Spacetacular Catalogue

Page 1

Final Rome Catalogue.indd 1

4/24/08 12:16:21 PM

Space-tacular The Dubai Rome artist Exchange Project

Cur ated By: Sam Bardaouil Co-cur ated By: Emanuela Nobile Mino

Copyright Š 2008. Sam Bardaouil The copyright of the text and images is held by their respective authors. Front Cover: Irene Boghdadi Title Page Design: Norah Awad Layout Design and Typography: Salma Nour, Mariam Alhamrani, Shamsa Horaiz Production Manager: Ahmed Abou - Chaaban All rights reserved. No part of this catalogue may be reproduced in any form and by any means without the written permission from the authors. Printed in Dubai, 2008.

Final Rome Catalogue.indd 2-3

4/24/08 12:16:25 PM

C o n t e n t s

Michael Bray Sarah Lahti Sam Bardaouil

Dubai Artists

Cur ators Amira Mehrez Iman Al Sayed Emanuela Nobile Mino

Marina Paris Ivan Civic

Tashkeel

Galleries

Rome Artists

Fondazione Volume

Valentino Diego Eugenio Percossi

Final Rome Catalogue.indd 4-5

4/24/08 12:16:25 PM

Curator

Sam Bardaouil

Sam Bardaouil Šphoto Hazem Mehdi

Another regular day on the city’s ever changing labyrinth of streets. Scorching heat, risks of dehydration, hence an Evian in my bag. ,UKSLZZ WHPYZ VM SPWZ QVS[PUN VU [YHÄ„J Z[YPJRLU faces pass me by as I purposefully stare out from my less than elegant vehicle. Lips that tighten and press swell and shrivel and make all sorts of Miro-like shapes as they divulge their verdict of the city which has bestowed upon them the magnanimous space in which they so UVUJOHSHU[S` Ă…\[[LY! ¸6O 0[ÂťZ ZV HY[PĂ„JPHS š Another opening night at one of the city’s budding art spaces. Searing remarks, prospects of intellectual over-dozing due to heightened exposure to verbal diarrhea by self declared art gurus. Sages of all races engaged in an undeclared contest of spotting the emperor’s new clothes. ‌ And those same assiduous lips, ever so diligent in proclaiming their constant ruling... Needless to say, the J\S[\YL HZ ^LSS PZ ¸ZV MHRL š 6Y ZV [OL` ZH` š;OL JVYYLSH[PVU IL[^LLU [Y\[OM\SULZZ HUK art, between authentic cultural representation and the epistemology of the aesthetic experience, has always been a hot topic of inquiry for countless artists and philosophers. Plato, for instance, claimed that artists are only dishonest imitators of appearances so art, therefore, can never achieve truth. His pupil Aristotle, however, found in art the capacity to represent aspects of reality that otherwise can IL [VV KPÄ„J\S[ [V KPNLZ[ HUK [OLYLMVYL PUZ[Y\J[ us of certain truths that we would have otherwise missed. Art becomes cognitive. Leonardo idolized art considering it a science, the true-born child of nature. But could he have

become the consummate Renaissance model, HZZ\TPUN OPZ JHUVUPJHS ¸Z\WLY Z[HYš Z[H[\Z PU the history of art had it not been for a 200 year old legacy of subjective patronage embodied in the house of Medici? So many incidents spring to mind. The Catholic iconophiles of the 17th century were embracing the truth represented by those very religious images that were rejected by the Protestants for they are, in Luther’s words, deceiving and worthless. ;OL HLZ[OL[PJ ¸IPJRLYPUNš VM /\TL HUK 2HU[ still resonate in every random discussion on the parameters of beauty. Edouard Manet’s ¸6S`TWPHš HUK ¸+tQL\ULY :\Y 3Âť/LYILš HYL exemplary of an artist’s trial to convey the reality of his own time while using the codes of an established culture, long associated with ÂŤ true Âť art in order to instill within his work a measurable sense of recognized authenticity. +\JOHTWÂťZ ¸-V\U[HPUš ^PUUPUN [OL ;\YULY WYPaL MVY [OL TVZ[ PUĂ…\LU[PHS HY[ ^VYR `LHYZ HM[LY P[ ^HZ Ă„YZ[ KPZWSH`LK PZ `L[ VUL more striking example. Heidegger’s brilliant JVTWHYPZVU IL[^LLU =HU .VNOÂťZ ¸:OVLZ š HUK HU HUJPLU[ .YLLR [LTWSL HSZV comes to my mind. The humdrum universe of the destitute farmer is a far cry from the exhilarating divinity of the shrine’s reality. Yet, both works boast an immediate sense of truth, and provide their audience with an untarnished picture of the historical cultures PU ^OPJO [OL` L_PZ[ :\JO PZ [OL [HZR VM H ¸[Y\Lš work of art, at least according to Heidegger. When pondering the makings of crossJ\S[\YHS KPHSVN\L VUL JHUÂť[ H]VPK [OL KLĂ„UPUN VM ¸ZLSM š SVUN ILMVYL ]LU[\YPUN PU[V [OL W\YZ\P[ of any understanding of the other. Truth of the

2

Final Rome Catalogue.indd 6-7

4/24/08 12:16:27 PM

Right: Vincent Van Gogh Farmers Shoes 1888 6PS VU *HU]HZ Above: Sultan Muhammad Prophet’s Ascension (Miraj) 2OHTZH VM 5PaHTP (+

matter, at the risk of sounding like a philistine to the more sophisticated: Art is a mirror. That which you are beholding is nothing but a sheer YLĂ…LJ[PVU VM ^OV `V\ HYL (UK ZVTL[PTLZ ^L don’t like what we see. So, instead of engaging in an unbiased search for truth, we opt for denial and rejection regressing into outrage. When a work of art manages to involve you, [V HNNYH]H[L `V\ `V\ ^PSS JLY[HPUS` Ă„UK yourself reacting. A whole gamut of responses, sometimes long dormant, is summoned out. No longer perceived as a mere bunch of lines and brush strokes hanging on a wall, [OL ^VYR S\YLZ `V\ PU[V HU HJ[ VM JVTWSPJP[t with it or a crusade against it. What was, just a few minutes ago, a harmless assembly of shapes and colors has now transformed into a comrade or foe: A real force to be reckoned with. You’re in the domineering presence of an autonomous identity that could either be the embodiment of your most sacred values or [OLPY WV[LU[PHS ¸;LYTPUH[VYš 0 YLJHSS JLY[HPU incidents when walking through an art gallery felt more like being caught amongst a crowd of frustrated activists, unleashed after years of captivity. But at the end of the day, your only opponent is yourself. You end up being your ZLSM ÂťZ ^VYZ[ LULT` Ă„NO[PUN HNHPUZ[ `V\Y V^U evolution. For when art challenges you, shakes your comfort zones and contradicts you, how will you debate with it, and ultimately with yourself? This is the crux of any dialogue between cultures. And it is the mustering of [OL HIPSP[` [V LUNHNL ^P[O [OL ZLLTPUNS` ÂşHSPLUš to one’s self that one embarks on a dialogue between cultures. Art history, however, reeks with less restrained incidents where the parties PU]VS]LK ^OLYL HU`[OPUN I\[ ¸+PHSVN\L PUNš 0[

^HZ TVYL SPRL +PL (SVUNPUN :\JO L_HTWSLZ of failed communication always manifest themselves in either, acts of solidarity with or rejection of art works and the cultural values they embody. During the Second World War, for instance, in Nazi-occupied Paris, a simple Louvre curator risked death on a daily basis while spying on the German troupes. The Nazis took photos of all the art they were stealing HUK JVUĂ„ZJH[PUN HUK ^LYL Z[VYPUN P[ H[ [OL ¸1L\ KL 7H\TLš ,]LY` UPNO[ PU VYKLY [V JYLH[L H reliable inventory to be used as crucial evidence later on, Rose Valland would smuggle the negatives out of the museum and make copies of them. During the day, she would resume her duties at the museum looking after the THPU[LUHUJL Z[Hă HUK ^H[LYPUN [OL WSHU[Z" an act that could have had her instantly shot, easily, or had her shipped into a concentration camp. In 1999, when British artist, of Nigerian KLZJLU[ *OYPZ 6Ă„SP WHPU[LK OPZ ¸/VS` =PYNPU 4HY`š \ZPUN LSLWOHU[ K\UN +LUUPZ /LPULY H 72 yr old retired school teacher, sneaked into the Brooklyn Museum and thrashed the art work with white paint. More indignation from various factions prompted Rudy Giuliani, New York City’s mayor at the time, to wage a court of law against the museum, asking for immediate closure of the exhibition and the withdrawal of public funding. The city lost and was instructed to pay a further $5.8 TPSSPVU PU JHWP[HS [V [OL T\ZL\T 6U 4H` [O [OL ^OVSL ^VYSK ^HZ ZOVJRLK I` [OL HZZHZZPUH[PVU VM +\[JO Ă„ST THRLY ;OLV =HU Gogh (descendant of Vincent Van Gogh). His Ă„ST ¸:\ITPZZPVUš OHK VI]PV\ZS` JH\ZLK ZVTL

