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Electric Repair Enterprise --------------------------------------------------------------- An Artissima Production
Keren Cytter, Repulsion, 2007, video still. Courtesy Ellen De Bruijne, Amsterdam
“If one wants to
have a good level of
spiritual hygiene,
one has to be able to
explore all categories.
Making with just one
of them turns one
into an old-fashioned
Marc-Olivier Wahler PAGE 5
In March, when I accepted the post as
director of Artissima, I was well aware
I was going to be taking on a formidable
task which, from many points of view,
would be both complex and difficult.
It would involve taking over a contemporary
art Fair which, even though it had indeed
built up a significant tradition, needed to
be given new impetus, redesigned and
set new objectives. All this was to be
accomplished in a highly sophisticated
contemporary art market – Italian collectors
are held in extremely high esteem abroad –
which is certainly not as aggressive and
voracious as in America or Britain. Another
matter I pondered very carefully was the
very particular nature of Artissima, which
is a public Fair and the expression of a
cultural authority. Originally created as
part of a private project, in 2004 Artissima
was taken over by the local authorities –
Piedmont Region, the Province of Turin,
and the City of Turin – who displayed great
foresight and entrusted its running to
Fondazione Torino Musei. When I say
“with foresight”, I mean that on the one
hand the Fair ensures significant economic
revenues for the city, while on the other
it has become one of the most important
international events in the city. Piedmont
Region and The City of Turin have been
investing in the world of contemporary art
for some years now, fully realising that – like
many other cities around the world – this is
a fundamental investment for the cultural
life of Turin and for its image and visibility
in Italy and abroad.
So what sort of Fair should be created in Turin?
What objectives need to be set? First of all,
I imagined an international event of great
prestige – a cultural event of the highest quality
– and, incidentally, this remained true to the
original aims of Artissima. I believe that when
I was called to Turin to become the director,
it was because of my background as an art
critic and curator who had trained in New York,
and I was expected to create something more
than just a minor market that jumbled together
a bit of modern and a bit of contemporary, a
bit of avant-garde and a bit of something else.
In order to ensure works of the highest
quality as well as a good turnover for the
galleries, the first thing I did was to reduce
the number of galleries, taking it down
this year to 131 – in other words, 41 fewer
than last year – with the aim of reducing
it even further in the coming years.
This year is bound to be a year of
transition, but the idea is to create a
true gem of a Fair in due course.
With about a hundred galleries it will be a
monitoring centre for the finest international
research in the field of the visual arts.
In line with the overall cultural policy of the
city of Turin, I have tried to focus on product
excellence and on absolute cultural quality.
I am convinced that a contemporary art
Fair along these lines will on the one
hand encourage the rise of a new form
of collecting – one that is young and
specialised, capable of investing
moderate amounts in future artists.
On the other, it will also satisfy the
intellectual curiosity of a sizeable group
of Italian and foreign collectors, who
have long been following contemporary
art production “in the making.”
This is certainly a substantial commitment,
and yet it is absolutely essential if this
event is to survive. But then again, all the
most important international fairs feel
the need to renew themselves all the time,
and reassess themselves every year.
Just like any other economic and cultural
event, contemporary art fairs also
need to keep evolving all the time,
coming up with important new initiatives
and constantly arousing interest in an
ever-changing, highly dynamic art system.
For this reason, cooperation between the
various international fairs is becoming
absolutely crucial for their survival, and
the new Artissima has every intention of
moving in this direction.
So Artissima is to be a marketplace of the
highest quality, a platform on which the latest
research can be shown, but it is also to be
a flexible instrument at the service of the
city and of the entire art system in Italy.
A container of art, ideas and events, a vibrant
and intense workshop for discussion, in which
to have a personal and intellectual experience
that is both stimulating and engrossing.
This year, together with the important historic
group of galleries that have always taken
part, Artissima will also be presenting a
series of young Italian and international
galleries of the highest level. At the Fair,
together with the traditional stands, there
will also be two sections – Constellations
and Present Future – designed as authentic
exhibitions. In this issue you will find much
of the rich programme of events for this
14th Artissima edition. We look forward
to seeing you in Turin in November.
Andrea Bellini
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For seven years now, Present Future has
been an important launching platform for
the latest generation of emerging talents.
A unique event in the panorama of art
fairs in Italy, Present Future is a showcase
for the public and critics alike, where
they can discover the latest trends on the
international art scene. With a team of
curators who carefully examine studios
and galleries halfway round the world,
and under the watchful eyes of a jury
that rewards the most interesting artist,
Present Future has always set its sights
on the most advanced frontiers of research.
This year, Present Future is introducing
an exciting new feature: an exhibition
space specially designed for this section.
Instead of presenting their works on normal
booths around the art fair, the selected
artists will be invited to show their works
in an independent and separate area,
which is devoted exclusively to Present
Future – a new structure specially
designed to show these works to their best
advantage. Many of them are being shown
to the public for the first time. Following an
itinerary that is more like an exhibition than
a fair, Present Future displays the works of
a select group of young artists, enhancing
the dialogue between the works whilst
creating a tour with constant surprises.
The team which has selected 15 artists
consists of three young international
curators: Cecilia Alemani, art critic and
independent curator based in New York;
Luca Cerizza, curator of the BSI Collection
and art critic based in Berlin; Raimundas
Malasauskas, curator at the Artists Space
in New York and advisor to the California
College of Arts, San Francisco.
a surreal and dreamlike landscape
suspended between reality and fiction,
which will be making its European
premiere here.
Haris Epaminonda (1980), the artist who
represented Cyprus at the last Biennale in
Venice, where she attracted the attention
of top British critic of The Guardian Adrian
Searle, will be showing a series of videos
and collages with the Domobaal gallery
of London, while the Venezuelan Patricia
Esquivias (1979), who works with the
Silverman gallery of San Francisco, will be
showing her video Reads like the Paper.
The disorienting photographs by Anne
Hardy (1970) which were shown in the
New Forest Pavilion at the last Biennale
in Venice and who is at Artissima with
the New York gallery Bellwether, portray
parallel and sometimes disquieting worlds
created in her studio with intricate, almost
cinema-style sets. The Australian Helen
Johnson (1979) (Sutton gallery –
Melbourne) will cover the walls of the fair
with her gentle, elegant drawings, while
David Maljkovic (1973) who is one of the
most closely followed emerging artists on
the international scene and who has a
solo exhibition at the Kunstverein in
these months, will create a site-specific
environment for a video and collages
in the space of Annet Gelink gallery
from Amsterdam. Shown at the first
Biennale in Moscow, and followed for
some years now by critic and curator
Daniel Birnbaum, Michael Riedel (1972),
with Isabella Bortolozzi of Berlin,
will be making a new work which has
been created as a direct response to the
surrounding environment of the fair.
Also Natascha Sadr Haghighian (Johann
König – Berlin) takes her inspiration from
the exhibition site at the fair for a new
work that investigates social and political
representations. Jamie Shovlin (1978),
from England, who is taking part in the
fair with Unosunove of Rome, and who
was noted in 2006 by the critics at Beck’s
Futures at the ICA in London, will be
showing for the first time his Black Room
project – an installation of works on the
American national identity and its complex
international relations. The new video I-BE
AREA by Ryan Trecartin (1981), the young
American talent who wowed the critics at
the recent 2006 Whitney Biennial, will be
making its European debut at Artissima
with the Elizabeth Dee gallery of New
York, together with a series of eccentric
sculptures made with Lizzie Fitch.
Luca Trevisani (1979), winner of the
2007 Furla award, who is represented by
Pinksummer of Genoa and Gio’ Marconi
of Milan, will show his 6 Degrees of
Separation Party, a fascinating pyramidal
sculpture made of glasses, which takes up
the theory that anyone can make contact
with any other person on the planet
through six levels of acquaintances.
