GARE DU NORD

July 17 – August 16 2015
Theatrum Anatomicum,
Amsterdam, Nieuwmarkt 4, 1012 CR

“Auditor, te disce, et dum per singula vadis, crede vel in minima parte latere Deum”. “Listener, learn yourself, and while you proceed through the individual [organs], believe that God lies hidden in even the smallest part”

Caspar Barleus, On the new anatomy theatre at Amsterdam in “Poemata”, Editio IV, Amsterdam, 1645-6, pars ii, p. 537.

Gare du Nord, a project initiated by Chiara Ianeselli and developed with Lucas Evers of Waag Society, opens
on July 16th 2015 at 6 pm in the historic, anatomical theatre of de Waag building in Amsterdam.

The exhibition includes site-specific commissions of Sonja Bäumel (AT), Laurent-David Garnier (FR) and Nicola Samorì (IT). Along with the curator, the artists have researched the history of the building visible in its inheritance: the octagonal shape hosted anatomical dissections since the XVII century. Lessons were held in the theatre to investigate shapes and structures that human and animal biology would reveal when properly questioned. Maps and anatomical plates have been used to guide surgeons through the dissections, while a large and composite audience admired human knowledge itself moving forward. The place for viewing, as originally theatre means, welcomes this exhibition about the identity of the body, its boundaries, membrane and skins. Gare du Nord also relates to the contemporary practices housed in the Waag building: the visual arts and early medical sciences not only met in the past through the act of seeing, but they also cross today through interactions and collaborations that produce new insights on and give new meanings to bodies and technology.

Gare du Nord investigates the nature of men inside the Theatrum Anatomicum, the stage of mankind pour l’excellence, a watchtower in the Nord temporary inhabited by three overseers.The sentence written along the walls of the theatre (a quote by the humanist Caspar Barlaeus) has been read and interpreted by the artists that have researched from various spectacles the smallest part. Those spectacles, tools for research, artworks, earlier named anatomical plates, become in Gare du Nord concave and convex lenses similar to mirrors. In their interaction they show an expanding body rather than a singular, isolated organ.

A project curated by Chiara Ianeselli in collaboration with Lucas Evers, Waag Society

Participating artists: Sonja Bäumel, Laurent-David Garnier, Nicola Samorì
Opening: 16 July 2015, 6 pm
Opening hours: From Thursday to Sunday: 12 am – 6 pm

56th International Art Exhibition la Biennale di Venezia ‘ALL THE WORLD’S FUTURES’

May 9 – November 22 2015

ITALIAN PAVILION ‘Codice Italia’
Tese delle Vergini, Arsenale
Venezia, Italy

http://www.codiceitalia2015.com/it/

RELIGO

January 18-March 22, 2015

TRAFO Center for Contemporary Art
4 Świętego Ducha st.
70-205 Szczecin, Poland

TRAFO Center for Contemporary Art is pleased to present Poland’s first comprehensive institutional exhibition devoted to the art of Nicola Samorì. In his paintings, sculptures, and room installations, he invites the viewer to partake not only into a deeply visual, but also a profoundly physical experience. Combining a sense-penetrating intensity inspired by the theatrical aesthetics of renaissance and baroque art with modern references to the gesture-led field of post-war expressionist painters, Samori’s meticulously paint compositions, hand carved marble sculptures and shimmering abstract canvasses form the basis for his reflections on the role of classicism and the figurative form in contemporary art today.
The exhibition as a whole realizes a sum of the artist’s body of work. In approaching the surfaces of his paintings as a material skin, Samori puts his compositions through an aggressive physical transformation which forces a reordering of the viewer’s perception. In the deconstruction which the work undergoes, it is pushed over the boundary of the strictly 2D and physically enters the viewer’s space. In other paintings Samori continues to experiment with abstract and ‘hidden’ compositions in copper, gold, and silver, which reference the visual practices of icon writing.
In his site-specific installation at TRAFO Center for Contemporary Art, Samori reduces the concept of personal belief to its essential components, the worshipper and the deity, thereby divesting it of its fundamental determinants, namely social context and history. As the viewer is further confronted by an archeological level which becomes viewable in the same moment, the build up of layers of religious and aesthetic history reveal subjective perceptions in the viewer’s own approach to personal belief. Hence, Samori’s installation is not only a forceful reminder of the very pagan roots of modern religion, but is also an examination of modern personal religious practices, or lack thereof, and its reverberations in contemporary art today.