WLVWSL [V ¸YLHJ[š Z[YVUNS` LUV\NO [V HJ[\HSS` RPSS OPT >YP[[LU I` (`HHU /PYZP HU L_ Muslim Somali refugee who became a Dutch WHYSPHTLU[HYPHU [OL Ă„ST MLH[\YLZ PTHNLZ VM ZLTP UHRLK ^VTLU ^P[O 2VYHUPJ ]LYZLZ written on their skin. Drawing from her past experience, Hirsi wished to expose the abuse of ^VTLU PU JLY[HPU 0ZSHTPJ ZVJPL[PLZ 6U H TVYL personal note (now is my pretentious attempt as a curator to align myself with examples of OPZ[VYPJHS ZPNUPĂ„JHUJL 0 ^PSS UL]LY MVYNL[ [OL day when one of my college students called me a liar when I decided, so excitedly, to show [OL JSHZZ ZSPKLZ VM H :HMH]PK 2OHTZH VM 5PaHTP H[[YPI\[LK [V :\S[HU 4\OHTTHK a master painter of that period. The whole misfortune was prompted by an illustration of [OL 7YVWOL[ YPKPUN OPZ T`[OPJHS TV\U[ ¸)\YHXš VU [OL UPNO[ VM ¸(S PZYHHÂť ^HS TPÂťYHHQš 0[ PZ common knowledge that in Islam, it has been traditionally forbidden to make any drawings or images of the prophet Muhammad, or any other prophet. But that was not the case in :HMH]PK 0YHU +\L [V [OLPY YVV[PUN PU H :\Ă„ VYKLY MV\UKLK HYV\UK I` :OLPRO :HĂ„ HUK despite converting to Shiism in the mid 15th JLU[\Y` [OL` THPU[HPULK :\Ă„ZTÂťZ ZWPYP[\HSPZ[ approach to religion, thereby acquiring a progressive and liberal stance on the daily HWWSPJH[PVU VM YLSPNPV\Z SH^ ¸ZOHYPÂťHHš ;OPZ HWWYVHJO ^HZ YLĂ…LJ[LK PU HSS HZWLJ[Z VM [OLPY culture, including their aesthetic sensibilities. However, in other Muslim communities, where more extreme interpretations were adhered to, it was strictly prohibited to even depict any living being or thing as this would IL JVUZPKLYLK HU HJ[ VM KLĂ„HUJL [V (SSHO [OL only one capable of creating and giving life.

For instance, it was a perfectly reasonable and common practice for miniature artists in 12th century Iraq and Syria, upon the completion of a painting, to draw a bold line cutting across the necks of any depicted human (or animal) Ă„N\YLZ ;OPZ ^HZ H [HUNPISL HZZLY[PVU VM [OL PUHUPTH[L SPMLSLZZ UH[\YL VM [OL ^VYR VM HY[" H socio-religious opinion on art at large. I was in no way expecting, though, that it was my own neck’s doing in that was going to be the hope of many on that ill-fated day. While putting this cross cultural exchange project/exhibition together, I couldn’t help but wonder: What is it that makes us always seek TVYL" [OH[ JVUZ[HU[ ZLUZL [OH[ ¸ZVTL[OPUN PZ TPZZPUNš HS[OV\NO ^L WYVIHIS` OH]L T\JO more than many would even care to handle PU [OL Ă„YZ[ WSHJL& 0[ L]LU[\HSS` VJJ\YYLK [V me that we are either deluded utopianists, searching for Plato’s ideal state, both internally and externally, or maybe, somewhere deep within our genetic make up and our double helix DNA strand, is a special gene tucked away, hidden from the rest of the world and only perceivable to those, who like us, are wanderers in this expanse of cultures, political ideologies and geographical demographics‌ It is the second possibility that rings true PU [OL ^VYRZ VM [OL HY[PZ[Z KPZWSH`LK OLYL" H predicament that many like you and me are constantly plagued with. Bottom line, we JHUÂť[ OLSW P[ >L HYL VU[VSVNPJHSS` PUJSPULK for growth, evolution, the discarding of what is taken for granted, the shaking of our (and of others) comfort zones. In the foremost essence of who we are, we have been ordained by some providence to dare imagine what

PZ KPăLYLU[ 6UJL V\Y SP]LZ ZLLT [V Z[HY[ settling down or taking a friendly course, ^L Ă„UK V\YZLS]LZ ^PSSPUNS` HUK IL[[LY `L[ subconsciously overhauling any familiarity and replacing it with complex unfriendly JVUKP[PVUZ HUK VUS` [OLU KV ^L MLLS HSP]L In other words, we are intellectual and emotional ascetics: An endangered breed VM J\S[\YHS THZVJOPZ[Z (UK ^L Q\Z[ SV]L it‌ By the way, in case you were still wondering about what happened to my student, I did what everybody else seems to be doing these days: I simply told her to ISHTL P[ VU 0YHU Sam Bardaouil Rome, 2008

Final Rome Catalogue.indd 8-9

4/24/08 12:16:29 PM

Sam Bardaouil Cross - Cultural Hero 2008 Digital Photography and Collage 6

Final Rome Catalogue.indd 10-11

4/24/08 12:16:34 PM

Lateefa bint Maktoum Director of Tashkeel

The role of arts and culture in the society of the United Arab Emirates in general, and Dubai in particular, is developing at a rapid pace. As part of this process, we believe that it is essential that artists and designers working in the region see their work in both a national and international context. When Sam Bardaouil approached Tashkeel with a view to our hosting the UAE stages of these artist exchanges, it was an unexpected proposition in such an early stage of our development. However, it took no more than a few minutes for us to recognize that his proposal was in perfect harmony with the mission of Tashkeel to encourage the work of practicing artists in the region, and would provide a catalyst for our own development, as well as an amazing opportunity for creative interaction between participating artists. The opportunity to work with such experienced institutions as the American University in Dubai, the Volume Foundation, in Rome, and the Goethe Institute, in Berlin, encouraged us to take part in this exciting initiative and we are grateful to them for the 2;A5B@6 .@: .;1 0<;U1 2;02 A52F 5.C 2 @5<D; 6 ; <B? V21 49 6 ;4 <? 4.;6 G .A6 <; +2 .? 2 0<;U1 2;A A5.A 2E 05.;42@ @B05 .@ these will strengthen and enrich the work of artists in the UAE and that by exposing the work of UAE artists to an international audience, and vice versa, will encourage a greater recognition of the similarities between .? A6 @A@ 3? <: 16 W2? 2;A 0B9 AB? .9 /.084? <B;1 @ .;1 4? 2.A2? ? 2@=20A 3<? A52 16 W2? 2;02@

Q%<;1 2? 6 ;4R 2007 Digital Photography 8

Final Rome Catalogue.indd 12-13

4/24/08 12:16:41 PM

Tashkeel, an innovative hub for the creative, D.@ 2@A./9 6 @521 6 ; .;B.? F A< @B==<? A and encourage artists and designers working 6 ; A52 ? 246 <; .;1 A< B;6 A2 .? A6 @A@ <3 16 W2? 2;A ages and varied experience. Through its extensive facilities, Tashkeel aims to meet A5? 22 @=206 U0 ;221 @ - To provide a place and the facilities for artists to make work, - To provide a venue for artists to exhibit work - To create an opportunity for artists to meet other like-minded creative people. Specialist facilities include a MAC studio, equipped with the latest creative software, large format digital printing, jewelry workstations, painting studio, photographic studio and darkroom, printmaking, textile printing and 3-d workshops. Painting, drawing studio and environmental works can also be made in the garden. In addition to open-access studios, (.@58 229 <W2? @ . =? <4? .: <3 6 ;A? <1 B0A<? F workshops in each of the specialist disciplines and is developing a series of master classes, to /2 1 29 6 C 2? 21 /F >B.9 6 U21 : 2: /2? @ .;1 C 6 @6 A6 ;4 artists.v The long-term ambition for Tashkeel is that it will grow to be a lively and pro-active community of artists and designers, nurturing emerging talents, facilitating the exchange of ideas and expertise, fostering collaborative projects and encouraging cross-cultural interaction and co-operation.

