THE NEW FRONTIERS OF PAINTING

November 16, 2017 – February 25, 2018

 Fondazione Stelline

Corso Magenta 61, Milano

 

34 works | 34 artists | 17 countries: these are the figures of the great exhibition, conceived and realized by Fondazione Stelline and curated by Demetrio Paparoni, focused exclusively on new trends in contemporary figurative painting in the European and Asian areas.”The New Frontiers of Painting” is the first major international exhibition produced in Italy to focus solely on new trends in contemporary figurative painting. “Despite the crucial role played by figurative painting on the current artistic horizon, and despite its ability to communicate the spirit of our times no less adroitly than other expressive forms”, notes Mr Paparoni, “major exhibitions tend to minimize its impact, generally preferring to include a limited number of figurative paintings, diluted within a multi-disciplinary context that tends to dampen its impact”. The exhibition presents the public with works by Francis Alÿs, Michaël Borremans, Kevin Cosgrove, Jules de Balincourt, Lars Elling, Inka Essenhigh, Laurent Grasso, Li Songsong, Liu Xiaodong, Victor Man, Margherita Manzelli, Rafael Megall, Justin Mortimer, Paulina Olowska, Alessandro Pessoli, Daniel Pitín, Pietro Roccasalva, Nicola Samorì, Wilhelm Sasnal, Markus Schinwald, David Schnell, Dana Schutz, Vibeke Slyngstad, Anj Smith, Nguyê˜n Thái Tuâ´n, Natee Utarit, Ronald Ventura, Nicola Verlato, Sophie von Hellermann, Ruprecht von Kaufmann, Wang Guangyi, Matthias Weischer, Yue Minjun, Zhang Huan. Many of the works on display, created in recent years by painters born in different parts of the world, and most after 1960, are large works. In addition to highlighting the innovative quality, and the impact painting has on the international arts scene, the exhibition is also a moment of reflection on the art of our time.

 

ICONOCLASH. IL CONFLITTO DELLE IMMAGINI

13 ottobre 2017 – 7 gennaio 2018

Museo di Castelvecchio
Corso Castelvecchio 2, Verona

 

La mostra vede nell’inedito ruolo di curatori un trio composto dal critico Antonio Grulli e da due collezionisti: Diego Bergamaschi e Marco Martini. I tre in passato hanno già curato assieme dei progetti firmandosi Eddy Merckx. Gli artisti si muoveranno su di una sottile linea di confine che separa l’amore e l’ossessione per l’immagine dal desiderio, anch’esso ossessivo, di annullarla e cancellarla. Troverete immagini sfregiate (Nazgol Ansarinia, Luca Bertolo, Jiri Kolar, Nicola Samorì, Mimmo Jodice), distrutte (Gianni Politi), tamponate (Flavio Favelli, Vincenzo Simone), occluse (Jesse Ash, Francesco Carone), frammentate (Matteo Rubbi, Davide Trabucco), negate (Francesco Carone, Ryan Gander, Elad Lassry, Simon Starling), corrose (Paola Angelini, Stefano Arienti, Giulia Cenci, Paolo Gioli, Ketty la Rocca). Altre avranno raggiunto la monocromia e la totale assenza di elementi data da un sovraccarico di informazioni che genera un black out visivo (Alessandro di Pietro, Ryan Gander, Fabio Mauri, Mandla Reuter). Alcuni degli artisti coinvolti hanno fatto di questa attitudine iconoclasta una delle loro cifre stilistiche e tematiche.