Press Preview: January 15, 2015 at 2 p.m.
Exhibition: January 18-March 22, 2015
Public Opening: January 17, 2015 at 7.00 p.m.
Panel Discussion: January 18, 2015 at 12 noon
Curator: Marie-Eve Lafontaine

visiting hours:
Tuesday – Sunday 11 a.m. – 7 p.m.
T: +48 91 400 00 49

www.trafo.org

 

L’Âge Mûr

10 October – 17 November 2014

Rosenfel Porcini gallery

37 Rathbone Street,
London W1T 1NZ
Telephone: +44 [0]20 7637 1133
Opening Hours:
Tuesday – Friday 11-7pm
Saturday 11–6pm

http://rosenfeldporcini.com/

TRUTHS – Contemporary art in dialogue with old masters

September 14 – January 04
Bayer Kulturhaus, Leverkusen

Dutch painting of the Golden Age is regarded as the epitome of realistic, “true” depiction of the visible world. Whether the work be a landscape, a portrait or a still-life, the modern viewer is always spellbound by the detailed accuracy of Baroque artists’ painting. But truth goes beyond mere appearance: the paintings often contain coded allegories, tiny hints and allusions, which only the attentive (and knowledgeable) spectator sees, deeper meanings founded on theological and philosophical truths.
There are many connection points with contemporary painting here. The framework of cultural references has of course changed considerably since Baroque times, but looking at old and modern art side by side gives rise to an exciting, surprising and revealing dialogue that opens up new perspectives on truths that only become visible through painting. The works from the SØR Rusche Collection Oelde/Berlin demonstrate this principle of dialogue convincingly. The private collection owned by Thomas Rusche, which has been built up over generations and originally focused on 17th-century art, has now been expanded by the owner to include important representatives of international contemporary art such as Neo Rauch, David Schnell and Matthias Weischer. But Rusche does not just concentrate on well-known figures; he discovers new artists who enrich the dialogue and make the collection unmistakable. The collection shows a selection that explores the question of “truths” in five sections and genres – still-lives, landscapes, physiognomy, history and phantasmagoria.
The art expert Mark Gisborne, much sought after on the international scene as a curator and author, has been the custodian of the collection for many years and will curate the exhibition for Bayer Arts & Culture. A book will be published about the exhibition.

Bayer Kulturhaus
Nobelstraße 37, 51373 Leverkusen
http://www.bayer.com

BEGOTTEN, NOT MADE

June 19 – July 19, 2014

Like the eye adjusting to darkness, adaptation is necessary upon entering Samori’s visual cosmos. The images stare at us in an effort of denied vision. With the icy gaze of a femme fatale warning us that she is beyond our reach, they block our penetration. The images feel us, smell us, judge us. They are watching, but they don’t see. So we fix our eyes not on what is seen, but on what is unseen, since what is seen is temporary, but what is unseen is eternal. And we see through a glass, darkly. Sometimes peering in, other times peeling back in search of the surface beneath the surface beneath the surface.
More than a trick of the eye, Samori’s paintings treat their surface as a material skin transcribing the memory of their process. Violent transmutations distort his exquisite renderings of old masterpieces and force a reordering of our perception that is no longer intuitive. We begin to see the plethora of possibilities that resides in each creation. Unfettered by the constraints of temporal reality, the works translate themes into a form of expression that is immediately tangible to the senses.
The exhibition as a whole realizes a summa of Samori’s recent bodies of work. The microcosm centers three oval paintings around a stone head (Vertical Sea), a portrait that follows the natural geological formation of rock. Onyx draws concentric ovals, mineral plans that expand gradually from the tip of the nose. Samori’s reinterpretation of Sebastiano del Piombo’s portrait of Andrea Doria’s (D’Oria) dominates the room. The admiral watches us, distracting our gaze as his index finger peels open the painting’s skin to reveal the blue of a sea. Similarly we are observed by two other dark ovals eclipsing the colors and stories that lie beneath, pupils dilated to capacity against cold yellow walls. These paintings defend themselves in their darkness, cowering in a state of abject exhibitionism. An unfamiliar female form with bulbous extremeties (Fondamenta della Carne) sits across from a fragmented butterfly collection (Abito indenne) with a copper underbelly.
Christ’s deposed body covered in plastic communicates with a painting of the Christ child, in which the central character is covered over in wipes of paint and incarnated in a mere blotch of yellow. The works succeed in materially exposing the sight beyond our seeing, upending the modernist argument of figuration as illusory.

Reception Opening: Thursday, June 19, 2014, 6 – 8pm

Ana Cristea Gallery
521 West 26th Street
New York, NY, 10001
www.anacristeagallery.com

 

 

PREMIO ARTISTICO FONDAZIONE VAF – VI° edizione

24 Maggio – 31 Agosto 2014

Stadtgalerie – Kiel

Dal 24 Maggio al 31 agosto 2014 la Stadtgalerie di Kiel ospiterà il “VI° Premio Fondazione VAF”, Posizioni attuali dell’arte Italiana. La mostra, già ospitata nello SCHAUWERK di Sindelfingen dal 9 febbraio al 27 aprile, presenta gli attuali sviluppi della giovane arte italiana. La Fondazione VAF prosegue così la sua ambiziosa serie di mostre assegnando per la sesta volta consecutiva il premio ad un giovane artista italiano creando al contempo, oltre alla premiazione in sé, una piattaforma privilegiata di confronto per gli artisti che avranno modo di presentare i loro lavori più recenti. In mostra i lavori di Guglielmo Castelli, Flavio De Marco, Marco Di Giovanni, Rä Di Martino, Zoè Gruni, Jacopo Mazzonelli, Margherita Moscardini, Caterina Nelli, Maria Elisabetta Novello, Giovanni Ozzola, Laurina Paperina, Nicola Samorì, Marco Maria Giuseppe Scifo, Nicola Toffolini, Gianluca Vassallo.