10

4/24/08 12:16:46 PM

Emanuela Nobile Mino (detail) ©photo Claudio Martinez *V\Y[LZ` -VUKHaPVUL =VS\TL 9VTL

Co-curator

Emanuela Nobile Mino

Here and There. Art beyond the space frame. Looking back and trying to rebuild the path that brought to the realization of this exciting ¸HK]LU[\YL¹ VM JYVZZ J\S[\YHS L_JOHUNL IL[^LLU ,HZ[ HUK >LZ[ ^OH[ ÄYZ[ HUK TVZ[ clearly comes up to my mind is the moment me HUK :HT TL[ PU 9VTL [OL ÄYZ[ [PTL PU 1HU\HY` 2008*. We took a walk in via del Pellegrino with the intention of sitting somewhere to talk about our own working experiences as curators and our propositions, to exchange opinions on the status of contemporary art in our respective countries and about the ongoing local cultural system, as about the actual status VM P[ HUK P[Z KL]LSVWTLU[Z 6M JV\YZL [OL PUULY and unspoken purpose of both, beside getting into a dialectical exchange, was also making a comparison between our own projects and planes for the future to verifying if they were somehow in line and in accord with the international panorama and climate, this to just to check out if we were proceeding in the right direction on our prospects and careers. And,

up to this point, everything may sounds like a usual process of a professional meeting. What Z\YWYPZLK TL P[ ^HZ [OL MHJ[ [OH[ ^OLU ^L ÄUHSS` arrived to Campo de’ Fiori and took a seat in H JHMt ^L YLHSPaLK [OH[ ^L OHK HSYLHK` ZL[ \W and planned a project - actually this project and analyzed almost all the aspects of it. In less that half an hour we focalized which was our common most urgent need and decided to work together to give a real shape to it. So more than meeting, it was like recognizing LHJO V[OLY HUK ÄUKPUN V\[ ]LY` X\PJRS` ^L had at least one intent very clear in common since long ago: creating a network which could stimulate a complex system of cultural exchange through artists’ residence, in order, of course, to promote them at an international level but, more properly, to bring the artists rethinking their social dimensions - from which they basically and naturally structure their own everyday life - and their artistic language and iconographies, through a confrontation with a diverse social and political environment as well as with an opposite scale of aesthetical codes and ethic values. The concept of the 12

Final Rome Catalogue.indd 16-17

4/24/08 12:16:49 PM

project rotates around the idea that a cultural =? </9 2: 6 @ A< : 2 .0 9 2.? ? 2V20A6 <; <3 A52 .? A action, based on a dialectical interplay between behaviour in the present time, because it seems 16 W2? 2;A .? A6 @A6 0 /.084? <B; 1 @ : .F 3B; 0 A6 <; so highly representing and illustrating in a as a powerful means able to break down the three-dimensional scale the heterogeneous and boundaries that keep divided two distant ambivalent artistic gesture and its privileged locations, overcoming the territorial limits as interpretation of reality. The intervention in well as the time ones. a given space, the re-nomination of a spatial Connecting Rome and Dubai and putting 0<;U4B? .A6 <; 5.@ A< : 2 A52 ? 2.9 =<A2;A6 .9 <3 6 ; ? 29 .A6 <; @<: 2 <3 A52 : <@A @6 4;6 U0.;A modifying present conceptions of time and international centres of contemporary art space and, at the same time, it constitutes a promotion, such as AUD, Tashkeel Arts 05.;02 <3 Q/? 2.8 <; A5? <B45R A< A52 <A52? @6 1 2 2;A2? .;1 <;1 .G 6 <;2 *<9 B:2 A52 =? <720A opening new sources of reading and surviving aims to create both an interaction and short- the saturated metropolitan setting. circuit between the local cultural traditions And the question which usually remains and topics, as well as activating an extended and intentionally is left – open, regards the working process consumed in parallel spaces 2W20A@ A5.A A52 .? AD<? 8 =? <1 B02 6 ; A52 D<? 9 1 and parallel times. especially when it takes as its principle starring $; :F @6 1 2 D5.A 5.@ .9 D.F @ 6 ;A2? 2@A21 : 2 element the world itself. The present project : <@A 6 @ A52 ? <9 2 <3 A52 Q '=.02R 6 ; A52 .? A6 @A6 0 tries, someway, to answer the question, process, taking in consideration its ambiguous implying the concept that the form can be no inner peculiarities of territory always mobile, longer considered merely a static notion, since .9 D.F @ 05.;46 ;4 .9 D.F @ <=2; A< ? 2C 6 @6 <; Q ; it changes the perception of aesthetic problems 2E 6 @A6 ;4 @=.02R .@ D299 .@ A52 @<06 2A F 0<;A2E A from being visual to being also social. And it P Q: .F <B A9 6 C 2 6 A@ <? 6 46 ;.9 =B? =<@2 .;1 A52 focuses on the need for the experiences and raison d’etre which determinates its form, knowledge-generating process in order to 3B; 0 A6 <;@ .;1 @A? B0AB? 2@ 6 A : .F A5B@ /20<: 2 1 6 @@<9 C 2 .;1 16 @U4B? 2 A52 0<;02=A <3 '=.02 6 ; vacant, and susceptible of being diverted, re- the rigid territorial sense, although it tents also .==? <=? 6 .A21 .;1 =B A A< . B@2 >B6 A2 16 W2? 2;A A< B;1 2? 9 6 ;2 A52 C .9 B2 <3 AD< 16 W2? 2;A 0B9 AB? .9 3? <: 6 A@ 6 ;6 A6 .9 <;2R 2;? F ! 232/ C ? 2 Q(52 and national backgrounds and heritages. %? <1 B0A6 <; <3 '=.02R

What me and Sam asked the artists selected Working as Artistic Director of Fondazione and invited in this exchange program, is to *<9 B:2 D56 05 3<;1 .;A .6 : 6 @ 7B@A A5.A <3 activate a form of dialog with the environment =? <C 6 16 ;4 .;F A6 : 2 . 16 W2? 2;A 6 ;A2? =? 2A .A6 <; A< they’re going to live in and experience during the architectural structure of the space by the their staying in residency, Rome and Dubai, to artists’ intervention, I constantly deal with and produce and put on display new question marks U;1 :F @293 ? 2V20A6 ;4 <; A52 3B; 0 A6 <; <3 A52 : <? 2 A5.; UE 21 =? <=<@6 A6 <;@ : /<1 F 6 ;4 A52 space and, at the same time, of the surrounding U4B? 2 <3 . 0 <;A2: =<? .? F 2;7.: 6 ;T @ VI;2B? environment in the art practice. The spatial artists will explore both cities as landscapes

able to splits into their dialectical poles. Testing A52 UE 21 .;1 2@A./9 6 @521 @A? B0AB? 2@ : 2;A.9 A52 =B9 @2 <3 A52 52A2? <A<=6 . <3 A52 @=206 U0 @6 A2 cultural, institutional, political, aesthetical), in A52F T ? 2 C 6 @6 A6 ;4 .;1 =? </./9 F U;1 6 ;4 <B A A5.A order to enlarge the framework for a channelling 6 A .0AB.99 F D<? 8@ /F Q 7BE A.=<@6 ;4 6 ; . @6 ;49 2 <3 A52 1 2@6 ? 2 3<? ;2D =<A2;A6 .9 U29 1 @ D52? 2 . real space several spaces, several sites that are large-scale cultural communication may be 6 ; A52: @29 C 2@ 6 ;0<: =.A6 /9 2R " 6 0529 <B0.B9 A activated. Q$3 $A52? '=.02@R

So, the physical displacement of the artists The point of departure of the project is the 0<;@A6 AB A2@ . D.F <3 ? 2V20A6 ;4 <; ;202@@6 AF <3 premise that the artistic praxis is culturally shorting the distances and overcoming the permeable and accrues value, in the long run, opposition between the individual (the local in the interchange of motives and methods space and the forms of habitual thinking) and with those who are both similarly and diversely the global environment, in order to generate disposed. In other words, the human activity a confrontation on points of discussion that .;1 A52 .? AD<? 8@ 6 ;VB2;02 <;2 .;<A52? (56 @ relates to reality on an ideal common space of because the artistic work does not necessarily action. I’m deeply convinced that it can serve link itself up to isolated creators but rather as an encouragement for getting out there and A.8 2@ =9 .02 6 ; A52 @<06 .9 U29 1 @ /2F <;1 1 <6 ;4 discovering art as the stepping stone for new it in the artistic one. So, the works ad hoc hopes and fresh dreams. created during the residencies will try both to Q'=.02 1 <2@ ;<A ? 2=? 2@2;A .;F =? <=2? AF <3 questioning and answer back at the social and things in themselves, nor does it represent them cultural activity that surround them, instead in their relation to one another. That is to say, of being a design-like hypostasis of themselves. space does not represent any determination And this is right what me and Sam were, since that attaches to the objects themselves, and A52 /246 ;;6 ;4 6 ;A2? 2@A 6 ; QB A6 9 6 G 6 ;4R .? A .;1 which remains even when abstraction has artistic autonomy in order to create a social been made of all the subjective conditions of @B? =9 B@ 6 ; . 0? <@@21 C 2? 6 U0.A6 <; <3 5<D A52 6 ;AB6 A6 <;R transitive mode of the singular researches of : : .;B29 .;A Q ? 6 A6 >B2 <3 %B? 2 & 2.@<;R these artists can put them into a position of 1781) competing with conventional, traditional and conformist forms and notions both of their *I personally would like to thank Ivan Civic own country and of the one they’re going to for creating the opportunity of the encounter explore. Attempting - with their personal and between me and Sam Bardouil, and of course de-touched approach to the new social and Sam for being so punctually collaborative spatial dimension - the unknown, or better, .;1 @< 1 22=9 F 1 2C <A21 A< A56 @ Q'=.02A.0B9 .? R the stereotypes, the pre-concepts and the =? <720A A5.A : 2 .;1 <;1 .G 6 <;2 *<9 B: 2 .? 2 misconceptions that surrounds both locations. very proud to join and co-produce. This mean running the risk - even if I’d rather say accepting the challenge - of dismantling