Madremacchia

September 08, 2017 – October 27, 2017

Neue Galerie im Rathauspark

Bottroper Str. 17
45964 Gladbeck

 

 

 

La candela per far luce deve consumarsi

7 luglio 2017 – 1 ottobre 2017

Pesaro, Centro Arti Visive Pescheria

 

Ogni anno, l’estate pesarese vede protagonista il Centro Arti Visive Pescheria con un ‘grande’ evento nel segno dell’arte contemporanea, vocazione che questo luogo della cultura cittadina ha scelto nel 1996 fino a diventarne il polo più importante per la regione adriatica.Il 2017 è la volta della mostra di Nicola Samorì – La candela per far luce deve consumarsi – a cura di Marcello Smarrelli, promossa dall’Assessorato alla Bellezza del Comune di Pesaro con Sistema Museo. Il titolo fa riferimento a un pensiero attribuito a San Carlo Borromeo che con la sua vita ha incarnato l’idea di una luminosa consunzione, concetto che riverbera con forza da ogni opera esposta. L’artista romagnolo si è lasciato guidare dalle suggestioni del luogo per dare vita a un progetto in cui l’antica Pescheria e l’attigua chiesa del Suffragio si riappropriano della loro natura originale attraverso un dialogo inedito: quello tra le opere dell’artista e le immagini ‘sacre’ delle ricchissime collezioni dei Musei Civici di Palazzo Mosca. E proprio dai Musei Civici arriva l’indizio di partenza che ha guidato il lavoro di Samorì nello sviluppo di questo nuovo corpo di lavori per Pesaro.

Nel 1944, durante la Seconda Guerra Mondiale, viene distrutta l’ala destra di Palazzo Mosca e scompaiono una ventina di opere fra cui Cristo e un manigoldo del bolognese Giuseppe Maria Crespi. Il dipinto riappare durante i lavori di sgombero delle macerie: la superficie sfregiata ha restituito un occhio illeso circondato da ampie lacune; un ritorno involontario del metallo, otticamente simile a gran parte degli olii su rame di Samorì che nella sua poetica è solito ispezionare il rovescio della pittura attraverso una spoliazione accurata della pellicola dipinta. Da questa immagine compromessa – presente in mostra – si innesca una confusione continua fra l’azione del tempo sui documenti dalle raccolte civiche e i segni che scuotono in modo programmatico i suoi dipinti e le sue sculture.

Al volume della Pescheria Samorì imprime due semplici traiettorie: una orizzontale e l’altra verticale, corrispondenti al mare e agli alberi. Cinque sculture lignee antropomorfe, alte oltre tre metri, corrono parallele al colonnato in pietra e disegnano una teoria verticale contrapposta all’orizzonte simulato da una raccolta di antiche marine pesaresi allineate a parete.

È come se l’ascesa filiforme dei corpi fosse il risultato della lenta pulitura operata delle acque; un lavacro che ritorna nell’enorme spazio comunicante con la Pescheria: la chiesa del Suffragio, edificio a pianta dodecagonale destinato al culto, dove ci si raccoglieva per raccomandare a Dio le anime del Purgatorio, muto di preghiere dal 1888. Ripensata come una ‘vasca dei martiri’, in questa aula si agitano i santi, si aprono i sepolcri e si custodiscono i corpi, in un arrangiamento di pose che prevede i dipinti di Samorì – uno dei quali si appropria dell’imponenete cornice seicentesca di manifattura napoletana proveniente dalle collezioni civiche – insieme al Crespi e a un Cristo deposto di Nicola Zafuri. Al centro una scultura di cinque metri che, come un cero immenso, polarizza i movimenti della pittura.

Nel suo complesso, l’intervento nei due spazi – ripensati per il contemporaneo – rivela come le immagini sacre possano ‘rinascere’ oggi in una destinazione museale, più di quanto non accada nei luoghi devozionali.

