Mattia Moreni/Nicola Samorì – La Disciplina della Carne

4 dicembre 2015 – 24 gennaio 2016

Museo Civico Luigi Varoli Cotignola / FAR Fabbrica Arte Rimini

Venerdì 4 e sabato 5 dicembre 2015 apriranno in sequenza, prima a Cotignola poi a Rimini, le due sezioni di una mostra che mette a confronto, attraverso un sorprendente e serrato dialogo tra oltre sessanta dipinti e alcune sculture, due importanti artisti italiani che hanno fatto dell’ossessione della materia uno degli snodi principali della loro ricerca e sperimentazione.

Mattia Moreni e Nicola Samorì sono artisti di diversa generazione e percorsi: ad accomunarli una pittura intesa come luogo di attrito e scontro fertile tra le ragioni romantiche del gesto e una lucida riflessione intellettuale, spietata e incessante, sui limiti e possibilità della pittura stessa, linguaggio antichissimo che i due forzano e mettono costantemente alla prova alla scoperta di nuovi modi di vedere, a far scaturire altre immagini ancora potenti e violente, capaci di scardinare e far saltare le nostre abitudini visive.

Una pittura, quella che qui si mette in scena, che non di rado sfocia e anela alla scultura, e la mostra non mancherà di far dialogare oltre ai due autori, anche questi due linguaggi. La mostra, che si divide in due sezioni distinte e complementari, intreccia e mette in dialogo, all’interno del percorso espositivo, le opere di entrambi, alla ricerca di inattese e cortocircuitanti affinità e sintonie, contrasti evidenti e distanze siderali; che le differenze tra i due artisti sono molte e lampanti, ma non pochi e niente affatto superficiali anche i punti di contatto e convergenza che questa mostra dissemina e svela lungo il suo articolato percorso.

Il doppio, una sorta di drammatica dualità tra natura e cultura, tra immagine e sua sparizione, tra materia grondante e pelli pittoriche raffinate e sottilissime, tra razionalità, furia e assalti, potrebbe quindi essere una sorta di filo che ci guida e orienta all’interno di questo tenebroso labirinto rischiarato da luci bianche e lunari; una dualità che rappresenta anche una delle tante possibili geografie della pittura oggi, una mappa che si disegna tenendo insieme un artista nel pieno della sua battaglia, e un altro che non smette certo di rinnovare stupori e riflessioni grazie a dipinti niente affatto offuscati o scalfiti dalla patina del tempo trascorso.

La mostra è frutto della stretta collaborazione di due realtà tra le più attive sulle arti visive contemporanee all’interno del panorama romagnolo e non solo: FAR la fabbrica delle arti di Rimini che tra i molti progetti e mostre presentate, e di cui è impossibile tener conto in poche righe, si distingue per la Biennale del Disegno, indagine necessaria e attesa che si è ritagliata uno spazio di osservazione privilegiato su quello che è uno dei linguaggi e pratiche più vitali del contemporaneo; l’altro luogo è il Museo Civico Luigi Varoli di Cotignola in provincia di Ravenna, da cui ha preso forma il progetto Selvatico, rete tra luoghi, persone e cose, tra artisti e collezioni museali: Selvatico è una mappa che ha coinvolto in questi anni un numero considerevole di autori, di varia provenienza, ambiti e discipline, in ramificati percorsi espositivi che sempre si intrecciano e dialogano con gli spazi espositivi e i luoghi, alla ricerca di connessioni tra opere, storie e memorie presenti, portando spesso gli artisti a lavorare in modalità anomale, anche in veste di curatori, alla ricerca di altri e nuovi punti di vista. Questa esposizione è anche perciò una sorta di spora o prolungamento di Selvatico, un approfondimento su due artisti che hanno più di un punto di contatto con Cotignola.

La scelta dei due luoghi che accolgono la mostra, oltre a rivelare perciò le forti sintonie e affinità elettive con le scelte progettuali di entrambi gli spazi espositivi, permette di costruire due sezioni molto differenti e capaci di incastrarsi perfettamente tra loro: nelle stanze di Palazzo Sforza e Casa Varoli gli autoritratti di Moreni, le sue Marilù che dialogano con i piccoli volti scorticati di Samorì, infine una stanza dei disegni dove la similitudine di segno tra i due, è impressionante; a Rimini poi, negli ampi spazi e sale della FAR una selezione di importanti quadri di grandi dimensioni, tra cui alcune teste teste monumentali di Samorì e suoi teatrini dipinti e fantasmi di santi dalla pittura antica, insieme alle angurie, i cartelli e le baracche per Moreni…

La mostra, corredata da un importante catalogo in cui figurano quasi tutte le opere esposte e una campagna fotografica di Daniele Casadio negli studi dei due artisti, è la storia di un incontro felice, quello tra due artisti non poi così distanti, e destinati a intrecciare per un momento i loro percorsi, anche a partire dalla tesi di laurea che Samorì scrisse proprio sugli ultimi dipinti di Moreni; e, infine, l’auspicato incontro tra Rimini e Cotignola che ha permesso di pensare e realizzare questa mostra disobbediente e militante.