Final Rome Catalogue.indd 18-19

4/24/08 12:16:51 PM

(52 *<9 B: 2 <B;1 .A6 <; D.@ /<? ; 6 ;

.@ . ;< =? <UA 0B9 AB? .9 .@@<06 .A6 <; The space, an old glass factory in the heart of Trastevere, has become in a very short time a testing ground of ideas with the support of . 4? <B= <3 ? <: .; 6 ;A299 20AB.9 @ *<9 B: 2 6 ; 6 A@ ten years of activity, by proposing an unusual .;1 ;<A 09 .@@6 U./9 2 =? <720A 5.@ 5<@A21 .;1 produced more than 50 artists’ and architects’ art works and installations. All of them, internationally known, invited to realize an B;21 6 A21 .;1 @6 A2 @=206 U0 =? <720A 6 ;@6 1 2 A52 space. The fondant principle that rules and inspired .99 A52 D<? 8@ ? 2.9 6 G 21 B= A< ;<D 6 ; *<9 B: 2 6 @ the declination of the relation Art/Architecture in a given space, expressed through the most various forms of declaration, implicating the need of creating a direct and exclusive interlocution between the artist and the space. When necessary, this also has meant bringing to light and involving the urban context and the neighbourhood in which the space is situated. The result of all this is a constant .: =9 6 U0.A6 <; <3 A52 9 6 ;4B6 @A6 0 1 6 ? 20A6 <;@ and of the chances of interpretations that art 0.; =? <1 B02 0<;U? :6 ;4 6 A@ =? 2? <4.A6 C 2 <3 being one of the most suitable instrument of investigation of the contemporary reality. *<9 B: 2 T @ : .6 ; =? <720A 0<;@6 @A@ 6 ; 46 C 6 ;4 A52 artists (invited by the Artistic Directors and .==? <C 21 /F A52 %? 2@6 1 2;A .;1 A52 '06 2;A6 U0 Committee) the chance of creating a site@=206 U0 D<? 8 A5.A .@ : B05 .@ =<@@6 /9 2 0<B9 1 get in strict relation with the architectonical space. This means: paying attention both to the space structural peculiarities and to its history. So that it can be perceived as an integral part

of the artwork and not just a merely container Administrative Director: or its temporary displayer. The aim is to create Daniela Bartoccini Nucci 2.05 A6 : 2 . 16 W2? 2;A C 6 @6 <; ./9 2 A< @A6 : B9 .A2 6 ; Artistic Directors: the viewer always a brand new emotion. Angelo Capasso and Emanuela Nobile Mino The artists’ versatility allows and provoke <: : 6 A22 each time the destruction and/or the rebuilding '062;A6U0 056 99 2 <;6 A< $96 C. ? A ? 6 A6 0 .;1 %? <32@@<? .A of the architecture. A52 Q! . '.=6 2;G .R );6 C 2? @6 AF & <: 2 A.9 F The space is, intentionally, never carried .; <2A 6 ? 20A<? <3 " .? A. " B@2: 2? 3<? 1 over to the original virginity, but it always (Germany) .;1 24F 6 6 ? 20A<? <3 " B@J2 1 2 '.6 ;A keeps its history attached and partially visible: ! <? Etienne, Saint Etienne Metropole (France) its walls are a skin-like surface, which its own .;6 9 < 0052? 6 ? 20A<? <3 " & $ " B@2B: <3 several layers, signs, traces, lifelines. Contemporary Art, Rome (Italy) Another important aim of the Foundation Patrick Talbot - Director of the Superior National 6 @ V.;86 ;4 A52 0B9 AB? .9 =B/9 6 0 <W2? /F : .86 ;4 School of Photography, Arles (France) accessible and comprehendible the artistic 056 C 2 .;1 %? 2@@ $X 02 path that brings to the creation of an artwork, ? Marilena Borriello giving the chance of participating directly to Silvia Marsano A52 Q: .86 ;4 <3R <3 A52 .? A 6 ;A2? C 2;A6 <; ? 24B9 .? guests of the space are, in fact, students and Translations: @A.42? 3? <: 16 W2? 2;A );6 C 2? @6 AF <? B9 AB? .9 Fabiana Binarelli Institutes (Italian and foreigner). Video: The training and the formation, as well Valerio Pittiglio as the cultural production, constitute other Giuseppe Castellucci main fondant interests and goals that the Foundation has raised along the years. The Acrhitectonical Coordination: Anomia Studio *<9 B: 2 ? 056 C 2 6 ; 3.0A 0<;@2? C 2@ . 5B42 .;1 detailed amount of documentation patrimony Art Installation/Set up: by each of the artists who have been working in Sauro Radicchi *<9 B: 2 .;1 <3 2.05 @6 A2 @=206 U0 D<? 8 ? 2.9 6 G 21 (photos, videos, publications, magazines). The Archive is accessible to students, researchers, art historian and critics from all over the world. $# - $# *$! ) " President: Franco Nucci General Secretary: Sabrina Nucci 16

4/24/08 12:16:52 PM

Transcending All Boundaries Transcending all boundaries, Art is a perfect medium for bringing together cultures, minds and people. By supporting local artists to go abroad whilst welcoming international artists to Dubai, the Tashkeel Artists Exchange Program establishes an ideal platform to showcase creativity within the context of developing cross cultural dialogue. With a mission of building a bridge between the cultures of East and West, the Chalhoub Group is proud to lend its support to the Tashkeel Artist Exchange Program, which facilitates this exchange of talent and cultural experiences. As an Ambassador of luxury lifestyle, representing leading brands in the region for over 52 years, we have developed an appreciation for craftsmanship and creativity that has inherently led to a special HĄSPH[PVU [V [OL (Y[Z ;OL WYVNYHT HSSV^Z \Z [V L_LYJPZL V\Y *VYWVYH[L Social Responsibility by providing us an opportunity to contribute to the evolution of the UAE’s cultural fabric through art. The United Arab Emirates is pioneering its way to becoming an axis for Arts and Culture in the region and we are therefore very pleased to be associated with Tashkeel in collaboration with the American University of Dubai for this inspiring initiative. Patrick Chalhoub *6 *,6 *OHSOV\I .YV\W

Final Rome Catalogue.indd 22-23

4/24/08 12:16:54 PM

Final Rome Catalogue.indd 24-25

Dubai Artists . Dubai Artists . Dubai Artists. Du

Michael Bray . Im an al Sayed . Sarah L ahti . A mira Mehrez

4/24/08 12:16:57 PM

Final Rome Catalogue.indd 26-27

Canada

Michael Bray

I am a professor in the Visual Communications department at the American University in Dubai teaching drawing and three-dimensional design. I have lived in Beirut and Cairo before Dubai, with a sum total of nine years of residence in the Middle East. I am fascinated about the relevance of artistic endeavor to show the complexities of our world as well as show the beautiful, [OL WHPUM\S HUK [OL ZPNUPÄJHU[ TVTLU[Z [OH[ HYL ZOHWPUN V\Y ^VYSK [VKH` (M[LY *HPYV 0 TV]LK [V )LPY\[ HUK [OPZ LU]PYVUTLU[ OHK H ZPNUPÄJHU[ PTWHJ[ VU T` \ZL VM JVSVY HUK Z\IQLJ[ TH[[LY Lebanon is a stunning country with beaches, mountains, cities, villages, and ancient sites. All of this is packed into a tiny country (compared to Canada, my home), and the variety does not stop with the geography. The people in Lebanon are highly diverse and regional as well. My greatest JOHSSLUNL ^HZ [V ÄUK ZVTL JVTTVUHSP[` ^OH[ YHU [OYV\NO HSS VM [OPZ [`PUN [OL WLVWSL HUK WSHJL [VNL[OLY PM HU`[OPUN 0 ILNHU H ZLYPLZ VM JVSVY Z[\KPLZ [HRPUN MVY PUÅ\LUJLZ [OL PU[LUZLS` ]HYPV\Z qualities of sunlight and how it changed the colors of the natural and urban environments. As opposed to Cairo, my palette expanded into a much wider range. After a time, I began to notice something with the people. There seemed to be a tremendous sense of waiting, as if the answers were just around the corner. Political malaise, international interference, economic instability, HUK ZLJ[HYPHU KPăLYLUJLZ ^V\SK HSS IL ^VYRLK V\[ WLYOHWZ [VTVYYV^ I\[ ZVVU 0 MLS[ H ZLUZL VM unrealized potential that had little outlet within society, and along with this sense of waiting, I UV[PJLK [OL NYLH[ SV]L VM KP]LYZPVU PU THU` MVYTZ 6\[KVVY HJ[P]P[PLZ JVTWHYPUN Z[`SLZ SVVRPUN each other over, up, and down, mobile phones, comparing ailments and medications, and an active nightlife were all participated in to divert attention from the boredom of waiting. This was the complexity I was after with my work. I still don't feel as if I have got it just yet and much of the works are still being sifted through and altered.