Donelle Woolford (1980), at the fair with
Micheline Szwajcer of Antwerp, will be
showing a series of paintings of Cubist
inspiration, made of scraps of wood that form
delicate compositions while also recalling
the modernist avant-garde movements.
illycaffé, the Present Future partner,
will be generously providing the award
to the best artist. The jury, composed by
Corinne Diserens, Director of MUSEION,
Bolzano, Francesco Manacorda, Curator
at the Barbican Art Gallery, London, and
Susanne Pfeffer, Curator at KW Institute
for Contemporary Art, Berlin, will meet
during the fair to assign the 10,000 euros
prize, which will also allow a project
for the “illy Art Collection” designer
cups to be submitted.
A catalogue, with essays by the curators
and pages devoted to the artists will
be available at the fair.
Artists & Galleries
Julieta Aranda, Michael Janssen, Berlin
Rosa Barba, Vera Gliem, Köln
Becky Beasley, Laura Bartlett, London
Rä di Martino, Monitor, Roma
Haris Epaminonda, Domobaal, London
Patricia Esquivias, Silverman, San Francisco
Anne Hardy, Bellwether, New York
Helen Johnson, Sutton, Melbourne
David Maljkovic, Annet Gelink, Amsterdam
Michael Riedel, Isabella Bortolozzi, Berlin
Natascha Sadr Haghighian, Johann König, Berlin
Jamie Shovlin, 1/9 Unosunove, Roma
Ryan Trecartin, Elizabeth Dee, New York
Luca Trevisani, Giò Marconi, Milano /
Pinksummer, Genova
Donelle Woolford, Micheline Szwajcer, Antwerp
The artists, who have been selected from
more than ten countries, have been invited
by the curators to present a work new to
the Italian public: many have decided to
make special works for the occasion. The
curators have focused their attention on
young artists who have not yet made their
name in Italy, but who are coming to the
fore in such countries as the United States,
Britain, Germany, the Netherlands, Belgium
and Australia.
Julieta Aranda (1975), a Mexican artist
who lives in New York and works with
Michael Janssen in Berlin, will be making
her debut in Italy with a new and
ambitious sculpture, while Rosa Barba
(1972), an Italian artist who has moved
to Germany, where she works with the
Vera Gliem gallery in Cologne, will be
showing one of her films with a truly
hypnotic atmosphere. Becky Beasley
(1975), from England, who is at the fair
with the young Laura Bartlett gallery
in London, will be showing photographs,
many of which are in black and white,
that portray household objects or
mysterious little sculptures. With Monitor
of Rome, Rä di Martino (1975) will
be showing her film The Red Shoes,
Haris Epaminonda, Untitled *24, collage, 2007. Copyright the artist, Courtesy Domobaal, London.
Collection Thyssen-Bornemisza Art Contemporary, Wien
Haris Epaminonda, Untitled *25, collage, 2007. Copyright the artist, Courtesy Domobaal, London.
Collection Thyssen-Bornemisza Art Contemporary, Wien
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17 galleries from 8 countries have been
admitted by the Artissima Board of Directors
and the Consulting Committee to the special
New Entries section for young galleries set up
since 2002 and taking part in the fair for
the first time.
This exclusive selection offers collectors,
professionals and the broader public
the most interesting new names on
the international art scene: a unique
observation post to find out about
emerging creativity.
An opportunity to find out about the very latest
trends in contemporary art and to discover
and purchase – tomorrow’s big names today.
Pae White, Ghosts and Hosts, 2006. Courtesy francesca kaufmann, Milano
For the first time at Artissima the works
of the Constellations section, selected
by Marc-Olivier Wahler, Director of the
Palais de Tokyo, Paris and Daniel Birnbaum,
Director of Portikus, Frankfurt, are being
shown in a museum-style exhibition.
The two distinguished international curators
have selected 10 works from more than
90 submitted by the galleries taking part
in the fair.
1/9 Unosunove, Roma / 1000eventi,
Milano / 41artecontemporanea, Torino /
Albion, London / AMT, Como / Analix
Forever, Genève / Paul Andriesse,
Amsterdam / Art agents, Hamburg /
Art : Concept, Paris / Artericambi, Verona /
Alfonso Artiaco, Napoli / Artra, Milano /
Astuni, Pietrasanta / Laura Bartlett,
London / Bellwether, New York /
bnd tomasorenoldibracco, Milano /
Bortolami, New York / Isabella Bortolozzi,
Berlin / Brancolini Grimaldi, Roma,
Firenze / Canada, New York / Cardi,
Milano / Charim, Wien / cherry and
martin, Los Angeles / Ciocca, Milano /
Citric, Brescia / Antonio Colombo, Milano /
John Connelly Presents, New York /
Continua, San Gimignano, Beijing /
Raffaella Cortese, Milano / Cosmic, Paris /
Guido Costa, Torino / Ellen de Bruijne,
Amsterdam / de Expeditie, Amsterdam /
Alessandro De March, Milano /
Keren Cytter
Matt O’Dell
Repulsion, 2007, Ellen De Bruijne, Amsterdam
New Worship, 2007, Schleicher+Lange, Paris
Jimmie Durham
Conrad Shawcross
Nature Morte with stone and house, to be created,
Christine König, Wien
Paradigm (Ode the difference engine), 2006
Tucci Russo, Torre Pellice
Kristof Kintera
Nedko Solakov
Cement tower (instant persona skyscraper),
to be created, Jiri Svestka, Prague
The Missing One, 2007
Continua, San Gimignano, Beijing
Maurizio Mochetti
James Turrell
Travaso di Luce, 1970-2007, Oredaria, Roma
Ondo blue, 1968, Albion, London
Jonathan Monk
Pae White
The height of my son when he is sitting on his
fathers shoulders 2007, Sonia Rosso, Torino
Ghosts and Hosts, 2006
francesca kaufmann, Milano
de Multiples, Paris / Elizabeth Dee,
New York / Umberto Di Marino, Napoli /
domobaal, London / e/static, Torino /
Feinkost, Berlin / Figge von Rosen, Köln /
Emi Fontana, Milano, Los Angeles /
Fonti, Napoli / enricofornello, Prato /
Foxy Production, New York / Fruit and
Flower Deli, New York / Galerie Im
Regierungsviertel, Berlin / Galica, Milano /
Annet Gelink, Amsterdam / Glance, Torino /
Vera Gliem, Köln / Goff + Rosenthal,
New York, Berlin / Haas&Fischer, Zürich /
Moti Hasson, New York / Reinhard Hauff,
Stuttgart / Hoet Bekaert, Gent /
In Arco, Torino / Alison Jacques, London /
Michael Janssen, Berlin, Köln / francesca
kaufmann, Milano / Nicole Klagsbrun, New
York / Klerkx, Milano / Christine König,
Wien / Johann König, Berlin / Elaine Levy,
Brussels / Magazzino d'Arte Moderna,
Roma / Cesare Manzo, Pescara, Roma /
Giò Marconi, Milano / Marella, Milano,
Beijing / Franco Masoero, Torino / Maze,
Torino / Francesca Minini, Milano /
Massimo Minini, Brescia / Monitor, Roma /
Pio Monti, Roma / Murata & friends,
Berlin / Museum 52, London /
Newman Popiashvili, New York / Franco
Noero, Torino / Nogueras Blanchard,
Barcelona / Noire, Torino / Lorcan O’Neill,
Roma / OneTwenty, Gent / OREDARIA,
Roma / Palma Dotze, Vilafranca Del
Penedès / francescopantaleone, Palermo /
Alberto Peola, Torino / Emmanuel
Perrotin, Paris / Giorgio Persano, Torino /
Perugi, Padova / Photo & Contemporary,
Torino / Photology, Milano, Bologna /
Pianissimo, Milano / Pinksummer, Genova /
Postmasters, New York / Produzenten,
Hamburg / prometeo, Milano /
Reflex, Amsterdam / Regina, Moscow /
Rizziero, Pescara / Sonia Rosso, Torino /
Perry Rubenstein, New York / Rubicon,
Dublin / Lia Rumma, Napoli, Milano /
Nikolaus Ruzicska, Salzburg / S.A.L.E.S.,
Roma / schleicher + lange, Paris /
Mimmo Scognamiglio, Napoli, Milano /
Suzy Shammah, Milano / Side 2, Tokyo /
Silverman, San Francisco / Škuc,
Ljubljana / FRANCOSOFFIANTINO, Torino /
Diana Stigter, Amsterdam / Sutton,
