Artissima is Italy’s most important contemporary art fair. Since its establishment in 1994, it has combined the presence of an international market with a focus on experimentation and research. Nearly two hundred galleries from around the world participate every year. In addition to the fair, Artissima is also composed of three art sections, headed by a board of international curators and museum directors, devoted to emerging artists, drawings and rediscovering the great pioneers of contemporary art. Aujourd'hui spoke with its new director Ilaria Bonacossa to know more about this year's edition.
Teresa Braula Reis draws attention to the often overlooked affinity between construction and destruction. Her work envisages the building not simply as a site of stability, but of mutability. The notion of temporality, and with that obsolescence, assume significance in her careful considerations of the structures she inhabits. In her first solo show White Helmet, Braula Reis presents installation, sculpture, video, and image transference prints that delve into different aspects of decay, precarity, and shaky ground as related to the built environment. With these themes in mind, she reveals the slippage, similarity, and overlap between these realms.
Holly Coulis is a painter living in Athens, Georgia and recently had a solo exhibition of new work titled Table Studies at the Klaus Von Nichtssagend Gallery in New York. Coulis has been known for radiant, patterned and delicately worked surfaces comprising bodies and objects in landscapes or tablescapes. Her more recent work has been skirting away from defined figuration into paired down yet scintillating objects on tables. Her current paintings illuminate the secret life of objects, reveal prismatic auras and defy easy explanations of pictorial space.
- Timothy Hull
These days in middling drift. Science awash with irrepressible fantasy. I was both the first and third person. Futures crossing between platforms, swarming junctions, technologies are natural forces.
The fountain of youth is a concept for later, we’ll get to that. For now the hope exists, chrysalis in the innocence of 21, sweet clippings of arms swung at parties, to swimming pools drunk and bed past dawn. Lives lived and years frittered. Disappearance our forever headline. Steps slippery, all those ringing announcements for the older ages. Bodies crash and rot - there and gone. To silicates, to sands, to dusts. Past lives. The dessert left is the ageless swirling of new beginnings, fractions to stack, old lives to relive, new bodies to run with.
This time, it was a speech bubble. With each new set of her "NEWZ!" paintings, I like to study the one or few new forms that emerge have always been there. She found a speech bubble revealed its absence by carving the shape of doorway from that of a bone.
Strategies of mapping, whether they be environmental, physical or architectural, define the artistic profile of John Wallbank, who simultaneously intersects the lines between drawing and sculpture through an ecology of material becoming. The graphic trait, elaborated through the digital, as seen in the artist’s book Drawing, 2013, is analogous to the function of his sculptures, exploring the distance between the raw material given by nature and the artist’s approach to the surroundings. By confronting the chaos of heterogeneous accumulations, the mimetic approach of John Wallbank consists of processing material until reaching the very essence of its elements (glass fibre, resin, cotton fabric), similar to a carving depth. Sculpture is conceived of as a process of sublation between voids and masses, the positive and the negative of material morphologies. By excavating these polarities, the artist prototypes sculptural models via spatial extensions, sequences and scales.
Disegni is the new section of Artissima devoted to the expressive medium of drawing. The section is intended to celebrate an artistic discipline capable of expressing the immediacy of and the thinking behind the creative gesture, existing in a space suspended between idea and finished work. We sat down with the curatorial duo João Mourão and Luís Silva to know more about it.
At its best the gallery is an imaginarium, a place in which ideas can be fostered, modelled and tested. In this current juncture it feels art can cross its parameter line with more ease than before; accidentally or with intent finding itself in radically different contexts, being used in radically new ways. It’s this capacity to cross lines, to bleed that is most interesting to me at the moment, it’s a point in which a work risks collapse, losing a certain vital plane of ambiguity in exchange for becoming real in someone else’s hands.
The exhibition is the picture of a mental garden in which enthusiasm and admiration are the engine that moves the relationship between nature and man, according to very ancient rules. Friendship, as a cosmic force necessary to life, positive or negative, drives in harmony all the elements in this place.
