OBJECTS - ROOMS
INTERNATIONAL EXHIBITION 2007 LONDON | AMSTERDAM | PARMA
CATALOGUE
CONCEPT | LAYOUT : GIANLUCA FERRARI FOR MEDIALANGUAGESTUDIO.COM WWW.MEDIALANGUAGESTUDIO.COM
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OBJECTS - ROOMS
INTERNATIONAL EXHIBITION 2007 LONDON | AMSTERDAM | PARMA FEATURING ARTISTS FROM ITALY, THE NETHERLANDS AND U.K.
CURATORS: EXHIBITIONOW CONTEMPORARY ART PROJECTS AND SILVIA SCARAVAGGI GROUND’S ART GALLERY | PARMA | ITALY
OBJECTS – ROOMS suggests a clear division between two elements: space and works; ‘rooms’ and ’objects’ interact with themselves. The title of the exhibition indicates a process that connects, initially, all the viewers: a process of understanding that starts from the image and transfers itself into the space, a visual interpretation of the exhibition with separate elements, not in symbiosis with each other. This first ‘momentum’ transforms itself into the relationships that the artistic object, with its own inner and outer dynamics, physical and conceptual presence animates the surrounding space by modifing itself and so redefining the space. In this way, the space tends to amplify or to include in itself the artistic gesture. The artists’ works build private paths activating interrelationship dynamics in gallery spaces, so that the visitors in their own time can get closer to the works, letting themselves be blown away by the continuous dialogue of the forms, colours and evocative images. Over the years artists have worked with several media, from visual art to electronic art. Even if their artistic research is developed with different solutions, they still find a common ground in the idea of composition and in the search for time to adapt sight and thought. Through the ‘objects’, that become ‘actors’ in the visual narration, they explore a way to be in space and time, the movement and presence of the body and forms in the space, the passing of time, the act of meditation, fixing traces and signs of light and shadows on several materials. The natural elements, presence/absence of human intervention, abstract forms both original and geometrical, organic and ethnographic references appear as essential components GROU UND’S AR ART RT , PARMA, in an GROUND’S interpretation of GALLERY, artistic gesture that, ITALY investigate the relationship between artist-work-viewer, in a useful and uninterrupted exchange. The formal construction and the search for the rules that shape those ‘impressions’, hidden in stratification and colours, unite and distinguish themselves simultaneously, in each artists’ creative and personal research.
ARTISTS U.K.: LIZ HARRISON PAUL MALONE NICOLA RAE NETHERLANDS: ELS VAN DER GRAAF RODY LUTON NIKOLAUS URBAN ITALY: FABIOLA FAIDIGA GIANLUCA FERRARI DAMIANO PARONI GIORGIO TENTOLINI
LIZ HARRISON WINDOW MIXED-MEDIA - 2007 My current practice seeks to define and articulate ideas about space. Visual narratives inherent within the work, create a dialogue that explore disparate sites as the home, the city, the countryside. Concerns within my practice are to do with sense of place and an awareness and discovery of how we realise and occupy space both in the present day real time and in our spatial and associative memories of the past. A variety of eclectic media, images and processes are employed simultaneously, in response to diverging and seemingly unrelated subject matter. What pulls the work together are the underlying concepts: the tentative relationships that individuals have with their surroundings; the everyday repetitious, mundane habitual activities that inform our perceptions. Themes of landscape, architecture, body, are re-current within my work, and evolve from personal and generic experiences of past and present spaces, re-established through spatial siting and orientation. GROUND’S ART GALLERY, PARMA, ITALY
PAUL MALONE 3D ANAGLYPHS - BLUE Z PINCH MIXED-MEDIA - 2007 For ‘Objects-Rooms’ I brought over to Parma two works. The first was a corner installation of suspended 3D anaglyphs that the public could interact with by looking through the red/blue glasses that were supplied alongside. The imagery in this installation reflected sections of landscape devoid of overt sings of life. The inspiration for this imagery came from the images returned by the Mars Rovers of the lifeless terrain of this distant planet. Yet there is something strangely familiar about these landscapes as if they contain a potential for a pre-existing narrative… The second work was part of my series of ‘cosmological conceits’ to do with Electric Universe theory. This consisted of 500 expandable children’s drinking straws arranged in the form of an electrical z-pinch. The straws were a specific blue colour and were illuminated with an intense blue light in keeping with the ultraviolet expression of its electrical origin.
NICOLA RAE INTERACTIONS: GREENWICH PENINSULA, LONDON 28-08-07 MIXED-MEDIA - 2007 Site-oriented investigation has been an integral part of my practice as an artist for over twelve years. For the exhibition ‘Objects-Rooms’ in Parma, I have filmed two samples of confined invertebrates that were collected from the Greenwich Peninsula in London. Estuarine and freshwater invertebrates from two adjacent urban sites are shown interacting with each other in a confined space. Both groups of invertebrates are trying to escape the unaccustomed light of the microscope, but they also interact with each other during this process. Some are predators who are aggressive about their territories within a confined space, while others are grazers who collaborate in sharing the space. Not all of the invertebrates interact in one way all of the time, although most of them have preferred patterns of behavior. The estuarine invertebrates were collected from watery mud in the Thames, adjacent to the Greenwich Peninsula in south-east London. The freshwater invertebrates were collected from a man-made lake located 50 metres away, in the Greenwich Peninsula Ecology Park (created in 1997-8). Both sites have been associated with heavy pollution in the past but have been “cleaned”. The sound track, which can be heard on two headphones, was recorded at various locations on the Peninsula. It includes the sound of construction work on new homes, traffic approaching the Blackwall Tunnel, airplanes taking off from City Airport, the sounds of Priors aggregate machinery and bow waves on the Thames - recording a particular moment in a time of change on the peninsula. My GROUND’S thanks go toART theGALLERY, GreenwichPARMA, Peninsula Ecology Park for the use of their professional microscope, and to Tony for expertly collecting ITALY the invertebrates for this project. Any sales of this work will directly benefit the Greenwich Peninsula Ecology Park’s educational programme.