Melbourne / Jiri Svestka, Prague /
Micheline Szwajcer, Antwerpen /
Ermanno Tedeschi, Torino, Milano /
1/9 Unosunove, Roma
AMT, Como
Canada, New York
Citric, Brescia
de Multiples, Paris
Feinkost, Berlin
Foxy Production, New York
Fruit and Flower Deli, New York
Galerie Im Regierungsviertel, Berlin
Haas&Fischer, Zurich
Moti Hasson, New York
Elaine Levy, Brussels
Museum 52, London
Nogueras Blanchard, Barcelona
OneTwenty, Gent
Pianissimo, Milano
Wallspace, New York
Ileana Tounta, Athens / TUCCI RUSSO,
Torre Pellice / Daniele Ugolini, Firenze /
V.M.21, Roma / Georges-Philippe et
Nathalie Vallois, Paris / van Gelder,
Amsterdam / Vernon, Prague / Vistamare,
Pescara / Wallspace, New York /
Max Wigram, London / Wilkinson, London /
ZERO, Milano / Zonca & Zonca, Milano
Paul Andriesse, Paul Andriesse gallery,
Amsterdam / Olivier Antoine, Art : Concept
gallery, Paris / Francesca Kaufmann, francesca
kaufmann gallery, Milano / Massimo Minini,
Massimo Minini gallery, Brescia / Franco Noero,
Franco Noero gallery, Torino / Paolo Zani,
Zero gallery, Milano
Marc and Josée Gensollen, Marseille / Maurizio
Morra Greco, Napoli / Filiep and Mimi Libeert,
Kortrijk / Gregory Papadimitriou, Athens /
Renato Preti, Milano
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AES+F, Last Riot, 2007 – HD video, 1-channel. Courtesy of artists, Marco Noire
Contemporary Art (Torino), Ruzicska Galerie (Salzburg), and Triumph Gallery (Moscow)
Artissima 14’s Video Lounge is devoted
to the latest trends and the most recent
creations of artists who work with film,
video and animation. Mixing together the
hallucinations, documentaries, visions and
digital perceptions of about forty international
artists, the Video Lounge opens a window
onto the world of contemporary art, guiding
the audience on a journey through possible
worlds and new landscapes of imagination.
Curated by Cecilia Alemani, the program
revolves around the themes of WAR, PEACE,
AND ECSTASY which have been chosen
as the key concepts for an exploration of
today’s art, in order to create a fragmentary
reconstruction of the hopes and fears that
have always shaken our lives. Forming
a sort of thematic exhibition, the Video
Lounge consists of a mini-anthology
in which the artists provide poetic and
imaginative interpretations of today’s
most topical and dramatic issues.
In the modern world’s jumble of countless
forms of expression, video and cinema
can impose themselves as universal
languages, with which artists attempt to
offer a new portrayal of reality. Wavering
between a desire to take refuge in a
place of pure fiction and the need to
record reality in all its complexity, today’s
artists take to video and arm themselves
with cameras to compose a new historical
fiction, a new fresco to tell the story
of our present.
Shown in the Yellow Hall, next to Pavilion 3,
which houses the fair, in a specially
designed area with sofas and seat that
are as comfortable as they are bizarre, the
Video Lounge is not just a place where one
can let oneself be swept along in a flow
of images, for it is also a sort of capsule in
which to lose oneself in a journey through
sidereal images, new narratives and bitter
representations of reality. A lavish daily
program of videos will be projected onto
three large screens – details of the works
being shown will be published in a leaflet at
the fair. In order to let the busiest visitors
view the vast amount of material on show at
the fair, the Video Lounge will be providing
2 video-on-demand stations, where it will be
possible to watch the videos in the program
at any time and without needing to follow
the normal viewing order.
WAR, PEACE, AND ECSTASY is a picture
gallery that celebrates atrocious violence
and mysterious love rituals, collective
clashes and little private reconciliations.
Wavering between reality and sciencefiction, the spectacular war scenes
created by AES+F – a group of Russian
artists who came into the limelight
during the most recent Biennale in
Venice – alternate with images of a
domestic and inner conflict imagined
by Klara Liden, the young Swedish
artist who made a name for herself
at the Biennale in Berlin.
Desolate views of huge apartment
blocks on the remote outskirts of Kiev,
intermingled with unexpected explosions,
are the ingredients of the video made
by the promising French artist Cyprien
Gaillard. They will be accompanied by
the alienating military ceremonies of the
Russian Olga Chernysheva, which were
shown at the last Biennale in Moscow.
From the exhilarating choreography
by Katarzyna Kozyra, through to the
mystic processions of Javier Téllez,
and on to Dara Friedman’s sensual
and ecstatic kisses, the works shown
in Video Lounge form a small visual
encyclopaedia of the fears and
desires of the present day. Aïda
Ruilova’s strange rituals, Regina
José Galindo’s bloody tortures and
Josephine Meckseper’s street
protests will be shown together with
the works of many other selected
artists who work with the galleries
taking part in Artissima.
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Artissima All Over presented Marc-Olivier
Wahler, a protagonist on the international
art scene, in October. This comes after
the success of the first series of
conferences in Turin and Milan in May,
with the participation of one of the
most interesting personalities in New York
avant-garde, the artist, musician and
gallery director Emily Sundblad.
Artissima All Over is a new satellite
project of Artissima: a year-long series
of conferences with the participation
of artists, critics, curators and international
museum directors, at art academies
and other prestigious institutions throughout
Italy. It will be a great opportunity for
collectors, students and art lovers to
meet and discuss with the great names
of today’s contemporary art scene.
Marc-Olivier Wahler has directed leading
cultural institutions including the Centre
d’Art Contemporain in Neuchâtel from
1995 to 2000 and, later, the Swiss Institute
in New York. Since 2006, he has been
director of the Palais de Tokyo in Paris,
one of the most active contemporary
art museums, and one with an extremely
close eye on the latest trends: with
24 exhibitions a year, it is a place of
contemporary creativity in the fullest
sense of this term. In Wahler’s words:
“Art is an authentic moving platform
that investigates the various areas
of thought and contemporary activity.
The Palais de Tokyo is a pilot project
that is putting itself at the forefront to
create the instruments required to offer
a critical reflection on contemporary
culture... My exhibitions are based on
the dynamics of research and curiosity,
not on consolidated aesthetics.
It’s like an electric fluctuation between
two poles: a dynamic, not a result.”
“Contemporary Art. From Yodelling to
Quantum Physics.” The title suggested
for the Artissima All Over conferences
is as provocative and intriguing as
Marc-Olivier Wahler himself, a man
who intends to contend with and
confront the public with a number
of thought-provoking questions:
“How to get shot of the ‘window vision’
of art, which regards exhibitions and
works as fixed points in time and space?
Marc-Olivier Wahler
How to integrate the notion of a programming
conceived of as a cursor, and set in a
scenario based on the multiplication of
interpretations, the decompartmentalization
of intellectual and aesthetic categories
and the constant questioning of the
bridges between art and our reality?”