 

La candela per far luce deve consumarsi

a cura di Marcello Smarrelli

Centro Arti Visive Pescheria, corso XI settembre 184, Pesaro

inaugurazione sabato 7 luglio ore 18.30

info www.pesarocultura.it www.pesaromusei.it

 

 

 

Art in Art

 

April 28, 2017 – October 01, 2017

MOCAK Museum of Contemporary Art in Krakow

ul. Lipowa 4
30-702 Krakow

 

Art in Art is another exhibition in our series that confronts important areas of life with their perception by artists. This exhibition will, however, differ from the others. The previous themes were ‘taken from life’ and analysed received truths and manipulations thereof. History showed the drama of war, patriotism and national identification. Sport revealed human ambition and potential. Economy warned against the power of money and its ubiquity. Crime probed the evil that is in us. Gender projected the prejudices related to gender. Medicine demonstrated the complexity of body addiction. Each of these topics has proved a direct source of existential symbols, which one can employ in one’s own commentary on the world that we have been condemned to live in. They delineate the limit of our functioning and mark out the extent of our freedom and dignity but also our iniquity. As for Art – it has no power to influence our lives directly.

Art is there to provide reflection and both stimulate and provide depth to our critical perception of everything that existence entails. Such is the role of art, and this is the kind of art that MOCAK endeavours to show in all its activities. But art also has another, more ‘arty’ face – as one big conglomeration of familiar images of acclaimed pedigree, works with their own idiosyncratic context, in which they have thrilled and enraptured many. This collection includes masterpieces, representations of famous characters, specific compositional games and expressions and great scandals. Images taken ‘from art’ have considerable semantic capacity; each is a quotation as potent as a short text. Thus, artists frequently avail themselves of the art of others, for a variety of reasons, since this is an operation that can service all themes. The exhibition Art in Art does not wrestle with any particular existential problem but rather illustrates a sophisticated semantic game that is capable of dealing with a variety of issues. For this very reason, previous exhibitions in the series included works that contained ‘art in art’.

https://en.mocak.pl/art-in-art

 

 

Gare de l’Est

December 14, 2016 – March 15, 2017

Alberto Burri, Nicola Samorì, Gustave Joseph Witkowski
A project by Chiara Ianeselli

Anatomical Theatre of Padua, Palazzo del Bo
University of Padua

For the first time ever, works by Alberto Burri (Città di Castello, 1915 – Nice, 1995) from the Fondazione Palazzo Albizzini Collezione Burri will be shown alongside pieces by Nicola Samorì (Forlì, 1977) and Gustave Joseph Witkowski (Nevers, 1844 – Paris, 1922) at the University of Padua’s Anatomical theatre and the Cucina Anatomica, where students once prepared the corpses for anatomy lessons. Inaugurated in 1595 under the direction of the renowned anatomy professor Girolamo Fabrici d’Acquapendente, Padua’s Anatomical Theater ranks as the oldest surviving original structure of its kind.
With eyesight and vision as the central themes, the exhibition Gare de l’Est aims to highlight the extraordinary heritage of Anatomical Theaters as a whole and to suggest new interpretations through a series of temporary exhibitions, developed together with specialists. In the show a marble root withholds a lunar fragment, vivified by the proximity to the epidermal surface of a Cretto by Alberto Burri.
Curated by Chiara Ianeselli in collaboration with Giovanna Valenzano and Maurizio Rippa Bonati, and under the patronage of the Università degli Studi di Padova, the project follows on from those organized at the de Waag Anatomical Theater of Amsterdam (Gare du Nord) and at the Archiginnasio di Bologna Anatomical Theater (Gare du Sud).
Thanks to Monitor Gallery, Rome

16° Quadriennale d’arte Altri tempi, altri miti

13 ottobre 2016 – 8 gennaio 2017

Palazzo delle Esposizioni, Roma

 

La mostra, allestita al Piano Nobile di Palazzo delle Esposizioni su oltre 2.000 metri quadrati, presenta 10 sezioni espositive ideate da 11 curatori, 99 artisti con 150 opere, tutte recenti, molte realizzate per l’occasione. Il titolo è ispirato alla raccolta “Un weekend postmoderno. Cronache dagli anni Ottanta” (1990) dello scrittore Pier Vittorio Tondelli (1955-1991) che offre una narrazione per frammenti dell’Italia. Analogamente, la 16a Quadriennale è concepita come una mappatura mutevole delle produzioni artistiche e culturali dell’Italia contemporanea e ognuna delle dieci sezioni espositive approfondisce un tema, un metodo, un’attitudine, una genealogia che connota i progetti artistici.

