
perception of the mayor
as mid-level bureaucrat
The Dancers
Curated by Anthony Huberman
Xavier Le Roy, self unfinished, 1998.
Photo: Katrin Schoof - The Dancers
and policy maker is being
transformed by a new
breed of politician: the
supermayor.
Another principal element of the archive will be
a series of dialogues with
policymakers responsible
for innovation in the urban
sphere: city planners,
administrators, governors,
regulators, councillors,
members of parliament,
congressmen, senators,
public officers, etc.
by Joseph Grima
A third category is
and Pedro Reyes
strategic agents: citizens,
researchers, artists and
The Urban Genome Proj- architects, activists, critics
ect is a research endeavor
and writers who are colinitiated by editor and
lectively transforming our
curator Joseph Grima
understanding of urbanand artist and architect
ism, policy and design
Pedro Reyes. Its intent is
practices.
to ‘map the code on which
As in genetics, the opcities are written’, thereby erative strategy of the ugp
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Picnic
for the Mind
Curated by
Gianluigi Ricuperati
Hypnotic Show
Curated by
Raimundas Malasauskas;
conducted by Marcos Lutyens
Visualising Transformation explores new discourses around the various
disciplines involved in
design, with the aim of
imagining the results
of the creative process
behind it. These results
are, indeed, decisive for
asserting one fundamental
necessity of the contemporary: that of ceaseless
experimentation.
Hypnotic Show is an exhibition in the mind of the
audience created by fused
practices art and hypnosis.
‘I feel that the exhibitions are a construct that
already exists and I am
guiding people through
something that is already
artissima design is produced in
there and perhaps has been collaboration
with the Chamber of
there for a long while. I
Commerce of Turin
think the division between
curator, artist, docent, visitor
gets completely blurred
as the exhibit is projected
into a kind of collectively
experienced place within a
subliminal state.’ (Marcos
CASTELLO DI RIVOLI MUSEO
Lutyens).
D’ARTE CONTEMPORANEA
EXHIBITIONS
IN TOWN
Three seminar-lectures
will take place during
artissima at 1967-1977, a
pop-up bookshop curated
by Amedeo Martegani (am
bookstore). Here authors,
designers, artists and
historians will officiate at
a public rite of storytellVISUALISING TRANSFORMATION
ing and discussions about
Curated by Barbara Brondi
three magazines published
and Marco Rainò
in the 1960s and 70s. The
events will include three
This year, a new
sessions for the mind
thematic section titled
artissima design is being
launched. It will present a
special in-depth analysis of
the IN Residence project,
the annual workshop promoting interaction between
well-established designers
and a selection of students.
The workshop focuses on
identifying, analysing and
deciphering attitudes, and
adopts an experimental
approach informed by contemporary design thought.
Following the first two
events in Turin in 2008
and 2009, IN Residence
returns encouraged by
the great success of the
workshops and the international recognition it has
received in such a short
or three analysis spaces,
time. The only event to
attended by undergradutake place outside the fair
ate and graduate students
premises, Visualising Transfrom different faculties
formation has been devised
and art schools, as well as
and curated by Barbara
passersby. Three important Brondi and Marco Rainò,
publishing initiatives of a
and includes a workshop,
bygone era, from a time
a series of debates and a
when a magazine would
group exhibition in the
be launched whenever an
prestigious halls of Palazzo
idea was born, and when
Birago in Turin.
magazines were seen by
The exhibition will
artists as places where
present to the genother disciplines could be
eral public a set of original
encountered. Some of the
works by some of the most
journals explored in this
highly regarded figures in
event were modest but ex- the international arena of
citing journeys that some- design research, Tomás
times never went beyond
Alonso, Beta Tank, Julien
a single issue, while others Carretero, Lanzavecchia +
were more akin to regular
Wai, Minale-Maeda and
picnics that outlasted their Mischer’Traxler, as well as
own transient nature.
environmental installations
With Andrea Branzi,
designed and made espeAndrea Cortellessa, Hans
cially for the occasion by
Ulrich Obrist, and others. MARC, Nucleo and UdA.
ARTISSIMA
DESIGN
exhibition exhibition
curated by Adam Carr
fellowship for young
italian artists
Massimo Grimaldi
curated by Marcella Beccaria
•
FONDAZIONE MERZ
mario merz: Pageantry of
painting Corteo della pittura
curated by Rudi Fuchs
•
FONDAZIONE SANDRETTO
RE REBAUDENGO
modernikon
Contemporary Art from Russia
curated by Francesco Bonami
and Irene Calderoni
•
GAM / GALLERIA CIVICA D’ARTE
MODERNA E CONTEMPORANEA
osvaldo licini:
Masterworks
martha rosler .
As If
curated by Elena Volpato
antonio riello:
Be Square! GAM
•
PINACOTECA GIOVANNI
E MARELLA AGNELLI
china power station
curated by Gunnar B. Kvaran,
Hans Ulrich Obrist
and Julia Peyton-Jones
•
VILLA DELLA REGINA
philippe parreno
by Enea Righi Collection
in collaboration with
kaleidoscope
SPONSORED BY
FONDAZIONE TORINO MUSEI
Regione Piemonte
Provincia di Torino
Città di Torino
Camera di commercio
di Torino
Compagnia di San Paolo
Fondazione per
l’Arte Moderna e
Contemporanea CRT
Main Partner
UniCredit
Partners
GREY GOOSE,
illycaffè, Mattioli
Printed on Conqueror CX22
In recent years, dancers
have made frequent and
significant appearances in
the context of visual art.
Not since the legendary
Judson Dance Theater
in the early 1960s have
the lines between art and
dance been so blurred,
with young contemporary
artists and choreographers eager to learn from
and collaborate with one
another. Exhibitions in
major art institutions such
as the Museum of Modern
Art, New York, the Walker
Art Center, Minneapolis,
and the Whitney Museum
of American Art, New
York, have placed the
pioneers of postmodern
dance – Trisha Brown,
Anna Halprin, Lucinda
Childs and Yvonne Rainer
– within the established
canon of the history of art,
and a next generation of
choreographers and artists
are finding provocative
new ways to think about
the body moving through
space and time.
At artissima, The
Dancers provides a context
in which contemporary
art shares the stage with
contemporary choreography, allowing each
discipline to inform and
is organised in two distinct
phases: prospecting and
sequencing.
After artissima, the
schematic entries produced during the sequencing phase will form the
elementary particles of the
ugp’s ’urban toolbox’: a
database or catalogue of
strategies and processes
collected all over the world
that can be recombined
and tested in unrelated
urban contexts.
In Kind Sponsors
AMIAT, Arjowiggins
Creative Papers, Fiat
Group, Gaggenau, Galliano
Habitat-Museo del Design,
Italamp, SWAROVSKI
ELEMENTS, Valcucine
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