4/24/08 12:16:57 PM

(IV]L!ยน ;OYV\NO ( .SHZZ +HYRS`ยน HJY`SPJ VU JHU]HZ JT _ JT -HY SLM[! ยธ,]L 000 3VZ[ PU 1LUPU ยน HJY`SPJ VU JHU]HZ JT _ JT 4PKKSL! ยธ0[ยปZ [OL [LYYVYPZ[Z Z[\WPK ยน (JY`SPJ VU JHU]HZ JT _ JT 3LM[! ยธ;OL .YLH[ :SLLWยน TP_LK TLKPH VU WHWLY JT _ JT

22

Final Rome Catalogue.indd 28-29

4/24/08 12:16:58 PM

Final Rome Catalogue.indd 30-31

4/24/08 12:16:59 PM

7YL]PV\Z WHNL! ¸+PZWSHJLK HUK +PZWVZZLZZLK¹ TP_LK TLKPH VU WHWLY JT _ JT 3LM[! ¸(JJLZZVYPLZ MVY [OL 6JJ\WH[PVU¹ ¶ )LS[ YHaVY ^PYL HUK Z[VUL JT _ JT _ JT Below, from left to right: ¸(S )\YQ (S 4HIUP¹ KL[HPS JVUJYL[L OLHKZ ¸+\IHP ,_ =V[V¹ TP_LK TLKPH JVUZ[Y\J[PVU JT _ JT _ JT KVVYZ VWLU ¸2OHTHZLLU¹ TP_LK TLKPH VU WHWLY JT _ JT ¸@LSSV^ +VN ¶ *HPYV¹ TP_LK TLKPH JVSSHNL JT _ JT

26

Final Rome Catalogue.indd 32-33

4/24/08 12:17:06 PM

Final Rome Catalogue.indd 34-35

Palestine

Iman Al Sayed

0[ HSS Z[HY[LK ^P[O KYHTH :[Y\NNSPUN Z\ăLYPUN ZLHYJOPUN [Y`PUN HUK [OLU MHKPUN ;OLU HSVUN JHTL ZHYJHZT -VVSPUN HYV\UK THUPW\SH[PUN L]LU SVZPUN HUK [OLU ILPUN ,]LY` ZLJVUK [OL TVVK JOHUNLZ L]LY` TVTLU[ PZ JVUJLP]LK PU H KPăLYLU[ ^H` [OYV\NO [PTL" HUK [PTL `LZ [PTL PZ VUL NVVK WSH`LY 0 YLTLTILY ^YP[PUN HIV\[ PKLHSPZT HUK KHYR ZHYJHZT" P[ ^HZ TVYL ZLYPV\Z HUK O\Y[M\S ¯ ;OL idea of us living in reality that is contradicts the ideal is a dilemma. Why that is if a human seeks idealism, he/she is considered to be unrealistic… 5V^ 0 HT VUS` L_WSVYPUN HUK L_WLYPTLU[PUN" ZVTL [PTLZ HIV\[ [OL OLHK HUK [OL OLHY[ HUK V[OLY [PTLZ HIV\[ ZWPKLY ^VTLU HUK T\ZRL[LLYZ Contradictive media, a contradictive thought and how it is perceived. ([ [PTLZ [OL V[OLY ZPKL PZ ZOV^U PU [OL ZHTL WPLJL PU `V\Y MHJL WYVIHIS` Sometimes the name means more than just a novel. You might see shattered pieces of metal, in an order and labeled. The name is all for one and one for all. But what you see is not even close [V H VUL Whether they were tiny wires wrapped on metal pieces with tape or beads, or they were delicate lines of black along side translucent colors, they all are driven from the same tank, my IYHPU 4V]PUN MYVT HU LSLTLU[ [V HUV[OLY HU HYLH [V HUV[OLY ^OLYL P[ JHU IL NLVTL[YPJ H[ [PTLZ and organic at other, creating places of its own, and on its own. :VTL [OPUNZ KV UV[ JOHUNL PU VUL»Z IYHPU HUK VUL»Z [YHJR" TV]LTLU[Z VM [OV\NO[Z HUK ZLUZLZ HYL Z[PSS `L[ K`UHTPJ ;OL` HS^H`Z L_PZ[" [OL` HS^H`Z TV]L I\[ UL]LY JOHUNL VY ZL[[SL [V H Z[HISL thought. Contradictions create balance. Contradictions are as static as they are dynamic.

4/24/08 12:17:06 PM

Far Left: Me - Self-Portrait Digital Phtography (Photoshop) 2007 Left: Someone - Self-Portrait Digital Photography (Photoshop 2008

Left: Untitled - Self-Portrait Wood Cut - Mono Print 2006 Right: Senseless triptych Mixed Media 2007

30

Final Rome Catalogue.indd 36-37

4/24/08 12:17:09 PM

¸*VUÄULK¹ 0UZ[HSSH[PVU ;YHUZMLYZ VU 2P[JOLU ;V^LSZ

Final Rome Catalogue.indd 38-39

4/24/08 12:17:10 PM

Below Left: Veiled Freedom 2 Variable 2006 Below Right: Veiled Freedom 1 Variable (kinetic Sculpture) 2006

Upper Left: Head and Heart 2 Ink on Paper December 2007

Lower Left: Head and Heart 5 Ink on Paper December 2007

Upper Right: Head and Heart 3 Ink on Paper December 2007

Lower Right: Head and Heart 2 Ink on Paper December 2007

Final Rome Catalogue.indd 40-41

4/24/08 12:17:12 PM

Final Rome Catalogue.indd 42-43

USA

Sarah Lahti

6UL VM [OL OHYKLZ[ [OPUNZ 0 OH]L MV\UK HZ HU HY[PZ[ PZ WYVK\JPUN ^VYR [OH[ Z\JJLZZM\SS` JVTIPULZ my wide-ranging interests in animation, computer graphics, painting, video, and installation art, with the deepest and most hidden desires, shame, longing, fear, anger, happiness, and joy of my ZV\S 0 HS^H`Z MLLS HZ PM 0»T ¸NVPUN [VV MHY¹ VY ¸ZH`PUN [VV T\JO¹ ^P[O H ^VYR" HUK PU NLULYHS HM[LY 0 OH]L JVTWSL[LK [OL WPLJL HUK OHK [PTL [V [OPUR HIV\[ P[ 0»T HS^H`Z KPZZH[PZÄLK ^P[O P[ MLLSPUN as if it hasn’t gone far enough. I guess that’s what drives me to continue to create new work. When I was invited to participate in this cross-cultural exchange project in Rome, and I began thinking about what type of statement I wanted to make with this installation. I have begun to feel as if Dubai is my home. Its architecture, its nonstop energy, its busy and ambitious people, as well as its much more hidden aspects, have become a part of me that I will carry with me wherever I go. In Dubai, (and, of course, in all cities) there is what you notice immediately upon arrival: the palm trees, the coast line, the gleaming, shiny skyscrapers, the impeccably groomed SH^UZ HUK [OLU [OLYL PZ ZV ZV T\JO TVYL \UKLYULH[O [OL Z\YMHJL ^OH[ `V\ ÄUK \WVU JHYLM\S inspection and exploration. This dichotomy, between what is available and open and on the surface, versus what is hidden deep inside, has become the basis for much of the artwork that I OH]L JYLH[LK V]LY [OL WHZ[ ZL]LYHS `LHYZ 0 ÄUK P[ [V IL H TL[HWOVY [OH[ PZ ]LY` TLHUPUNM\S MVY TL my life, my own art, what I choose to show the world. What I choose to hide about myself, my innermost feelings, is probably more universal than I think--everybody does it, to some degree. It is this line of thinking that is guiding my exploration of Rome-are there visual motifs known here, and how could they be incorporated into my own work? This opportunity for cross cultural dialogue allows me to ask, what is immediately evident about a space and a place, and what is not? What takes some work to uncover?

4/24/08 12:17:12 PM

(IV]L SLM[! ¸-HSSLU )HYIPL¹ VPS HUK ZWYH` WHPU[ VU JHU]HZ 3LM[! ¸4HNPJ )LHKZ¹ VPS HUK ZWYH` WHPU[ VU JHU]HZ (IV]L YPNO[! ¸7HPU )HST¹ PUR VU WHWLY

38

Final Rome Catalogue.indd 44-45

4/24/08 12:17:17 PM

(IV]L! ยธ+PZJV )HSSยน VPS HUK ZWYH` WHPU[ VU JHU]HZ (IV]L YPNO[! ยธ*VUULJ[VY *HISLZยน VPS HUK ZWYH` WHPU[ VU JHU]HZ 3LM[! ยธ)SPURยน HUPTH[LK WYVQLJ[PVU

Final Rome Catalogue.indd 46-47

4/24/08 12:17:17 PM

(IV]L! ยธ*VUMLZZPVUHSยน TP_LK TLKPH PUZ[HSSH[PVU ^P[O ]PKLV 9PNO[! ยธ)LH\[PM\S :RPUยน PUR VU WHWLY

Final Rome Catalogue.indd 48-49

4/24/08 12:17:21 PM

Final Rome Catalogue.indd 50-51

Egypt

Amira Mehrez

;OH[ KL]PS Z\U PZ JYHJRPUN IV[O NYV\UK HUK ZRPU 0 Z\WWVZL [OH[ [OL VIQLJ[ VM T` HăLJ[PVUZ PZ only but a kiss in the wind, but I’ll hold fast to which I have found. Mother gave me her pearls [OPZ TVYUPUN 1\Z[ HZ L]LY`[OPUN LSZL ZOL OHZ NP]LU [V TL 0»T [V IYHUKPZO OLY ÄULY` ^P[O [OL utmost care, as to not stray away from tradition. I wonder if she can feel my contempt radiating from my skin. The turning world has left a part of me behind. It’s as if the sun is setting on the blood of my veins and the language of my father. But what is a princess to do? 4\JO ^YP[PUN PU [OL KLZLY[ ^PUK 6\[ZPKL [OLZL ^HSSZ 0 ^PSS JHYY` VU HZ H WYPUJLZZ >P[OPU these walls, I am the almighty queen, I am the rolling jester, I am the brooding executioner.