 

16a Quadriennale d’arte Altri tempi, altri miti

Palazzo delle Esposizioni, Via Nazionale 194, Roma

www.quadriennale16.it

 

 

Biennale Gherdeina

July 22, 2016 – September 11, 2016

FROM HERE TO ETERNITY curated by Adam Budak

Center of Ortisei
39046 Ortisei / Val Gardena / Italy

 

From here to eternity investigates a possibility of an alchemy in today’s world of received ideas and predefined canons; it opens up a polyphonic and non-generic space where stories and matters collide and dialogue one with another in a vertigo of resilience and productivity; last but not least, it identifies “here” as a fertile ground of an unbound creativity, a zone of potentiality, set up for an adventurous journey towards a (kind of) futuristic, imaginary “eternity”, a presumably safe, heterotopic place where thoughts generously unfold beyond their local constrains and limits.  www.biennalegherdeina.it

The exhibition is perceived as a conversation between diverse artistic positions that engage materials, economies, formal languages and references that consider the vernacular as an invaluable source, which undergoes a process of a necessary transformation, moderating histories, traditions, and legacies in a flux. Here, the vital forms of both an attachment and escape are at stake as active agents of a new identity formation; here, the conceptual geometry, mythological and historical ritual, tradition and illusion, self-reflexive craft and material/formal sensuality conspire with equilibristic of matter, perceptive magic, the corporeal and alchemic minimal mapping a trajectory from Here to Eternity.

Participating artists: Stephan Balkenhol, Michele Bernardi, Katinka Bock, Fernando Sanchez Castillo, Anna Hulacova, Franz Kapfer, Szymon Kobylarz, Christian Kosmas Mayer, Marzia Migliora, Adrian Paci, Nicola Samorì, Xavier Veilhan.

Vernissage: 21.07.2016 18 h

Openings Hours 

10.00 – 12.30
15.00 – 19.00

 

Double Page (of Frogs and Flowers)

June 24, 2016 – September 3, 2016
Galerie EIGEN+ART Leipzig
Spinnereistrasse 7. Halle 5. 04179 Leipzig

Samorì’s works often refer to 17th century painting. His still lifes, portraits and landscapes develop over a long span of time and through numerous layers of paint on copper, wood or canvas. But Samorì withholds the “finished” painting from us and destroys the image surface and attacks it with palette-knifes, diluent or his bare hands. Physicalness and the body are most important for Samorì’s paintings. By focusing on the materiality and artificiality of the image, Samorì questions the classical represenation and the painting itself.
This is the first solo exhibition of Nicola Samorì at Galerie EIGEN + ART in Leipzig. His new works were made exclusively for this exhibition, which will take place from June 24 until September 3, 2016. Samorì’s works were already exhibited in national as well as international exhibitions: for example at the Kunsthalle Tübingen in 2012 and at the Museum of Contemporary Art in Lissone in 2014. In 2015, he was one of the artists exhibiting in the „Codice Italia“ exhibition in the Italian Pavilion at the 56th Biennale di Venezia.
Nicola Samorì (born 1977 in Forli, Italy), lives and works in Bagnacavallo, Italy.

Opening: Friday, June 24, 6 – 9pm
Galerie EIGEN + ART Leipzig
Spinnereistraße 7 . Halle 5 . D – 04179 Leipzig
Phone: +49.341.960 7886 . Fax: +49.341.225 4214 . mail to: leipzig@eigen-art.com
Tuesday – Saturday 11am – 6pm
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Nicola Samorì

March 18, 2016 – April 30, 2016

MONITOR GALLERY
Via Sforza Cesarini, 43A-44 Rome

Monitor is delighted to announce its first solo show devoted to the work of Nicola Samorì (Forlì 1977).