A cura di: Volker W. Feierabend, Lorand Hegyi, Silvia Höller, Norbert Nobis, Peter Weiermair, Klaus Wolbert
Catalogo: Allerheiligenpresse – Innsbruck

Stadtgalerie Kiel
Andreas-Gayk-Strasse 31
24103 Kiel, Germania
http://www.kiel.de/kultur/stadtgalerie/

INTUS: CRISTALLI DI CRISI

 

10 maggio – 15 giugno 2014

Museo d’Arte Contemporanea – Lissone
Viale Padania 6
20851 Lissone – MB

Il MAC di Lissone ospita la prima mostra di sole sculture di Nicola Samorì [Forlì, 1977], artista che negli ultimi anni si è fatto conoscere per i suoi “delitti pittorici”.

«Se l’ambizione della mia pittura è quella di risvegliarsi dal sonno bidimensionale», spiega l’artista, «l’aspirazione della mia scultura è talvolta quella di fare tabula rasa dell’immagine scacciando i rilievi dal piano e scavando i volumi da dentro». Il titolo della mostra, INTUS, allude proprio a un “dentro” violato attraverso un lavoro di endochirurgia scultorea. L’artista ha voluto avvicinarsi a dei testimoni plastici, più o meno antichi, per instillare al loro interno un processo di decomposizione corporea. Le sculture rappresentano infatti la risposta plastica più coerente al modus operandi che l’artista sta sperimentando con la pittura negli ultimi anni.

In occasione di questa sua personale, Samorì si è lambiccato intorno all’interrogativo se un dipinto quando muore diventa una scultura. «Forse lo è sempre stato», ha ammesso lui stesso, «ma solo perdendo i processi d’illusione indotti dal colore e cedendo il passo ai movimenti prodotti dalla superficie esso scivola nello spazio della scultura». Altrettanto emblematico è il sottotitolo della mostra, “Cristalli di crisi”, un’espressione usata da Carl Einstein che Didi-Huberman attribuisce «a qualcosa che si manifesta come anomalo nella storia dell’arte, osando promuovere l’avanzata sovversiva delle forme attraverso un assalto regressivo dell’informe» (una regressione all’informe che nel caso di Samorì informa di sé tutte le opere in mostra).

L’esposizione offrirà un campionario di soluzioni rispetto al rilievo, al bassorilievo e al calco della pittura, attingendo in modo trasversale a soluzioni e periodi diversi della sporadica eppur sostanziale esperienza plastica dell’artista.

Sono circa una trentina le opere realizzate per il museo di Lissone e comprendono delle teste convulse che si accompagnano a una ricca sequenza di busti liquefatti nell’onice o nel marmo rosa. Su colonne di cemento sono invece posizionate delle teste fuse in bronzo e altre scolpite nel marmo, utilizzate dall’artista come blocco a levare. Alcuni “corpi senza ossa”, ottenuti staccando la pittura dal supporto rigido e facendole assumere un volume plastico, danno vita a un deposito di situazioni plastico/pittoriche (uno spazio dove il peso specifico del tegumento si libera della responsabilità pittorica concedendosi alla scultura tout court). Al centro della sala, un nudo di quasi due metri e mezzo replicherà in grande scala un modellino in cera che ha assunto una postura tortile attraverso la pressione delle mani.

Completano l’esposizione degli altorilievi antichi, rimodellati fino a ottenere una vitalità del negativo, e una serie di busti con la faccia rivolta a parete, intenti a fissare otto formelle in bronzo, marmo e olio; tra questi ci saranno cinque opere autografe dello scultore neoclassico Paolo Visani, provenienti dal Museo Civico delle Capuccine di Bagnacavallo, che dialogheranno con tre rifacimenti eseguiti da Samorì.
a cura di Alberto Zanchetta
inaugurazione sabato 10 maggio ore 18:30
primo piano
ingresso libero

www.museolissone.it
tel. 039 7397368 – 039 2145174

Martedì, Mercoledì, Venerdì h 15-19
Giovedì h 15-23
Sabato e Domenica h 10-12 / 15-19

CANTIERE DISEGNO

12 aprile – 8 giugno 2014

Museo della Città / Ala Nuova
Via L. Tonini, 1
47921 Rimini

www.biennaledisegnorimini.it

Orari di apertura:
da martedì a venerdì ore 15-22
sabato, domenica e festivi ore 10-22
chiuso lunedì non festivi

LA PITTURA È COSA MORTALE

18 aprile – 22 giugno 2014

Interrati palladiani di Palazzo Chiericati
Piazza Matteotti
36100 Vicenza

www.museicivicivicenza.it

Orari di apertura:
da martedì a domenica ore 9-17 (ultimo ingresso ore 16,30)

chiuso lunedì
Inaugurazione: giovedì 17 aprile – ore 19

Catalogo edito da Solo