The locations on the second tour of
Artissima All Over included: Turin,
Accademia Albertina di Belle Arti
(2 October); Siracusa, Galleria di
Montevergini (3 October); Palermo,
EXPA (4 October); Napoli, Accademia
di Belle Arti (5 October).
The meetings have been made possible
by the support and participation of
UniCredit Group, which has been Artissima’s
leading partner for a number of editions.
illycaffé, partner of the fair for many
years, has been supporting Artissima
All Over since its first tour.
And, to quote Wahler again: “If one wants
to have a good level of spiritual hygiene,
one has to be able to explore all categories.
Making with just one of them turns one
into an old-fashioned reactionary.”
After the first two events, which were greeted
with extraordinary interest by both visitors
and professionals, Artissima 14 is once
again planning Ascolta chi scrive – Listen to
the writer, a special initiative created for
the broader public.
The idea is to offer art lovers and inquisitive
visitors the opportunity to go round the fair
with special guides: critics and journalists
who deal with art from the inside, writing
for the great Italian journals. They will
accompany the public through the fair on an
entirely open and individual tour. These tours
will be based on the characteristics of the
works, or on the artists or techniques, on
trends and fashions, or simply on individual
passion, curiosity, or personal preferences.
These are the names of the exceptional
Artissima 14 guides: Luca Beatrice Arte,
Pia Capelli Libero, Laura Cherubini
Il Giornale, Caroline Corbetta Vogue Italia,
Martina Corgnati Chi, Olga Gambari
Repubblica, Elena Del Drago Il Manifesto,
Alessandra Mammì L’Espresso, Gianluca
Marziani Panorama, Adriana Polveroni
Repubblica, Ludovico Pratesi Venerdì di
Repubblica, Massimiliano Tonelli Exibart.
Visitors can choose their “own” personal visit by
calling +39 – 011546284 or by sending an e-mail
to [email protected] The event has been made
possible by Vanni-occhiali, which is sponsoring
Listen to the writer for the second time.
Artistic Director of
Fondazione Sandretto
Re Rebaudengo per L’Arte
Manilow Senior Curator,
MCA Chicago
What will the new
Artissima be like?
Certainly something
new, without intending
to be the Basle fair,
it will be a new event
that takes an innovative
approach to combining
the art market with
discussions and debates
about art, confirming
the key role of Turin
and Piedmont in the
development and study
of contemporary culture.
Artissima has all it
takes to become a new
phenomenon – a fair
in the making. In other
words, an event that is
in a state of constant
transformation in order
to respond to changes
in the art system as they
occur. With an eye on
today’s market, of course,
but also on what it might
be tomorrow, without
being obsessed either
by a possible boom or
some impending crisis.
Artissima is an investment
in which to invest – to
invest in art.
Director of Castello di Rivoli,
Museum of Contemporary Art
I believe that every
country with a complex
and elaborate art system
must contemplate having
its own top-level fair.
There are a number of
these in Italy but, when
one looks at the world
of contemporary art, it
is increasingly Artissima
that is at the focus of
attention, for with its
many events it acts
as a monitoring centre
of all that is new.
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Chaired by Måns Wrange / CuratorLab, Konstfack, Stockholm.
Some of the greatest names on
the international art scene will
be debating two themes:
Ronald Jones
Artist, critic and Professor of the Department of
Interdisciplinary Studies and WIRE at Konstfack,
Stockholm, and a regular contributor to art
magazines including Artforum and Frieze
Curating Friction – Between censorship
and repressive tolerance
Caroline Corbetta
Art critic and independent curator, Milan.
She is professor of Contemporary Art
Phenomenology at the Carrara Accademia of
Bergamo. She is a regular writer for Vogue
Italia, Domus and Contemporary Magazine
Coloring Outside the lines –
When the borderlines between
artists and curators blur
Meg Cranston
Artist and curator based in Los Angeles and
professor at Otis College of Art and Design, LA
Marysia Lewandowska
Artist and Professor at the Department of
Fine Art and WIRE and CuratorLab at
Konstfack, Stockholm
Joshua Decter
Independent curator and teacher at Bard
College, NY. He is a contributor to art
magazines, including Flash Art
Francesco Manacorda
Writer, critic. Curator, Barbican Art Gallery,
London. Writes regularly for Flash Art,
Metropolis and Domus
Ute Meta Bauer
Curator and Associate Professor
and Director of the Visual Arts Program
at the Massachusetts Institute
of Technology, Cambridge
Yu Yeon Kim
Independent curator based in New York City
and Seoul, Korea. Kim is the curator of the
project MZ_2000 Demilitarized Zone
between North and South Korea
Chus Martinez
Director Frankfurter Kunstverein and
former curator Sala Rekalde, Bilbao
Luca Cerizza
Curator and critic, Berlin. Curator of
the BSI art collection, he teaches
“curatorial practice” at the NABA
art college of Milan. He regularly writes
for Frieze and Tema Celeste
Vasif Kortun
Director of Platform Garanti, Istanbul.
Also founding director of the Project Istanbul
Museum of Contemporary Art (2000-2003)
and head curator and director of the 3rd
International Biennial Istanbul
Artissima is also hosting several other
events and presentations:
Meskerem Assegued Addis Abeba, Ethiopia.
Critic and curator, director of the Zoma
Contemporary Art Center in Addis Abeba, and
a member of the selection committee for the
Africa Pavilion at the 52nd Biennale in Venice
Mariangela Mendez Prencke Bogotá,
Colombia. Critic and curator, Faculty Member,
Arts and Classical Disciplines Programme,
Universidad de los Andes, Bogotà
In cooperation with illycaffé, which is also a
partner of the fair in Present Future section,
devoted to emerging talents, three young
curators from Colombia, Ethiopia and India
Suman Gopinath, Bangalore, India.
An independent critic and curator, she has
curated several exhibitions in India and
throughout Europe. In 2005 she set up and
still runs Colab Art & Architecture in Bangalore
Friday, November 9
Saturday, November 10
Sunday, November 11
h. 11.30 a.m.
illy Present Future Award Ceremony
h. 11.30 a.m.
Presentation of the book This is
contemporary! – Come cambiano i musei
d’arte contemporanea by Adriana Polveroni.
Speakers: Fabio Cavallucci, Anna Mattirolo,
Catterina Seia, Pierluigi Sacco.
Moderator: Guido Curto
h. 11.30 a.m.
Contemporary Art and Economy.
A grant for a better understanding.
A conference by UniCredit Private Banking
and Fondazione Giovanni Agnelli.
Speakers: Anna Detheridge, Guido Curto,
Walter Santagata
h. 1.00 p.m.
Presentation of Manifesta 7
h. 1.00 p.m.
Award of the Grant for young Italian artists
by the Amici Sostenitori of the Castello di Rivoli.
Speakers: Carla Ferraris, Marcella Beccaria
h. 12.30 a.m.
Pagine Bianche d’Autore /Vinci New York
Prize-giving for the winning Artists,
by SEAT Pagine Gialle (Yellow Pages)
in collaboration with DARC and GAI.
Speakers: Giovanna Incisa Cattaneo,
Teresa Macrì, Luca Majocchi, Ezio Bertino,
Anna Mattirolo, Fiorenzo Alfieri, Luigi Ratclif
h. 2.30 p.m.
Curatorial Seminar part I – Curating
friction. Between censorship and
repressive tolerance
h. 4.30 p.m.
Curatorial Seminar part I – Coloring
Outside the lines. When the borderlines
between artists and curators blur
h. 6.30 p.m.
Eco e Narciso. Laboratorio Artistico
Permanente. Presentation of the programme
of public art by Provincia di Torino.