In his work Naufus Ramírez-Figueroa seeks to confront historical narratives with personal memories. His relationship with the past, especially that of Latin America, is a tangle of History to which Ramirez-Figueroa accesses through his own biography. In his projects, which take the form of performances and installations, he uses the languages of folklore, science fiction and theater to reshape these events and their protagonists through his personal experiences.
Emily Mae Smith is versed in various strategies of representation. She pulls from disparate sources to create paintings that reflect the complexity of our time and personhood. She has been particularly interested in a wide range of neo-classical and symbolist works—commonly known as the twisted end of academic painting—in part because these compositions delve deeply into the abyss of the subconscious.
Aujourd'hui is proud to announce its partnership with Artissima, Italy’s leading contemporary art fair, will return to the Olympic Oval pavilion in Turin from November 3 to 5, 2017, for the first time under the guidance of Ilaria Bonacossa.
Not to create any doubtful theories around the following exhibition I wish to state that interpreter's booth I’m referring to in the title is a banal square construction build with a clear purpose to host translators during conferences or any other events that demands simultaneous translation.
The entire project arises from the will to use architectural laws as a medium to be in touch with the memory, starting from Aldo Rossi's thinking who observed the private person's condition as the only one useful to create buildings. The series presented in the exhibition is therefore based on a dialogue with the Rossi’s monument to Sandro Pertini (Milan 1988-1990). The work is considered both a theater and a meeting place, consisting of a large staircase ending with a square very similar to a theater stage. The fact that this stage is behind the "public" sitting, makes it a space where thoughts are conveyed, a mystical and almost unreal place where, what has been thought and what has been remembered, they recite together. The architectural work consists of the reiteration of a form, a code, an element that emphasizes the theatrical component. Through these features, Rossi's architectural ideas are clearly manifested, making this construction the starting point for recomposing memory through exercise and repetition.
Evoking feelings of summer, sun and nostalgia, Baltes invites us into a world where everything feels intensified. Summer is a season that plays by its own set of rules—it is exotic, it is energising and it is something we think and fantasise about year-round. Summer has the potential to answer all of our problems or, at the very least, to provide us with a kind of temporary escape. This possible escape, however, gives way to a kind of urgency. Summer comes with an end date, thus each of its days is contextualised by a need to maximise them to the fullest. In this sense it becomes a state of mind, balancing a desire to do everything with a need to do everything.
You can argue how migration stimulates the economy, or try to explain how structural racism happens anywhere. You can debate the validity of the nation state, and claim that identity is constructed like a flag on the moon. You might call for radical change, but that doesn’t change how people feel about these topics. How they feel depends on who they are, where they are, and how they’re able to relate their particular past. Our memories leave marks, and as the body remembers things it establishes habits. Even though everyone’s body and past are unique, many share a comparable experience.
The Blueproject Foundation presents "Bei mir geht es in den Keller hoch", the first personal exhibition of the artist David Ostrowski in Spain that can be seen in the Sala Project from July 14th to October 1st, 2017. The exhibition allows the visitors to discover the pictorial work of the artist, presenting a selection of paintings, as well as a large installation that will occupy the center of the Sala Project.
Ocaso is the last individual show of Nicolas Lama, Peruvian artist who lives in Belgium. For this new project, Lamas uses a series of meetings and unstable relationships between elements from different contexts, which interact within a space of a gallery under a not established parameters. Ocaso proposes an ontological review to our present under a dark and quiet perspective, where light seems to be diluted behind a horizon which is about to disappear.
For Wolfgang Voegele, the figuration dissolves in the composition; for him it is about getting to a state in the paintings, where he can paint without thinking. Voegele works with form in an area between abstraction and figuration, using similar forms in an unpredictable pattern. The artist compares his practice to the automatism of Robert Motherwell, an American painter who formed part of the New York School of abstract expressionism. He elaborates: "There is always a sense of figuration in the paintings, and it is never completely abstract. The forms are always, in some way, figurative by themselves. But together with the other forms in the picture, they dissolve in the composition."