Jonathan Monk – The Land That Time Forgot

4th November – 22nd December 2016

O P E N I N G
4th November 2016, 1- 3 pm

O P E N I N G  T I M E S
During Artissima
4th November 2016, 3 – 7 pm
5th November 2016, 10 am – midnight
6th November 2016, 10 am – 7 pm

From 7th November, by appointment

Studio Salvo
Via Alfonso Bonafous 2
10123 Torino, Italia
+ 39 331 1387463
info@archiviosalvo.com
www.archiviosalvo.com

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Letizia Cariello – Opera per archi

27 October 2016 – 28 November

LAC Lugano Arte e Cultura,Piazza Bernardino Luini 6, CH – 6901 Lugano

The installation created by Letizia Cariello has two violoncello damaged, one sounding board and two unusable arches: objects without their nature, to create sound, to give harmony.
The artist collects and reassembles the different pieces in a work to which It gives a new sound, produced by the movement of Saturn’s rings and the Sun in their eternal rotation. The sound recorded in space, spreads whenever the violoncellos, drawing an arc of a circle, back to their point starting. The dimension of time takes shape through the large steel disc, a symbol dear to her, consisting of a long sequence of numbers and letters, the result of an exercise in western meditation.
Letizia Cariello lives and works in Milan, where he teaches Artistic Anatomy at the Academy of Fine Arts of Brera.

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Artist Ryan Mendoza to Salvage and Recreate Rosa Parks’ Detroit Home in Berlin

Ryan Mendoza planning on repurposing the facade of American icon Rosa Parks’ original Detroit home for use in his Berlin studio before an eventual presentation to an open audience.

Mendoza was approached by Rhea McCauley, Rosa Parks’ niece, after the home was jeopardized by the threat of demolition because of the struggles of Rosa Parks Foundation in finding funding to maintain it.

Rosa Park is a notable member of American history for her refusal to sit in the back portion of the bus in the 1955, she had also important collaborations with civil rights figureheads such as Dr. Martin Luther King Jr.

It goes without question, therefore, as to why salvaging the home, has significant relevance to the American people and the world alike. “Her memory, her legacy will never die,” Parks’ niece Rhea McCauley said.

Ryan Mendoza is known for his practice based in the subject of memory, but his involvement, however, doesn’t lack self-consciousness or self-criticism. “It should be somebody in the black community doing this, not a white guy. I’m not even from Detroit,” he said.

Yet, he is the only artist who has volunteered to at least partially salvage the home, so his role has become essential.

Mendoza recognizes the importance in preserving Park’s legacy: “Do I leave Rosa Parks’ house to be demolished by the city,” he said, “or do I step up and say ‘OK, I’m going to help (McCauley) preserve the memory and save this house?’ That’s what this project is all about.”

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Antonio CalderaraA light without shadow

1 October 2016 – 22 January 2017

MASILugano, Piazza Bernardino Luini 6, CH – 6901 Lugano

Antonio Calderara (1903-1978), an original but reclusive figure in the Italian artistic milieu, comparable in many ways to Giorgio Morandi, began his life as a self-taught artist in the 1920s. In the decades that followed, his painting, which features sculptural simplifications and a bright light reminiscent of Piero della Francesca and Seurat, was also distinguished by the appearance of a stylised intimism that approaches experiences of Magical Realism. A turning point in his painting came with the transition, in 1959, to abstraction. Such abstraction was relatively unique in Italy due to its rather drastic character, but perfectly in line with the contemporary experience in Europe and its tendency towards the zero degree of painting. However, in his case, geometry never features the rigidity of concrete art; instead, it is dominated by delicate and subtle vibrations of light obtained through the superimposition of thin layers of paint. In his works from the 1960s and 1970s, which were almost always on a small scale, there emerges a ‘light/colour’ which translates his aspiration to “paint the null, the void, which is everything, silence, light, order, harmony. The infinite”. This first, large, Calderara retrospective in Switzerland begins with pieces from his figurative period before dwelling on the various phases which distinguish his abstract output. In addition, the exhibition includes a large selection of works from the artist’s own collection, amassed through a series of exchanges with other artists with whom he was linked by friendship or mutual respect, including Josef Albers, Lucio Fontana, Piero Manzoni, Yves Klein, Dadamaino, François Morellet, Jan Schoonhoven, Max Bill and Gianni Colombo.