Speakers: Valter Giuliano, Elena Del Drago,
a.titolo, Rebecca de Marchi
programme updated on 26/09/2007
Anton Vidokle
Artist, curator and founding director
of e-flux, New York
have been invited to take part in the seminar,
thus offering evidence of the new frontiers of
contemporary art. In line with its commitment
to coffee producers, with whom it has created
a relationship of interchange and the creation
of value for both sides over the past fifteen
years and more, the company has decided to
support artists and creative minds in the
countries where it purchases its raw materials,
helping them establish themselves on the
international art scene.
h. 2.30 p.m.
Curatorial Seminar part II – Coloring
Outside the lines. When the borderlines
between artists and curators blur
h. 4.30 p.m.
Curatorial Seminar part II – Curating
Friction. Between Censorship and
repressive tolerance
h. 6.30 p.m.
Guido Carbone Award for New Entries
Launch of the editorial project covering the
life and works of Guido Carbone.
Presentation of the exhibition This world is
fantastic: 20 years with Guido, scheduled
for May 2008, Palazzo Bricherasio, Turin
h. 3.00 p.m.
Panel PAV / Park of Living Art
Speakers: Nicolas Bourriaud, Piero
Gilardi, Francesco Poli, Lorenza Perelli,
Domenico Quaranta, Jun Takita,
Franco Torriani, Ivana Mulatero
h. 5.00 p.m.
Presentation of the book ORIGINAL,
venti anni di Biennale dei giovani
artisti dell’Europa e del Mediterraneo.
Speakers: Fiorenzo Alfieri, Luigi Ratclif, Jury
Krpan, Alessandro Stillo, Martin Angioni
h. 6.00 p.m.
Art for business Forum
An introduction to the project by
Valeria Cantoni, Trivioquadrivio, Milan in
collaboration with Università Cattolica, Milan
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As we mentioned in the first issue of Radio
Sick, this year sees the birth of ARTISSIMA
VOLUME, an entire section devoted to music
edited by NERO Magazine. For the first time
in Italy, some of the most highly acclaimed
musicians on the contemporary scene will
be taking part in unconventional locations as
part of Artissima, a fair devoted to the visual
arts. With a series of live performances, this
project aims to reveal the interconnections,
sources of inspiration and influences
between the visual arts and music.
This controversial relationship has in fact
been an intermittent process and a series
of spontaneous graftings and ramifications
on which ARTISSIMA VOLUME intends to
build up its own structure.
ARTISSIMA VOLUME is no ordinary festival,
but rather a moment of encounter between
musical imagination and that of the visual
arts. A series of projects that, in different
ways and without documentary links, create
a varied, constantly changing world: live sets
that interpret architectural spaces, exhibitions
that are authentic performances, and artists
who have a sort of “second life” in the music
world. Here, even the venues play a decisive
role: each context has been chosen on the
basis of musical and acoustic needs, but
also on logistic, historical and social grounds.
The locations are very different, though all
are of great impact and force, each one is
designed not only as the ideal setting for
clearly defined performances, but also as
elements that can contribute to the final content.
Here is some information in advance
about the programme: for the opening
evening of Artissima, on Thursday 8
at Lingotto, there will be an outstanding
guest, Merzbow, one of the greatest
exponents of worldwide noise, and
the founder of what has been coined
“Japanoise”. On Friday 9, there will
be an evening of concerts and
DJ-sets based on the concept of the
“solo” performance – in other words
performances carried out by soloists.
On Saturday 10 there will be a special
event for the contemporary art night: an
evening with one of the most interesting
groups currently on the international art
and music scene. In collaboration with Club
to Club, the night will end with a special
party, featuring some of the leading names
of international DJing will be performing.
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Museo Nazionale del Cinema,
Mole Antonelliana
Saturday 10 November
from h. 9.00 p.m. to h. 1.00 a.m.
Artissima 14
Lingotto Fiere
Sunday 11 November
Curated by Davide Quadrio, BizArt/Arthub
6 – 18 November
Opening on 5 November at 7.30 p.m.
Camera di Commercio di Torino,
Palazzo Birago di Borgaro
Curated by Daniele Ratti
and Sergio Pignatone
An exhibition of the works of GIPI,
the great Italian draughtsman who
is currently considered to be one of
the most significant personalities in
the field at an international level.
GIPI is the pseudonym of Gianni Pacinotti.
Having made his debut as an illustrator
and satirical draughtsman, Gipi gradually
shifted towards narrative drawing, creating
illustrated tales and cartoon stories, as
well as video and animated shorts. He has
published three books: Esterno Notte,
Appunti per una storia di guerra, his first
comic-strip novel, and his more recent
Gli innocenti, which creates an atmosphere
like that of Jim Jarmusch’s early films,
with a poetic celebration of detail and a
magnificent ability to describe apparently
commonplace events and make them special.
Artissima Fumetto investigates the
fascinating world of comics, which has
erroneously been considered by some
as a minor art form. This is an opportunity
for art lovers to discover the very latest and
most topical forms of expression and to
involve a broader and more varied public
in an event devoted to contemporary art.
The exhibition has been made possible
thanks to the support of the Camera di
Commercio di Torino.
Shanghai continues to conjure up an idea
of exoticism and decadence, together with
a childlike curiosity to see the secret of its
futuristic development unveiled. We who
have been here for so long and have seen
places change and disappear – as streets
have widened, and pedestrians and cyclists
have been squeezed into hidden alleyways,
with cars turning from taxis all of the same
colour into the most amazing limousines –
the city appears to have been desecrated
and at times suffocated, corrupted and
standardised. As Sine Bepler says: “a
striking aspect of the convulsive increase
of high-rise buildings is that although their
façades display diverse and excessive
extravaganza, in typological terms, they
are all exactly the same.”
I don’t even remember my own Shanghai –
the Shanghai of twenty years ago, with no
lights at night and with September floods
that overwhelmed it for weeks on end.
Before the age of refrigerators, when drinks
were still caught in blocks of dripping ice,
and coffee was a legacy of the old colonial
life, in dark cafés with boisterous groups of
old nostalgists brought up the British way.
Stories of another age.
Then things changed, I became involved in
the local art scene, BizArt started up in café
basements and ageing garages, and there
was the excitement and ingenuousness of
thinking we were doing something new and
important: the idealism of twenty-year-olds,
with the impetus of those who have no
tomorrow. The years fly by in Shanghai, and
each month changes the one that follows. In
just a few years, we went from technological
prehistory to the digital era. LED screen and
LCDs are everywhere – in taxis and
skyscraper lobbies, in the subway and on
entire façades of buildings, or on huge
screens taken out at night on barges on the
river Pujiang, so bright that you just cannot
help but look at them.
What I’m trying to get across in this latest
version of Shanghai is its inevitable
contradictions, for it is bent through the
eyes of artists until it becomes a fictitious,
distorted reality that nevertheless conceals
extravagant details somewhere between
poetry and drama, revealing once again
the true face of Shanghai. It is the Shanghai
beyond the dazzling lights, the Shanghai
of the people who live there and who
trade their own survival – which is not
that far away. It never is.
Yang Fudong, Robber South, 2001. Courtesy Yang Fudong and BizArt
We’ll see Shanghai through the eyes
of local artists, who experience it and
take it in every day. I asked Zhang Ding
and Liang Yue to show two original works,
which are currently being made. Song Tao,
on the other hand, will be showing a
work I’m very fond of: My Pretty Zhang
Jiang, almost a soap opera: the meeting
online, the sleep she denies, the initiatory
rite, the reawakening and then recognition.
Love revealed.
Yang Fudong, will be presenting Robber-south,
a work made some time ago, partly by BizArt
for a “Rotterdam. City of Culture” project
in 2001. The story of an immigrant
who becomes a lingdao – a white-collar
worker – it is a work that still moves me.