4/24/08 12:17:23 PM

=PKLV 0UZ[HSSH[PVU :[PSSZ ยธ+L[LYNLยน

Final Rome Catalogue.indd 52-53

4/24/08 12:17:24 PM

¸+L[LYNL¹

Final Rome Catalogue.indd 54-55

4/24/08 12:17:24 PM

-HY SLM[! ¸:\IJVUZJPV\Z¹ 7OV[VTVU[HNL 3LM[! ¸+VVYZ¹ 7OV[VTVU[HNL )LSV^! ¸3PRL H =PYNPU¹ 7OV[VTVU[HNL

50

Final Rome Catalogue.indd 56-57

4/24/08 12:17:32 PM

Rome Artists . Rome Artists . Rome Artists . Rom

I va n C i v i c . M a r i n a Pa r i s . E u g e n i o P e r c o s si . Va l e n t i n o D i e g o

Final Rome Catalogue.indd 58-59

4/24/08 12:17:34 PM

Final Rome Catalogue.indd 60-61

ROME

Ivan Civic

I don’t know where the best place to start would be... I guess one day I woke up and found T`ZLSM PU [OL TPKKSL VM HU LTV[PVUHS YVSSLY JVHZ[LY ¸(UK UV^ `V\ ZH` `V\»YL ZVYY` @V\ JYPLK [OL ^OVSL UPNO[ [OYV\NO¹ 4PUH ^HZ [OL ÄYZ[ 0 OLHYK ZPUNPUN [OH[ ZVUN (M[LY OLY JHTL V[OLYZ that were good and others that were bad... and then there came along somebody who sang it out loud, smiling and acting at the same time... seemed to be singing of pain without having any cares in this world. How could that be? Paradoxes are clichès in my opinion, so I tried skipping heartbeats and blocking thoughts. +PK `V\ L]LY MLLS SPRL `V\Y OLHK ^V\SKU»[ NP]L `V\ WLHJL H[ HSS I\[ `V\Y ZV\S PZ JY`PUN MVY P[& It’s not a nice state. You want peace but the mind tortures you. You wish you were not the only one with the problem. You wish you were not the only one with the burning desire. And yet, in [PTL `V\ KV HJRUV^SLKNL [OH[ ^L HSS Z[HUK HSVUL HUK [OH[ ^L HSS I\YU \W HSVUL [VV ;^V ÅHTLZ TPNO[ TLL[ \W PU H JLY[HPU NP]LU TVTLU[ PU [PTL HUK ZWHJL I\[ [OL` L]LU[\HSS` OLH[ [OL ÄYL \W even more and make it spread out so far until nothing is left to burn. You are left with an arid landscape of solitude and all that surrounds you is the stench of consumed oxygen and with every breath you take it cuts through you like a dagger and the pain is agonizing. I guess it’s a ZPTPSHY WHPU `V\ MLLS ^OLU `V\»YL IVYU HUK `V\ [HRL `V\Y ÄYZ[ IYLH[O HUK P[ I\YUZ [OYV\NO `V\ lounges and makes you scream and cry. Another paradox and another clichè... You are alone and the pain you feel is the same you felt when you were born. I want to breathe and if it burns and JH\ZLZ TL WHPU HZ H Z`TIVS VM ¸YL¹ IPY[O [OLU 0 ^HU[ [V SP]L PU WHPU 0 JOVZL [V SP]L PU WHPU 0 SP]L for the pain that frees me from myself. You fail to lose yourself all the way through the process and somewhere in between you end up needing attachment all over again. You want attachment, you get attachment and you fake H[[HJOTLU[ ;OLZL HYL HSS UV[ Q\Z[ YL PU[LYWYL[H[PVUZ VM [P[SLZ VM T` ^VYRZ I\[ HYL HJ[\HS KLLWLY L_WSHUH[PVUZ VM T` ^VYRZ HUK T`ZLSM >L HYL HU[P OLYVLZ Z[\JR PU IL[^LLU KPăLYLU[ ^VYSKZ 0 can only observe from a distance and see what is near and feel what needs to be changed, but

4/24/08 12:17:34 PM

¸;OL (U[P /LYV (Y[PZ[š

I cannot help or change anything or anybody. You are intertwined in a state of passivity and contemplation of your own self from the outside and you feel pain but there is nothing you can or want to do to prevent or stop it in any way. Release is not an option. I split myself up in many bits and try to live each one out separately and for a split second you feel relieved, but the bits gain their own strength and grow in complexity, until, ultimately, they too become part of the process of our own undoing. In the end you just stop and realize you’ve been walking down the street MVY [OL WHZ[ ML^ ZLJVUKZ O\TTPUN! ¸ HUK UV^ `V\ ZH` `V\ÂťYL ZVYY` `V\ JYPLK [OL ^OVSL UPNO[ [OYV\NO ^LSS JVTL VU HUK JY` TL H YP]LY ÂşJH\ZL 0 JYPLK H YP]LY V]LY `V\ š www.ivancivic.com

56

Final Rome Catalogue.indd 62-63

4/24/08 12:17:35 PM

:JYLLUZOV[Z ¸>(5; 0; .,; 0; -(2, 0;¹ 7LYMVYTHUJL Italy, 2006 Photographer: Fabiano Avancini

Final Rome Catalogue.indd 64-65

4/24/08 12:17:39 PM

:JYLLUZOV[Z ¸-HPS ;V 3VZL¹ 7LYMVYTHUJL Germany, 2008 Photographer: Christian Sievers

60

Final Rome Catalogue.indd 66-67

4/24/08 12:17:40 PM

Final Rome Catalogue.indd 68-69

Rome

Marina Paris

After graduating from the Accademia delle Belle Arti in Rome, Marina Paris came out in 1998 with a personal show held at the Viesti&De Crescenzo, in Rome. Since then she has taken part in several group and solo shows in Italy and abroad ( Made in Roma, Voipaalan Taide 2LZR\Z -PUSHUKPH " -\[\YHTH :WHaPV WLY S HY[L JVU[LTWVYHULH 4\ZLV 7LJJP 7YH[V " .SVIL! 3H [VYYL KP )HILSL 4\ZLV KÂťHY[L JVU[LTWVYHULH .LUV]H " ^^^ YHKPHY[LTVIPSL P[ HZZVJPHaPVUL ALY`U[OPH ‡ )PLUUHSL KP =LULaPH Âś <[VWPH ZLJ[PVU ­3L *HIPUL[ KL +LZZPUZ ÂŽ 4\ZtL KÂť(Y[ 4VKLYUL KL :HPU[ ,[PLU UL :HPU[ ,[PLUUL " :VTL[OPUN OHWWLULK :SV]HR 5H[PVUHS .HSSLY` )YH[PZSH]H " .PHYKPUV S\VNOP KLSSH WPJJVSH YLHS[n 7HU 7HSHaaV KLSSL (Y[P KP 5HWVSP ";OL )HUNRVR 0U[LYUH[PVUHS (Y[ -LZ[P]HS 7SH`NYV\UK .HSSLY` )HUNRVR Micro-narratives, Museo della Storia, Belgrado. The artist’s distinctive trait can be summarised in a constant activation of mechanisms tending to awake a past memory, often linked with the childhood (I desideri risolti, Fuori Uso, Pescara H O\NL KVSS PU JV[[VU MHIYPJ SH`Z VU [OL Ă…VVY Ă„SSPUN [OL ^OVSL YVVT ^P[O OPZ V]LY KPTLUZPVULK body) or with the obsessive echo of personal and collective memory (Palla al centro, Futurama, 4\ZLV 7LJJP 7YH[V " 7HYJV -VUKHaPVUL =VS\TL 9VTH ;OL ZV\UK HUK [OL YLSH[PVU with the space are two fundamental elements in her installations-works which are very often conceived as environments of strong visual and sensitive impact: the sound is the main subject in Global sound project based on voices recorded in the market of Marrakech and Centocelle 9VTL HUK WYLZLU[LK ^P[O ^^^ YHKPHY[LTVIPSL P[ H[ ‡ )PLUUHSL KP =LULaPH <[VWPH ZLJ[PVU 2003 and in Happy days based on voices of kids playing and sniggering coming out from a Z[VYL YVVT MVY [OL L_OPIP[PVU 9VVTH[LZ OLSK PU H WYP]H[L HWHY[TLU[ PU 9VTL 6M NYLH[ interest are her works (photographs, drawings, installations) inspired by public parks and city NHYKLUZ 6YPNHTP WHYJV KP :WPUHJL[V 9VTH " 7HYJV =VS\TL 9VTH PU [OPZ SHZ[ VUL ZP[L ZWLJPĂ„J PUZ[HSSH[PVU [OL ZV\UKZ YLJVYKLK PU KPăLYLU[ WHYRZ [OL ZTLSS VM [OL NYHZZ VU [OL Ă…VVY and the noise of the swing crashing time by time on. the wall, help on one hand to re-creates the