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Sheila Hicks – Apprentissages @ Festival d’Automne à Paris

Monday 12 September – 18.00-20.30

Museè Carnavalet, 16 Rue des Francs-Bourgeois – Paris

Apprentissages is a three-part journey, taking place from September to December, in the form of a series of appearances, each linked in its own intimate way to Parisian geography. First off is the Musée Carnavelet, in which the universe of Sheila Hicks enters into a dialogue with the eclectic architecture of this museum dedicated to the history of Paris, notably in the Hôtel Carnavalet gallery, on the garden side, overlooking the Cour des Marchands-Drapiers. Secondly, Festival D’Automne will be given the opportunity to discover, in the course of various urban promenades, an ensemble of window spaces inhabited by the characteristic gestures of her chromatic, pictorial and textile-based vocabulary. Lastly, within the huge expanses of the construction workshop at the Nanterre-Amandiers theatre, specially opened to the public for the occasion, the artist will be re-exhibiting, in the midst of this resolutely modern architecture, her previously exhibited works. Partly because nothing is ever fixed in stone, and also because we always need to see things with fresh eyes, Apprentissages seeks to be a journey of “initiation” of an open nature, in which the encounter with art and matter enriches the shared experience, of our bodies, and our memory, that of the artist and of each of us alike.

Festival D’Automne a Paris

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Tensioni @ SPAZIO CONTEMPORANEA

Spazio Contemporanea, Corsetto S. Agata 22 – Brescia

10 September – 9 October 2016

Thu-Fri 15.30-19.30 / Sat 15.30-22 / Sun 15.30-19.30

Galleria Massimo Minini is glad to annouce the opening of Tensioni, the first solo-show in Brescia of the Brescian artist Nicola Rossini. The exhibition is curated by the young cultural association Monochrome also based in Brescia.

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9.10.11 September 2016

Vecchia Pescheria, Corso Vendemini, 51 – Savignano sul Rubicone (FC)

In Olivo Barbieri’s Adriatic Sea (Staged) Dancing People 2015, dancing figures seen from the air are silhouetted against a paradigmatic, almost mythic blue in which improvised yet organized dream-like choreographic forms seem to take shape. The other mythology that asserts itself in the images by this photographer is decidedly contemporary: fun-having and organized tourism, both signs of a commercialized world that is depicted in Pop Art and that introduces all the contradictions between environment and urbanism, tradition and innovation to the coast. To quote Olivo Barbieri: «In Rimini but also in the entire Romagna region the liscio folk dance is extremely popular and highly regarded historically by generations both old and new. The big disco clubs still stand out like cathedrals in the desert. Dancing is a liberating ritual performed against the blue of the sea.»

ERSATZ LIGHTS

15 July – 9 October 2016

Villa Manin, Piazza Manin, 10, Passariano – Codroipo

The exhibition brings together images made over a period of 30 years of work. The images were chosen by the author himself doing research in its rich archive, some unpublished some unreleased. It is a selection of about 200 images in which the East and West spatial expressions are compared by one element in common: the artificial light. Europe, Japan, China, Malaysia, Singapore, Cairo, USA, and many other countries are narrated and described by a sequence of images by relating the subjects and forms, sometimes even showing the same in daylight.

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Haris Epaminonda – VOL.XVIII

4  September – 20 November 2016

Leopold-Hoesch-Museum, Düren – Germany

The central artistic process of HarisEpaminonda represents the collage. Through the precise arrangement of selected objects and visual media she creates atmospheric installations that produce new assemblages between geographically remoted areas. They often employs the use of ready-made that come from different contexts and combine a wide field of possibilities of association. Her poetic works revolve subtly themes such as natural and cultural history, presence and absence, duration and momentariness.

Installation View, Miart 2016 - ThenNow Section in collaboration with Martini&Ronchetti, Genova

Installation View, Miart 2016 – ThenNow Section

The Eighth Climate (What does art do?) – 11th Gwangju Biennale

2nd September – 6th November 6, 2016

Gwangju Biennale111 Biennale-ro, Buk-gu, Gwangju – Republic of Korea

David Maljkovic is invited to attend the 11th Gwangju Biennale in Gwangiu, Korea. In light of the art sphere’s focus on infrastructure in many parts of the world, in the treacherous terrains of existing public and private systems, art itself seems to be partly forgotten. At GB11, attention is directed to artworks and projects addressing the agency of art in terms of the question, “what does art do?” A central part of this interest in the performative aspect of art is its projective and imaginative qualities—art’s active relationship to the future. Other concerns of GB11 include the mediation of art: art’s embeddedness in various contexts and the potential of connecting dots between already existing activities and people near and far.

02 David Maljkovic, Retired Forms, 2008-2011, inject print with pigment colour on the archive paper, oil colour and charcoal, 100x133 cm. 72 dpi