Mattia Moreni – Nicola Samorì / La disciplina della carne
A cura di Massimiliano Fabbri e Massimo Pulini
con la collaborazione di Annamaria Bernucci e Giovanni Barberini
e un testo critico di Alberto Zanchetta

Museo Civico Luigi Varoli [Palazzo Sforza e Casa Varoli]

Corso Sforza 21 e 24 – Cotignola (RA)

sabato, domenica e festivi 10-12 / 15.30-18.30
chiuso il 25 dicembre e 1° gennaio

FAR | galleria comunale d’arte moderna e contemporanea
Piazza Cavour – Rimini
orario di apertura: 10-13 / 16-19
chiuso i lunedì non festivi
aperto il pomeriggio del 25 dicembre e del 1° gennaio

info 0541 704416 / 704414
www.museicomunalirimini.it

GARE DU SUD

November 14, 2015 – February 1, 2016
Anatomical Theatre of the Archiginnasio, Bologna, Piazza Galvani 1

The project Les Gares finds its second venue at the Anatomical Theatre of the Archiginnasio in Bologna with the exhibition of Nicola Samorì titled Gare du Sud (November 14, 2015 – February 1, 2016). Gare du Sud is in direct dialogue with the first show held in Amsterdam, Gare du Nord (July 16 – August 15, 2015), which launched this international research. In the Dutch capital in the exhibition at de Waag, the magnificent octagonal theatre where Rembrandt painted the famous Anatomy lesson of Dr. Nicolaes Tulp, three artists (Sonja Bäumel, Laurent-David Garnier and Nicola Samorì) were confronted with the history of the theatre, its space and its possible readings. Fundamental on this occasion was the contribution of some works from the Vrolik Museum, the Museum of Anatomy of Amsterdam. Les Gares proposes to develop an ongoing historical and artistic study of anatomy theatres in which it temporarily settles, with particular attention given to the different social contexts in which the anatomical dissections were performed. These researches, conducted through a study on site, the involvement of specialists and the analyses of documents lead to the realization of a conference and an exhibition, always site-specific.
If in Amsterdam the anatomization had yet to start since the figure of Nicola Samorì placed at the centre of the theatre was still standing, criminal and surgeon at the same time, the visitor is welcomed in Bologna when the operation is at an advanced stage. In the “room for the function of Anatomy”, “venue for the control of the truth and for the contemplation of each open secret” the artist has performed the first cuts, raising the decaying organs from the figure resting on the dissecting table. The sculpture is in dialogue with an altarpiece placed on the chair, where the lector was used to holdhis dispute, presenting the unfolding of the dissection process. Samorì desired to occupy both sides, in an act that considers the history of the theatre in its various actors and in its various phases. This sculptural performance also includes viewers who admire the curious secret crack on a wall of the theatre mentioned in the Acts of the “Congregazione della Gabella Grossa”, from which it was perhaps possible to look without being seen.
Always interested in the domain of time, the artist has considered the process of anatomy. And if we asked about the nature of the entity placed on the table, covered with a grain of sand?

“Depriving the dead of the burial is an absolute outrage. Antigone refuses the order of Creon not to bury Polynices. To obey the sacred duty imposed by the gods, but also dictated by unwritten laws, Antigone scatters dust over the corpse of her brother. For this act of piety, she will be sentenced to death and buried alive in the tomb of Labdacidi from which she was descended.”
Jean Clair, De Immundo

The project Gare du Sud, realized in collaboration with Istituzione Biblioteche of the Comune of Bologna – Biblioteca dell’Archiginnasio, is part of the programme of ART CITY Bologna 2016 on the occasion of ARTE FIERA.
A project by Chiara Ianeselli

Opening hours: Monday – Friday 10-18
Saturday 10-19
Sunday and public holidays 10-14 25, 26, 27 December, 1st and 6th January 14-19

Thanks to the Monitor Gallery, Rome.

OFFEN/OPEN

August 6 – September 12

Galerie Eigen+Art Leipzig/Berlin
Auguststrasse 26, 10117 Berlin

From 6th august until 12th september 2015 the gallery is „open“: In the course of the exhibition works by artists that are a fixed part of the programm meet very young positions that were already shown at the EIGEN + ART Lab in constantly changing constellations.

The gallery EIGEN + ART has been working since its creation with a fixed group of artists. In conformity with the founding times of EIGEN + ART, the gallery presents in unregular intervals group exhibitions, showing young artists that are not a part of the gallery programme. Since 2012 the EIGEN+ART Lab functions as project space and innovative experiental field for contemporary, artistic positions. The exhibitions and the programm reflect the mutual dynamic relationship between contemporary art and the society.

„open“ displays a wide range of the current gallery work and gives an outlook for upcoming shows in Berlin, in the Lab and the gallery in Leipzig. Moreover the exhibibtion gives an impression of the activities of the graphical foundation Neo Rauch in Aschersleben. Next to painting, photography, installation, sculpture and drawing there is an all-embracing video programme.

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/