4/24/08 12:17:41 PM

3LM[! ;YHUZP[P print, cm.80 x 150 Right: Untitled, 2007 Pen on paper JT _

atmosphere of a park and, on the other, to recall some past collective experiences and memories). Marina Paris latest research continues to be concentrated on the public spaces experience and on [OL WYP]H[L WLYJLW[PVUZ JVUULJ[LK [V P[ ;OL WYVQLJ[ ;YHUZP[P JHU ^LSS YLWYLZLU[ [OPZ particular direction of her research. Transiti is a project based on photographic shoots mostly realized in Italy (photo-works, 80x150 cm.) and taken in typical public spaces we usually pass by when they are crowded and which are connected to our personal or to the collective memory (as schools, hospitals, train stations, corridors, lounge rooms, etc.). Those kind of places seem to have so many things in common (as the basic elements of their structures, the colours on the ^HSS [OL KVVYZ [OL ULVU SHTWZ [OL OLH[LYZ [OL Ă„YL L_P[ ZPNUZ HUK ZV VU [OH[ LZWLJPHSS` ^OLU nobody is there, they appear loosing their own identity and transforming into hybrid spaces. Those spaces, despite the fact that they possess their own identity and function, look so similar one to the other when they are observed (and represented) in a particular moment of the day, that it becomes hard distinguishing a hospital ward from a school corridor and vice versa. This is the way they appear in Marina Paris photo-works. This, as well as other projects, is developed by [OL HY[PZ[ PU KPăLYLU[ ^H`Z VM YLWYLZLU[H[PVU HUK YLSLHZLK I` KPăLYLU[ TLKPH! ZV\UKZ ZJ\SW[\YLZ KYH^PUNZ HUK ZP[L ZWLJPĂ„J PUZ[HSSH[PVUZ ^OPJO HPT PZ [V NP]L [OL H\KPLUJL H T\S[P ZLUZVYPHS experience of the space and a stimulation of the perception by elements able to recall the typical atmosphere of the place that the art-work intents to re-create. Her latest project it’s about An interpretation of the city landscape and the public space based on the sottraction of informations instead of their own abundancy (as we are used to read the metropolitan environment). As a new approach to the everyday reality and imaginery. In this new series of drawings (a huge corpus of graphic works desumed by quick and almost accidental photo shoots, taken all over the world, some of them conceived in a medium format cm 200x150 and others as huge surfaces overcrossed by video projections, cm 500x300) a universal vision of anonimous outdoor and indoor spaces (city views, hospitals, airports lounges, etc.) depicts

HUK YLĂ…LJ[Z [OL ZLUZL VM NSVIHSPZT [OH[ JVUULJ[Z KPăLYLU[ WSHJLZ HUK opposite cultures through a visual translation of their homogenic and similar physionomic details. The photo shoots are reproduced as enlarged visions, that she occurs to spoil and reinterpretate by the hand gesture through the fragmented and monocromatic sign of the black PUR YVSSWLU ;OL YLZ\S[ PZ H ]PZPVUHY` YLĂ…LJ[PVU VM [OL VIQLJ[P]L YLHSP[` a sort of its abstract re-lecture in which the empty signs become the fondant elements of a new topographic language, invented by the artist in order to disable the conventional one and to create an alternative perspective of the given reality, that in the drawings re-appears as an out-of-time dimension. The modulations of light and colours that overlap the huge format drawings, beside suggesting to the viewer an extended idea of Time, they refer to a universal concept of urban Space, conceived as global environment. Breaking down the local boundaries HUK IYPUNPUN V\[ [OL WVPU[Z VM YLSH[PVU IL[^LLU KPăLYLU[ HUK MHY H^H` places, Marina Paris aims to create a disorientation both of the view and [OL WLYJLW[PVU HUK H[ [OL ZHTL [PTL ZOL PU[LU[Z [V HJ[P]H[L H ZWLJPĂ„J mental process: the re-discovery of the collective memory in order to rehab the individual identity. By: Emanuela Nobile Mino

Final Rome Catalogue.indd 70-71

4/24/08 12:17:43 PM

Variable space, 2007 ¸4PYYVY» ÅVVY¹ Variable dimension Installation to court-yard of Gallery Pack, Milano Courtsey Gallery Pack, Milano

66

Final Rome Catalogue.indd 72-73

4/24/08 12:17:43 PM

Left: Parco, 2003 print cm.50 x 70 Above: Parco, 2003 print cm.50 x 70

68

Final Rome Catalogue.indd 74-75

4/24/08 12:17:51 PM

Italy

Eugenio Percossi

>/6 0 (4 Name : Eugenio Percossi Nationality : Italian Place of Residence : I live between Prague, a castle in the Bohemian countryside and Rome Age : 33 Height : 183 cm Weight : 82 kg Eyes : hazelnut Hair : curly brown Special features : a goatee and often an unkempt beard... I am too lazy to shave every day. IF I WERE... Color : grey is elegance, black is rich of symbols but deep and restful too, red stimulates me. I hate blue, it is too obvious beauty. Writing with a blue pen is one of the things I hate. If I were a color I would be black, but I would like to be grey. A season: hot and dry summer but even autumn with its elegant decadence. I hate winter with Christmas and New Year: every year I make a list of good wishes which I never keep.. still I get the best ideas for my artwork in winter. If I were a season, I would be autumn. A weekday : I remember the sundays of my childhood, after waiting for it the whole week it always proved boring and too long. Since I have become an artist I never know which day it is... If I were a day I would be wednesday, always suspended halfway. A city : Prague, beautiful but cold in its colors. If I were a city, I would be surrounded by high defensive walls.

Final Rome Catalogue.indd 76-77

4/24/08 12:17:52 PM

3LM[! ¸*LU[V KP X\LZ[P NPVYUP¹ WOV[V PUZ[HSSH[PVU (detail), Estro Gallery, Padua, 2007 9PNO[! ¸6IZLZZP]L 3HUKZJHWL¹ KPNP[HS WYPU[ 2001-2006

A piece of clothing : I am a jeans-and-t-shirt type, with a phoby for stains. If I get dirty I am ill at ease until I can get changed. That is why, when I travel, I always carry twice the clothes I will use. If I were a piece of clothing I would be a long grey coat. A food : I love good cooking, but I specially love to cook for many people. If I am alone 0 HT \UHISL [V [\YU VU [OL ÄYL L]LU Q\Z[ [V warm some milk. Food for me is synonimous of company. I love water mellons, sushi and whipped cream. If I were food, I would like to be spicy and unusual. +YPUR ! JVăLL SVUN HUK IP[[LY HUK ^P[O WSLU[` VM TPSR :V THU` JVăLLZ H KH` L]LU [OV\NO then I get anxious, but I love it, I would drink nothing else. If I were a drink I would like to be a steaming cup of milk. An animal : I used to feel an excessive, insane desire of physical contact with every animal. Now I am content with looking at them, and cuddling my dogs. If I were an animal I would like to be a seagull, L]LU [OV\NO ^OLU 0 KYLHT VM Å`PUN 0 HS^H`Z LUK \W ZJHYLK HUK Å`PUN JSVZL [V [OL NYV\UK because I am afraid of falling down. I always manage to bee too rational, even when I sleep. A plant : almost anything. I love cacti, irises,

old roses, weeping willows and fruit trees. I hate begonias and conifers. If I were a plant I would like to be a rose, but I believe to be a cactus. Hobby : gardening, in the countryside I am never depressed nor lazy, with no inhibitions or distress, getting dirty does not bother me as in the city, soil on my hands and my clothes makes me feel in harmony with nature. Still such a close contact with nature made me become awfully sensitive to weather changes. If I were a pastime I would be a merry-goround, one of those which scare you and amuse you at the same time. TV : how long time I spend in front of it shows the degree of depression I have reached. When I am feeling really down I spend the whole day changing channels. I love junk TV, reality shows (not Big Brother though), documentary ÄSTZ HUK JVVRPUN WYVNYHTZ (IV]L HU`[OPUN else I adore programs showing plastic surgery operations. I like to see people being modelled like clay, and I like too see, disgusted but charmed, blood and raw meat. If I were a TV program I would be a late night one. Book: Harry Potter, the whole series. Daniel Pennac´s Malaussene : since he stopped writing about them he bores me to death. Years ago I remember to have found myself in Roland Barthes´ La Chambre Claire, so close to my research.