Designed for projection on the big
screen, it made its debut in a historic
park in Shanghai, the Fuxing, at a time
when “public” art events were still
extremely rare and difficult to put on.
In the video, the city is seen from below.
It is a city that already no longer exists,
an introduction to the drama of getting
rich as the ultimate and only yardstick
of success and power.
Contrasting with this work, Melanie
Jackson presents an animation video,
Made in China. It is the idea of a
(possibly) unseen Shanghai, based
on an iconographic study that is in
a sense removed from direct experience.
Melanie creates an image of Shanghai
that demythologises its historic role
and describes a possible personal
crisis in a ruthless all-devouring system.
The gracefulness of the animation
and the liveliness of the storyboard
transform the story into a tale of fantasy.
Alexander Brandt, a German artist who
lives in Shanghai, is showing The Next
Second, a multimedia installation presented
in China as a single-channel video.
Private-life dramas revealed in Shanghai.
The question is: “has it already happened
or is it about to?” As Alexander writes:
“A tiny random action, a second of
unmindfulness, an unconscious shade
in our facial expression. The smallest
detail matters. Though we didn’t mean to,
we realize that within a fraction of time
our life has taken an unwanted, irreversible
course. Obviously it could have all come
different, if in that moment we had
done something else. The next second,
everything could be different...”
Life goes on outside – the public
life of little heroes of nothingness.
David Cotterrell is showing Hero,
a video clip in which he narrates
of the people who direct the city
traffic – those “social servants”,
most of whom are pensioners and
who, armed with a whistle, attempt
to control the human surges on
the streets of Shanghai.
Xu Zhen’s historic Shouting video
of 1998, one of the artist’s first works,
reveals the other face of the hero – the
mass that moves within the alienation
of the city: along the river, in the
underground railways, on the Bund walk,
the legendary place of the past that
looks out towards its future, for indeed,
Pudong, the new, post-modern city is
on the other side, the financial centre
and tomorrow’s ideal (and that of the
2010 Universal Expo).
Yang Zhenzhong’s work, Na xiong na er
is subtitled Skycrapers: Phallic Symbols?.
In spite of the obvious imagery and,
I might add, its conceptual simplification,
this video offers an exciting and iconoclastic
pause, an opera buffa, an obscene laugh.
The city as a phallus, in which architecture
is no more than space snatched
from the sky.
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The city then decomposes into aesthetic
images, into twilight surfaces, and the
districts jumble up together. Who is going?
Who is coming? Where are we?
The spectator and the artist lose their
way in this avalanche of pictures without
any particular guiding thread: Huang Kui’s
Go away, Pierre Giner’s latest creation
still under production, and the Mattia
Matteucci+Patrick Tuttofuoco duo
with The Green Sky. In this immersion,
somewhere between an aestheticising
journey to the netherworld and a
documentary experience, between
a passage on the surface and an implicit
tale, the city is recognisable thanks
to some architectural symbols. It is the
anonymous metropolis of mangas:
the capital of everything possible.
The review starts and ends with Olivo
Barbieri’s A Silent Story and Riverscape #1
Night, China Shanghai 07. A Silent Story
is an imaginary flight over the city, a
hallucinated daydreaming nightmare and
the contrary of the exotic dream, beyond the
red revolution (which? when?). No comment.
Riverscape #1 Night, on the other hand,
is the opposite – an out-of-focus night,
a trip along the river between the past
(Bund) and a present continuum (Pudong).
The circle closes around the Shanghai night,
shortly before the drizzle (maoyu) sets in
and drenches all, causing mould to form
everywhere, with the sounds of the port
once again reminding us of the arrivals
and departures that, at the turn of the last
century and for decades after, made this
city the legend of the Orient. A free land
and one of the world capitals of decadence.
portrait of the city
Mirafiori Motor Village
Friday 9 November, h. 7.00 p.m.
Preview of the project and conference
“The OFF story of the contemporary art
revolution in Shanghai”
Shanghai’s aspiration and desire to again
become the legendary place it once was,
the need to be an international and modern
China and the idea of power that Shanghai
is seeking between local identity and
globalisation, are to some extent symbolised
and investigated in the Artissima Cinema
preview. The “off” story of the contemporary
art revolution in the late 1990s is presented
through documents, catalogues and
documentary videos.
Alexander Brandt e Davide Quadrio
offer an untold vision of Shanghai.
The art of the suburbs and of closures.
A journey through three exhibitions
that have made their mark on the art
experience in Shanghai. A group of
artists who challenged the city of
Shanghai from its suburbs. Pictures
from the city’s past, when negotiations
with the government for “proper”
visibility were at the heart of the art work
of an avant-garde group headed by
Xu Zhen, Yang Zhenzhong and
Alexander Brandt, and supported
by the organisation of BizArt.
Art for sale, 1999: Fang Mingzhen and
Fang Mingzhu, 2004; Solo exhibition, 2006.
A part and backdrop of this evening will
be the presentation of, an image
for all time: an online project as a place
of the ephemeral, where a photo sums up
in 30 seconds the need for vision before
disappearing for all time in a cybernetic
void: forever. Art without an artist, art
without economic value, art that appears
and disappears, the quest for attention
and observation, knowing that this
is the sole possibility in the world and the
only simultaneous moment in the world
(of the worldwide web).
Hipic, a democratic archive location
with no hope for the future, is very
fitting in the case of Shanghai and
China today: this idea of a continuous
move towards something else, with
no past and possibly with no idea
of the future either – this impertinent,
optimistic and flattering present
that leaves no time other than for
a cursory glance at reality.
A glance like so many others:
totally useless.
Yang Fudong, Robber South, 2001. Courtesy Yang Fudong and BizArt
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Gilbert & George – Four Knights (Quattro cavalieri), 1980 © gli artisti / the artists.
Southampton City Art Gallery
Max Ernst, Rêves et hallucinations, collage, 1926. Musée d’Unterlinden, Colmar.
Gilbert & George:
Major Exhibition
17 October 2007 – 13 January 2008
Curated by Jan Debbaut, former director
of the Tate Collections, and Ben Borthwick,
assistant curator at Tate Modern
Castello di Rivoli is hosting the
largest and most comprehensive
retrospective ever of the work of
Gilbert & George. Designed by the
artists themselves, the exhibition
retraces their entire artistic career
from their debut to the present day,
with about five hundred and
fifty works, as well as a generous
selection of archive material from
their own private collection.
The show, which is on the second
and third floors of Castello di Rivoli,
presents historic works from the
1970s and large-format works from
later periods, all the way through
to their most recent creations.
The exhibition was opened at
Tate Modern in London, in February
2007, and was shown at the Haus
der Kunst in Munich.
Gilbert & George made some works
for the display inspired by the terror
attacks in London, which the artists
themselves referred to as “chilling”
and which they have continued
making up to the present day.
The exhibition opened at Tate Modern
in London in February, 2007, after
traveling to Haus der Kunst, in Munich.
From Cubism to New Dada
Gino De Dominicis
9 October 2007 – 6 January 2008
8 November 2007 – 6 January 2008
Curated by Maria Mimita Lamberti, professor
of the History of Contemporary Art at the
University of Turin and Maria Grazia Messina,
teacher of the History of Contemporary Art at
the University of Florence.
Curated by Andrea Bellini and Laura Cherubini
L.P: Like Boetti, also Gino De Dominicis
was a brilliant artist but he was fully
recognised (especially abroad) only after
his death. Why?
L.C: Alighiero and Gino were not an organic
part of the system and, in different ways,
they undermined its foundations. I can’t
imagine two artists (or two people) more
different one from the other. Alighiero was
a great traveller, Gino almost immobile.
Alighiero had a keen eye on all aspects of
the contemporary world – and always kept
ahead of it – while Gino was alien to all
current events. Alighiero was open to the
young and to all forms of cooperation, while
Gino appeared to live in an ivory tower.