ELS VAN DER GRAAF ANEANTISSEMENT PHOTOGRAPHS - 2007 The starting point for this 7 parts work is a quotation from Chuang Tzu: “Things evolve and take their natural course”, which expresses the cruel inevitability of the continuous process of natural transformation of matter, but the works focuses at the same time on the great beauty of the ephemeral stages of those transitions. Each photograph captures a moment of this process when the subject looses some properties of its original and evolves into pure form, texture and colour thereby concentrating abstract, visual values.
GROUND’S ART GALLERY, PARMA, ITALY
RODY LUTON MULTIPLE LEVELS MIXED-MEDIA - 2007 ‘Objects’, ‘rooms’ — spanning a space. Colours and shades cast across the room, affecting our being. Vibrations in multiple directions. Stillness and change, energies and reflections. Different planes through which our bodies experience a space. Feelings and perceptions at multiple levels. Separation and unity.
NIKOLAUS URBAN UNTITLED (FISTS), 4 PARTS MIXED-MEDIA - 2006/2007 The fists on the photos indicate the enclosure of an object in the hand as well as implosion, explosion and transgression. Their appearance as a corporal gesture also opens up the possibility to political implications. The light fall makes reference to the paintings of Caravaggio where the body is captured by the force of light and shadow. The round bottom of the bottle - reminiscent of a looking glass distorts the organic form and brings it to a concentric movement, threatening to break through.
GROUND’S ART GALLERY, PARMA, ITALY
FABIOLA FAIDIGA CIRCUS MEME MIXED-MEDIA - 2007 ‘Nature is transformation, memory is darkness’ In 1970, Sony the elephant and his mate Lanka were given by The indian President Indira Gandhi to Josip Broz Tito the President of the Republic of Yugoslavia. Since then, Sony and Lanka have lived in the Safari park on Brioni Maggiore Island in Croatia. ‘Shared symbols moving towards re-forming lifes and relationships, inviting the present and the future in a visual transformation to be reconciled with history’.
GROUND’S ART GALLERY, PARMA, ITALY
GIANLUCA FERRARI MOUTHS MIXED-MEDIA - 2007 ‘Mouths’ is not indifferent, ‘Mouths’ impresses. The body, clearly exposed in the act of speaking, expresses by entering and exiting. ‘Mouths’ speaks, but is silent at the same time. ‘Mouths’ is still action, unspoken movement, communication, rising exchange. At the very beginning ‘Mouths’ was only an open mouth facing outwards; it has become a pair. A presence that enters and one that exits in a mutual exchange, yet to be realized. ‘Mouths’ is an interrupted activity, whose story only comes to life when observed. It’s frozen in time as an act of meditation using communication. Gianluca Ferrari’s work always reflects on the meaning of time and the importance of the past. These topics are tied spontaneously with the contemporary: new media is a remarkable and characteristic presence in his work, as evolving forms of expressions. ‘Mouths’ is a prelude to movement. Expression is present but only as a prelude to communication. The gesture is evident and is charged with all that was in the past and what could be in the future. At the same time, the light in Gianluca Ferrari’s works is the testimony to the intensity that allows his work to concentrate on an almost meditative action, as a reflection. The mouth is the voice’s power, the body is the presence that wanders through living spaces, the light or the video image is the kynetic movement. We tend to watch and to remain suspended; usually white words in an shadowed environment lighted by the slide-projector’s electric light, as a traced and unending path for one’s thoughts. Suspension is therefore everywhere, not least in the words that indicate a meditative mood. GROUND’S ART GALLERY, PARMA, ITALY Silvia Scaravaggi
DAMIANO PARONI SENZA TITOLO MIXED-MEDIA - 2007 Even if his art was delivered by several different media, Damiano Paroni has always maintained a peculiar style driven by a strict sense of space and a maniacal use of the same colour (black) (black). His works often consist of a few elements whose interplay can be described as a silent dialogue. In spite of the complete lack of images and the frequent use of rigid shapes, the work is never experienced as static. As soon as our sight is taken over by our feelings we perceive implosions, distances and depths, all connected by an intimate breath of infinity.
GROUND’S ART GALLERY, PARMA, ITALY
GIORGIO TENTOLINI ANIMULA VAGULA BLANDULA MIXED-MEDIA - 2007 My works are formed by pieces of time. When my concentration is caught by something that draws my attention towards a detail. They are moments of silence surrounded by noise, they are an escape valve or the beginning of a break out... I’m searching for the cause-and-effect and nothing in my works is private or emotional. There is no narrative aspect etiher. I’m going to give a different fruition of photographies, starting from these images and working on piled up or excavated layers of pictures.
GROUND’S ART GALLERY, PARMA, ITALY
CONTACT LIZ HARRISON PAUL MALONE NICOLA RAE
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ELS VAN DER GRAAF WWW.EXHIBITIONOW.COM RODY LUTON WWW.ATELIERWG.NL NIKOLAUS URBAN WWW.DEAPPEL.NL FABIOLA FAIDIGA WWW.A2ARTS.CO.UK/FAIDIGA GIANLUCA FERRARI WWW.EXHIBITIONOW.COM DAMIANO PARONI WWW.EXHIBITIONOW.COM GIORGIO TENTOLINI WWW.GIORGIOTENTOLINI.COM
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campofame in concert
Emanuele Missorini Marco Monica Damiano Paroni Deborah Penzo
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