If I were a book I would be Da Vinci´s Code, exagerated and useless. ( TV]PL ! 7L[LY .YLLUH^H` Z ( ALK HUK ;^V Noughts. I love painful, unmerciful and direct movies. I like to cry for my own reasons, taking HK]HU[HNL VM [OL JPULTH[PJ ÄJ[PVU 6UJL 0 \ZLK to go crying to the cinema, in public, but now I am ashamed of that. I have a passion for horror TV]PLZ L]LU [OV\NO 0 JHU ÄUK ML^ ^OPJO JHU really scare me. If I were a movie, I would be Breaking the Waves by Lars von Trier. Music : I do not know much about music, mostly I listen pop on the radio.. if I should choose an album I would say Intensive Care by Robbie Williams. If I were a song I would be Please Don’t Die by Robbie Williams which expresses perfectly my obsession with death, or the Cold Play´s video clip The scientist. I get shivers every time I see it. I would like some of my artworks to cause similar reactions. Collections : vintage photos (I work with them), art (is my life), movies (which one day I will watch), cacti, empty notebooks (which I do not feel good enough to write in) and a thousand other things. More than being a real collector, I like to heap things. If I were a collection.. well I can already be collected. Sport : I go to the gim, but just out of a sense of duty. I used to love swimming, when I was

ÅVH[PUN PU [OL WVVS ^P[O T` OLHK \UKLY^H[LY P[ was like nullify gravity, and this made me glad. I have not been swimming for many years. If I were a sport.. I do not think I could be a sport, I would be a bad habit rather than a healty practice. A place : the cemetery. It is a place where it is impossible not to think. Still, they are thoughts which my mind whispers to me almost out of respect, giving me peacefulness and anguish. If I were a place I would be an old village on a hill, with winding narrow streets where the sun does not shine and it is easy to get lost. A journey: I hate travelling, I would never travel, because it never seems the right time, there is always a good reason to stay at home. If I were a journey I would be full of hazards and disadventures but after all I would leave so many stories to tell : incredible and farfetched. An artist : I adore Bacon for the power of his painting. Medieval art in general for the L_WYLZZP]L HUK Z`TIVSPJ MVYJL ^OPJO 0 ÄUK quite close to contemporary art. I am amused by Duchamp, less by those who nowaday think to be modern by imitating him. I hate Seicento painting. 0M 0 ^LYL HU HY[PZ[ VVWZ 0 HT VUL HSYLHK`

72

Final Rome Catalogue.indd 78-79

4/24/08 12:17:54 PM

2,@ >69+: 6IZLZZPVU ! 0 VM[LU MLLS H ZLUZL VM PUHKLX\HJ` Fear: of living but also of dieing. Paranoia : I feel judged, but above all I judge. 4HZVJOPZT ! 0 Z\ăLY [V MLLS HSP]L Illusion : art and love. Depression : I am such an inconstant person that even my depression does not follow any rules.. luckily. Character : I am black and white, possibly schizophrenic : joyful or KLZWLYH[L 0 HT ZVJPHISL I\[ 0 VM[LU ZO\[ T`ZLSM Vă 0 HT PYVUPJ I\[ OHYKS` L]LY ZLSM PYVUPJ 0 [Y` [V Ă„UK [OL NVVK ZPKL PU [OL V[OLYZ 0 HS^H`Z see the bad one in me.

Above: Black and White installation at Švestka Gallery, Prague, 2007 9PNO[ \W [V KV^U! ¸0U [OL :R`š KPNP[HS WYPU[ 2003-2007

Final Rome Catalogue.indd 80-81

4/24/08 12:17:57 PM

3LM[! ¸0U 4` ,`LZ¹ KPNP[HS WYPU[ (IV]L! ¸-VYL]LY¹ PUZ[HSSH[PVU 2HYSPU :[\KPVZ 7YHN\L

76

Final Rome Catalogue.indd 82-83

4/24/08 12:17:59 PM

Final Rome Catalogue.indd 84-85

Rome

Valentino Diego

6UJL \WVU H [PTL [OLYL ^LYL H SP[[SL IV` HUK H ZTHSS WYV]PUJPHS [V^U [VV ZTHSS MVY OVSKPUN OVWLZ and dreams. It was better to leave, to discover new horizons, to search for them far away from home in a big city where dreams don’t stagnate but rather multiply. In the great JVUM\ZPVU [OH[ Z\YYV\UKZ OPT L]LY`[OPUN T\S[PWSPLZ" L]LY` [OPUN ILJVTLZ H WVPU[ MVY YLÅLJ[PVU" everything is useful for his objective. And so he begins to take his thoughts everywhere, to leave behind the tracks of his dreams, of his vision about everything that happens right before his eyes : observing the people and their habits, where they go, how they experience the city and with what mood. He gathers all these pieces in order to reassemble them in other places and transform them into new things, whose original nature is lost in order to create something KPăLYLU[ :LL MVY L_HTWSL OV^ WHWLY IHNZ [HRLU MYVT [OL NYLLUNYVJLY UV SVUNLY VSK MY\P[ VY vegetables, welcoming and preserving scenes of city life and landscapes glimpsed who knows where. He replicates hundred times over of an ordinary pizza box, to the point of making it into Z\YMHJL HUK [OLU ^HSS HUK [OLU ÄUHSS` HU PTHNPUHY` YVVT PU[V ^OPJO WLVWSL JHU LU[LY /L [YH]LSZ H SV[ ^P[OV\[ TV]PUN ]LY` MHY I\PSKZ PTWYVIHISL ]LOPJSLZ [V Å` V]LY OV\ZLZ HUK buildings made out of lots of stacked cardboard boxes, rapped up in a chilled atmosphere, clear, HSTVZ[ PTTVIPSL -SH[ SHUKZJHWLZ ^P[OV\[ HU` ÄN\YL VU [OL OVYPaVU I\[ M\SS VM \UTPZ[HRHISL signs of life, but which, in reality, no one really observes attentively. Perhaps this boy trough the YLWL[P[PVU VM [OLZL VIQLJ[Z [OLPY [YHUZMVYTH[PVU PU[V TVK\SLZ Z\JJLLKZ PU PU]LU[PUN H KPăLYLU[ nature or function to remain fascinated with, or perhaps it is the simplicity of the contact with [OLT [OH[ ZL[Z Vă HSS [OLZL TLJOHUPZTZ (U HJJ\T\SH[PVU VM HWWHYLU[S` \ZLSLZZ VIQLJ[Z SPLZ PTTVIPSL YLHK` [V [YHUZMVYT P[ZLSM PU[V HU HJ[\HS WHY[ VM OPZ PUÄUP[L KYLHTZ /V\ZLZ [OH[ ^OLYL LZZLU[PHS ZPTWSL VWLU ZWHJLZ HUK MHY Vă OVYPaVU 0U ZLLPUN [OLZL OV\ZLZ OL [OPURZ [OH[ WLYOHWZ they are abandoned or that maybe they are waiting to house somebody: ¸^OV RUV^Z ^OL[OLY ^L NV [V^HYKZ [OLZL ZJLUHYPVZ¹ OL [OPURZ

4/24/08 12:17:59 PM

He feels the need to invent new instruments for looking and feeling, to invent sounds and expand them, he searches for the multiple identities hidden in things that he might ÄUK PU [OL YVHK HIHUKVULK HM[LY [OL` OHK discharged their everyday and repetitive function but which, in reality, no one really observes attentively. Perhaps this boy trough the repetition of these objects, their transformation into modules, succeeds in PU]LU[PUN H KPăLYLU[ UH[\YL VY M\UJ[PVU [V remain fascinated with, or perhaps it is the simplicity of the contact with them that sets Vă HSS [OLZL TLJOHUPZTZ (U HJJ\T\SH[PVU of apparently useless objects lies immobile, ready to transform itself into an actual part VM OPZ PUÄUP[L KYLHTZ

Self title, 2008 4H[LYPHSZ! VĄJL M\YPU[\YLZ 4+- (\KPV ;YHJR Size: installation viewed

80

Final Rome Catalogue.indd 86-87

4/24/08 12:18:03 PM

Self title: 2006 Materials: bus, MDF, PVC, neon light, video track Size: 9 x 2 x 3 m, installation viewed

82

Final Rome Catalogue.indd 88-89

4/24/08 12:18:06 PM

Self title: 2005 Materials: black and white prints :PaL! _ JT

Final Rome Catalogue.indd 90-91

4/24/08 12:18:07 PM

A c k n o w l e d g e m e n t s

Sponsors

Partners Media Sponsors

86

Final Rome Catalogue.indd 92-93

4/24/08 12:18:07 PM

Final Rome Catalogue.indd 94-95

4/24/08 12:18:07 PM

Final Rome Catalogue.indd 96

4/24/08 12:18:07 PM

Turn static files into dynamic content formats.

Create a flipbook
Issuu converts static files into: digital portfolios, online yearbooks, online catalogs, digital photo albums and more. Sign up and create your flipbook.