Alighiero always used to invite friends
and young artists to his home, and was
proud that his dining table could seat up to
thirty-five people. And he adored his family,
his children, and little Giordano. Gino was
alone, though not reclusive, and he used
to go out at night and get back in the early
hours – that’s the part of his life that I
shared with him. Alighiero was attracted
to the Orient, and he had lived almost
ten years in Kabul – he became almost
resigned to Rome because the Soviet
invasion prevented him from going back
to Afghanistan. You could almost say that
Gino was “Rome-centric”. For Alighiero
it was important that his little tapestries
could be referred to neither as multiples
nor as single works (or were both one
and the other), while Gino aimed for the
uniqueness of each work. I’m very proud
of the fact that they were two such dear
friends of mine and the two artists
I believed in the most. I’m happy about
the interest and love they’ve inspired
in the younger generations.
Part of a series of exhibitions devoted to
twentieth-century art, which started with
the international exhibition Metropolis.
The Avant-garde Movements’ Vision of the
City, 1910-1920, a precise historical analysis
that was highly acclaimed by both visitors
and critics alike, GAM – Galleria d’Arte
Moderna e Contemporanea in Turin is
putting on a second exhibition, entitled
Collage/Collages from Cubism to New Dada.
This exhibition offers the public a historic
overview of the technique of collage, which
started with the experiments of Pablo Picasso
and Georges Braque and was widely taken up
by the other avant-garde movements, from
the Futurists in Italy to the Dadaists, as the
most immediate and consistent means for
expressing themselves in the controversial
tensions of the contemporary world. Starting
out from this premise, the visitor will be taken
through the artistic history of the twentieth
century, from the 1910s to the early 1960s, to
assess the fruitfulness and resistance of what
may seem to be a banal and fragile technique,
but that in actual fact can be opened up to
sophisticated variations of meaning: from
Dada provocations to the impertinence of
the Surrealists, and on to the most recent
contaminations in a scenario that gradually
spread from Europe to the United States.
A few questions put by Luca Lo Pinto to
Laura Cherubini
Luca Lo Pinto: The solo exhibition that you
and Andrea Bellini curated for Villa Arson in
Nice in November will be coming to
Fondazione Merz, now with an extra group
of works, so that it can be seen by the
Italian and international public during
Laura, who is Gino De Dominicis?
Laura Cherubini: A magnificent artist, one
who was not afraid of making a masterpiece.
L.P: How was this solo display of Gino De
Dominicis’s works devised? Did you try to
examine some particular aspects of his
L.C: The exhibition is a contribution to our
knowledge of De Domincis’s work. In no way
does it claim to be comprehensive, for it is
not anthological, even though there are
works from various periods. It concentrates
mainly on painting because the artist
believed totally in this art form and believed
he had found a medium that was the
highest expression of a profoundly unitary
work. This exhibition provides an opportunity
to pave the way for new shows in the future,
and for more systematic studies to come.
10 November 2007 – 8 March 2008
Vercelli, Arca – ex Church Of San Marco,
Piazza San Marco 1
Curated by Luca Massimo Barbero
On the 10th of November Piedmont Region and
City of Vercelli, in a joint collaboration with the
Peggy Guggenheim Collection will launch the
exhibition “Peggy Guggenheim and the surreal
imaginary”: a selection of fifty works from the
Venetian and New York collections.
The visitor will be made witness
to the pioneers of the surreal
imaginary through a tour of the
works by Marc Chagall, Giorgio
de Chirico, Pablo Picasso,
Joan Mirò, Salvador Dalì,
Max Ernst, René Magritte,
Alberto Giacometti, Ives Tanguy.
The exhibition will crown the
inauguration of the renovated
exhibiton space Arca, a ultra
modern structure housed within
the medieval church of San Marco,
famous monument of the city.
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Why Africa?
The Pigozzi Collection
Curated by Aurélie Voltz
6 October 2007 – 3 February 2008
Curated by André Magnin
A new cultural programme devoted to the
theme of collecting makes its debut at
Pinacoteca Giovanni e Marella Agnelli
with the “Why Africa? The Pigozzi Collection
exhibition” - the most important collection
of contemporary African art in the world.
Initially started up in 1989 thanks to
the encounter between Jean Pigozzi and
André Magnin, the current art director of
the collection and curator of the exhibition,
the collection is constantly evolving
and further works by artists of various
generations in sub-Saharan Africa
are constantly being added.
The show includes drawings, paintings,
sculptures, photographs, installations
and some site-specific works, including
one based on the new FIAT 500 by
the artist Esther Mahlangu.
A series of works by 16 recently deceased
artists illustrates the magnificence
of contemporary art production in Africa,
overcoming the stereotype of folklore and
decorative art of the postcolonial period,
to enter into dialogue with Western art
and to develop its own independent forms.
10 th Luci d’artista
6 November 2007 – 13 January 2008
Olaf Metzel, Best, 2006, videoinstallazione
Babette Mangolte – Trisha Brown WATER MOTOR, 1978, still da video
Marine Hugonnier – Travelling Amazonia, 2006, still da video
Courtesy Fondazione Sandretto Re Rebaudengo, Torino
STOP & GO - New films and
videos from the Sandretto
Re Rebaudengo Collection
23 October 2007 – 6 January 2008
Curated by Francesco Bonami
After the 2005 exhibition, in which a
sizeable part of the Collection was put on
show to celebrate the tenth anniversary
of the foundation, this new display provides
an opportunity to see how and in what
directions the Collection has been growing.
It will bring the public up to date on the role
of film and video over the past few years,
with a large corpus of works that now provide
a fundamental overview of the history of
contemporary art. A special section of the
exhibition is devoted to the travel trilogy
by Marine Hugonnier, A Film Trilogy, which
is being presented in cooperation with
the Philadelphia Museum of Art and the
Kunsthalle in Berne.
Artists: Miguel Calderòn, Douglas Gordon &
Philippe Parreno, Marine Hugonnier, Amar
Kanwar, Babette Mangolte, Olaf Metzel,
Song Tao, Catherine Sullivan, Clemens
Von Wedemeyer, Jordan Wolfson.
On 10 November 2007, a group of collectors
from Turin will be opening their Barriera
exhibition space, named after its location in
the outskirts of the city, on the way to Milan.
This 600 square-metre space was set up to
house and store their private collections, and
to invite young artists to produce new works.
The Portuguese artist Leonor Antunes, who
lives in Berlin, would appear to be the most
suitable person to inaugurate this project.
Her refined perception of space, architecture,
and light will enhance this medicine factory
building that dates from the 1930s.
Antunes’s on-site installation will also
be a response to the history, culture and
architecture of Turin. The exhibition takes
its inspiration from Carlo Mollino, the Italian
who is known as much for his architecture
and furniture as for his airplane design and
his erotic photos with their outrageous touch.
Leonor Antunes will create a unique setting
in order to display a group of five sculptures.
In a reference to those in the neighbourhood,
curtains will be used to cover the windows,
thus producing a dark space where each
sculpture will be illuminated by a particular
ceiling lamp. The sculptures, made variously
of wood, copper, aluminium and leather, and
life-size, enlarged or reduced in scale, will
be indirect or distant quotations from the
work of Carlo Mollino, duplicating elements
created by the architect. The pattern of the
ceiling of the Teatro Regio and some other
parts of Italian interiors such as the Casa
del Sole will be transcribed and reinterpreted
in Leonor Antunes’s style. Scandinavian
shelves from the 1960s, from the time of the
Italian architect’s furniture, will display a series
of abstract collages made of overlapping
photo cut-outs from baroque interiors, thereby
creating confusing optical effects. The lighting,
architectural elements and collages, which
have all been devised with the muse in mind,
will create for Barriera a delicate encounter
between a delirious inventor and a particular
sculptural study, investigating measures,
materials and volumes through our
own habitats.