Through the various paintings, sculptures and installations created specially for the show, Samorì expects to transcend the visual relation between viewers and works, involving the public in a deeply physical experience.

With their masterful fusion between Renaissance or Baroque dramatic intensity and the uncontrolled essence of Informal, Samorì’s paintings and sculptures document the persistence of an ‘un-actual’ trace within the contemporary. Thanks to his entirely personal way of interacting with the entity of the museum, Samorì in fact stretches the syntax of a vast repertoire of works almost to breaking point, after which he documents their vulnerability by sabotaging their codes with either heavy ‘incursions’ or minimal adjustments.

Each of Samorì’s compositions is characterised by a systematic, ceremonial deconstruction, a mechanism able to delegitimize academism in the shortest possible time lapse. A number of different possible approaches underline this artist’s personal dialogue with his works but all issue from a nucleus derived from the degeneration of a form project that is then expounded on with surgical precision. In some cases the viewer traces the artist’s match against an obstacle that, to be overcome, requires rigour and perseverance.

The new body of works that Nicola Samorì has completed for his first solo show at Monitor documents an ‘involuntary chorus’, an underlying correlation that is stated piece by piece, with subjects/objects prey to a kind of infective urgency. It is as if the insistent osmosis that breathes life into the body of these works obliges them each to imitate the substance of the other, or deprive the other of it, in a continuous interweaving between painting and sculpture and vice versa. Within this chorus a “Stanza dei fuochi” (room of fires) and a “Stanza delle crisi” (room of crises) contend for the same matter of which each is made up.

The depicted elements outline a small Martyropolis, taking on and developing a broad spectrum of iconography offered by Eternal Rome. St Peter is thus thrown into a large, arched canvas, seemingly containing his own weight behind an outstretched arm, an excess of peeling paint with the fluids of Rubens emerging beneath his opaque skin. It is the weight that speaks here, in the form of a crepuscular image reverberating at the miniature – at times minimal – discretion of the smaller boards nearby; feminine apparitions of a supremely subtle solemnity. Among these, the Traspirazione della Vergine (Transpiration of the Virgin), unleashes an optical conversion of a Flemish Madonna within a head hidden by a burqa, portrayed via the flaking of the painted surface that reveals the brown of the board beneath it rather than with a predictable painting of the subject itself.

The processual element features also in La Madonna dello zucchero (The Sugar Madonna), which introduces a new compositional aspect in the form of the fresh skin of the face redrawn by the traces left involuntarily by an insect. The insect has thus upset the Memlian order with its unpredictable embroidery, echoing Huberman’s thoughts on accidental forms. Peter’s gesture is echoed by other ‘falls’, such as that of the skin of St Bartholomew after Luca Giordano (Ascia romana), which is verticalised, despoiled of landscape and ‘depopulated’. The martyr literally opens up under the scalpel, and the Classical sculpture at his feet required by traditional iconography is projected outwards, a timeless head carved from a fossilised tree trunk, with large sections of petrified bark still remaining. This agony is surveyed by another work in wood, a pole with the features of the Risorto, whose vertical symmetry has once again been broken up by the work of insects devouring the sides during their feasting on the softer tissues of the walnut wood. Even in L’estasi trascendentale dell’idolo anemico (The Transcendental Ecstasy of the Anaemic Idol) in white Carrara marble, the punctured surface resembles the irregular work of stone-eating bacteria.

Just as in his paintings, Samorì develops his other works by subtraction –‘burrowings’ that breathe new life into his models. In his sculptures, he seems to explore the idea of spontaneity by exploiting the natural defects of the surface he is developing, and on its lost integrity – from the deformities of fossilised wood to the patterns within a tree trunk eaten by larvae, the imitation of a chink in a stone, or the interpretation of geodes.

Opening March 18th | h. 6,30 – 9 pm

MONITOR
Palazzo Sforza Cesarini
via Sforza Cesarini 43a
00186 Roma
T: +39 0639378024

Opening times
Tuesday – Saturday
1 – 7 pm