Now in its tenth year, the Luci d’Artista
initiative has become one of the symbols
of Turin, which for some years now has
been considered as one of Europe’s
leading centres of contemporary art.
The light installations of great artists such
as Pistoletto, Merz, Casorati, Buren,
Vercruysse and De Maria trace an imaginary
route between the museums and galleries,
and by lighting up the streets and squares
of the city centre, they give the local
population and visitors the chance to come
into direct contact with contemporary art.
This year’s Luci d’Artista, a key event in
the programme of Contemporary Arts
Torino Piemonte, which includes public
and private initiatives relating to the
contemporary world throughout the
local territory, includes the mounting
of 18 installations in different places.
The main new feature will be Nicola De
Maria’s work, Regno dei fiori: nido cosmico
di tutte le anime, which will be enlarged
and placed in the monumental Piazza
Vittorio Veneto, one of the largest squares
in Italy. Previously located in Piazza Carlina,
the work will be of spectacular impact,
as it will involve 106 street lamps and 16
cornucopias in the square. It will also be
the star of the opening on 6 November
in Piazza Vittorio with live sound by Vladislav
Delay, the great international artist who
has worked with musicians of the calibre
of Scissor Sisters, Massive Attack, Craig
Armstrong and Ryuichi Sakamoto.
-----------------------------------------------------------------------------------------------------------------------------------------This will be organised together with the
Club to Club Festival.
Carol Rama
Another change will be the return of Jan
Vercruysse’s Luminous Fountain in Piazzetta Carol, sempre. Editi ed inediti
dal 1939 al 1993
Reale: theatrical red smoke from five tanks
7 November – 9 Dicember 2007
placed in parallel rows will add an aura
of fascination to a place that is itself magic. Curated by Cristina Mundici
------------------------------------------------------------------------------------------------------------------------------------------ In the catalogue a tribute to Carol Rama
by Corrado Levi
7th International Festival
of Electronic Arts and Music
8. 9. 10 November 2007
Akufen, William Basinski, Digitalism,
D-I-R-T-Y, Fairmont, Fovea Hex, Stefan
Goldmann, Green Velvet, James Holden,
Kalabrese, Larsen, Jeff Mills, Tobi Neumann,
Onur Ozer, Mauro Picotto, Troy Pierce,
Undo, Mika Vainio of the Pan Sonic,
Xplosiva, Vladislav Delay ...
These are the key artists of the seventh
Club to Club, the electronic arts and music
event, which has become one of the leading
Italian festivals. In November, Club to Club
contributes to the role of Turin as capital
of the contemporary arts, interacting with the
events and exhibitions that are fully supported
by the institutions, in the month devoted
to Contemporary Arts Torino – Piemonte.
In three intense days and nights,
there will be international shows and
productions – some exclusive to this
programme – featuring artists, DJs,
musicians, video artists, and performers
selected from among the leading innovators
on the world scene, in clubs and highly
original venues, and involving different
life styles and types of music.
Together with Artissima, Club to Club is
organising a glamour-meets-experimentation
gala event for the opening of the festival
on Thursday 8 November, together with
a new and important mystery event
specially devised for the closure on the
night of Saturday 10 November.
The Friday evening event, at the heart
of the festival, will see Club to Club
contemporaneously in Turin and Barcelona,
in seven leading clubs in the two cities.
radio_sick_definitivo uk_d1:Layout 1
Pagina 12
Electric Repair Enterprise
------------------------------------------------------------------------------------------------------------------------------------------Accademia Albertina di Belle Arti
Via Accademia Albertina, 6
Proposte XXII – Leap into the Void
Curated by a.titolo
Nuovi Arrivi – L’arte come esistenza.
La vita come opera d’arte
Curated by Olga Gambari
------------------------------------------------------------------------------------------------------------------------------------------Palazzo Bricherasio
Via Lagrange, 20
Juventus 110 anni a opera d’arte
Curated by Luca Beatrice
------------------------------------------------------------------------------------------------------------------------------------------MIAAO – Museo Internazionale
delle Arti Applicate Oggi
Via Maria Vittoria, 5
Afterville, Astronave Torino – Turin
spaceship company
Curated by Enzo Biffi Gentili,
Luisa Perlo and Undesign
Matthew Sawyer & the Ghosts
----------------------------------------------------------------------------------------------------------------------------------------ART & SOUND NIGHT
Promoted by City of Turin and Piedmont
Region as part of the collective exhibitions
Nuovi Arrivi e Proposte.
Accademia Albertina di Belle Arti
via Accademia Albertina, 6
h. 9.30 p.m.
Nuovi Arrivi presents I giorni del Futuro
Passato by Maurizio Vetrugno (light & sound
show, fashion show, performance, happening)
h. 11.30 p.m.
Proposte presents Dj-set Roger Rama
with music by Nicola Campogrande
------------------------------------------------------------------------------------------------------------------------------------------Allegretti Contemporanea
via San Francesco d’Assisi, 14
Stanze, Salvatore Astore
------------------------------------------------------------------------------------------------------------------------------------------41 artecontemporanea
Via Mazzini, 41
Porteño de Romaña, Marco Di Giovanni
------------------------------------------------------------------------------------------------------------------------------------------Giampiero Biasutti
Via della Rocca, 6b
Pittura Angelica, Jan Knap
------------------------------------------------------------------------------------------------------------------------------------------programme updated on 26/09/2007
Piazza Carlo Emanuele II, 17a
Carol, Sempre
Via Mazzini, 40
Mario Ybarra Jr. – Vernissage
Guido Costa Projects
Via Mazzini, 24
Paul Fryer – Vernissage
Artists’ video, group show
Franco Noero
Via Giolitti, 52/a
Phillip Lai – Vernissage
Galleria di Via Porta Palatina 13
Souvenir di Vietri sul Mare, Ugo La Pietra
Spazio Blank, Via Reggio, 27
This is the time (and this is the record
of the time), group show – Vernissage
Via Parma, 31
Two spaces (walking), Rolf Julius
via Tirreno 19
Inauguration of the space
Gru. Variazioni per coro
di sei gru e alto parlanti,
video installation by Gianluca
e Massimiliano De Serio.
Transport+port is a new and
independent space where
young artists are invited
to submit site specific works
supported by the Cultural
Association Passaporto,
in collaboration with Transcultural.
Marco Noire
Via Mazzini, 50/c
Last Riot, AES+F – Vernissage
------------------------------------------------------------------------------------------------------------------------------------------Alberto Peola
Via della Rocca, 29
Gabriele Arruzzo – Vernissage
Giorgio Persano
Piazza Vittorio Veneto, 9
Paolo Grassino
Via Principessa Clotilde, 45
Jan Dibbets
9 –11 NOVEMBER 2007
Gagliardi Art System
Corso Vittorio Emanuele II, 90
Epoche – Special Project, Carlo Steiner +
Paola Risoli – Vernissage
------------------------------------------------------------------------------------------------------------------------------------------- / [email protected]
Photo & Contemporary
Via dei Mille, 36
Hairetikos, Alessandro Bulgini – Vernissage
Via San Massimo, 45
Ezra Johnson – Vernissage
Sonia Rosso
Via Giulia di Barolo, 11/h
Mathew Sawyer – Vernissage
In Arco
Piazza Vittorio Veneto, 3
Venti anni con gli amici, groups show for the
20th anniversary of the gallery – Vernissage
Via Rossini, 23
Patty Chang – Vernissage
Ermanno Tedeschi
Via C. Ignazio Giulio, 6
Biolandscape, Enrico Tommaso de Paris
Franco Masoero
Via Giulia di Barolo, 13
Carol Rama – Vernissage