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WRITINGS

october 2014 june 2015 Tokyo Rome London Barcelona Berlin Salerno

CHRISTIAN LEPERINO ÁLVARO NEGRO HARRY PEARCE SUSANNE RISTOW

Exhibition - Alliance Introduction

Our people, our clients and our expertise span four great countries and four great European cities: Berlin, London, Madrid and Rome. But together our advice reaches beyond our independent, national roots to support clients across the globe. Commerce like art has no boundaries. Commerce like art is an international language in its own right. The marriage of the commercial, legal world with the world of art is therefore a happy one. Our four firms are rightly excited to be supporting this very special â&#x20AC;&#x2DC;nomadicâ&#x20AC;&#x2122; art show. As these striking images travel around the four great cities in which many of us live and work, we hope they leave you reflecting on our cultures and the exciting changes and challenges of our interconnected worlds.

Foreword by Alfonso Amendola*

Paper as a place for dialectical dynamics. This is the cardinal

“capture the transient, the fleeting, the contingent, the one side

theme carefully chosen by Massimo Tartaglione and Carla Ros-

of art of which the other side is the eternal and the immutable”

setti. All the works in this exhibition have an international flavour

(as intoned by Baudelaire), despite us becoming hyper-modern

(Christian Leperino from Italy, Álvaro Negro from Spain, Harry

spectators that have fallen into the “fables” of cynical and sceptic

Pearce from England, and Germany’s Susanne Ristow) and are

readers. Knowing all too well that the “fleetingness” of art never

fed by a narrative idea where they breathe: mutation, upheaval,

makes us forget that “fatal” and double attraction that dominates

“mutual reflection” and “sliding” (as noted down by the two edi-

the signs arising from the shadows of our heartbreaking melan-

tors). A “narrative” energy that seems to find new procedures in

choly and from the “glow” of our desiring will ...

the practice of drawing and photography. The leap of sensitivity to be taken in this era of dazzling innovation involves an increasing mutation of the anthropological nature of drawing: from the mentality of a graphic or photographic drawing, which retains its “expressive” intention (i.e., a feeling in search of effects and responses), passing to a dimension in the form of harmonious sounds, a drawing that brings areas, experiences, resonance, consumption, artistic disambiguation and extra-territorial vocations to life. Where I like to read a drawing as a performative space, as a voice that speaks out, as a dialectic anxiety (of course). From here, the urgency of a cosmopolitan drawing (as free as it needs to be). A design that is always able to create (further) drawings and translations of drawings. The “organisational” idea which led to this exhibition project deserves a reflection of its own. We have a “travelling” and “nomadic” show which blends together different dimensions of our contemporary ways and cultural industries: art criticism, critical thinking, collecting, gallery policies, managerial consultancy, patronage from the private sector, cultural enterprise, business organization, group planning, the encounter between artists of different styles, the becoming extra-territorial and the “transnational geography“ (infra, extracting Nancy from the reflections of Tartaglione and Rossetti). So finding a “narrative” in the sensitivity of a drawing does not seem strange at all. Because once again we find ourselves with the sweet anxiety of wanting to

*In Scientific Management, exhibition projects section “Art A Part” and a professor of Sociology of Communication Processes and Sociology of the Arts, at the University of Salerno

Writings by Carla Rossetti e Massimo Tartaglione

in this context that the network of relationships takes on an ethiThe relationship between cultures, exchanges and reciprocal

cal purpose, that within the exhibition is accompanied by a strictly

influences is at the forefront now more than ever. It unfolds in

aesthetic one. This premise would be of little value if there was

a very articulated range of phenomena of uncertain balance be-

not the belief of a specific visual strength of our subject/object in

tween the growing pressures to standard and the closures in

question which, moreover, the history of art documents with so

identity dimensions, thus plotting a complex path of risks, oppor-

much evidence that it makes any example superfluous. However,

tunities. In investigating processes that are continuously becom-

the artists have succeeded in putting this together, by transform-

ing unpredictable, we must compete with their dialectical nature

ing and expanding those that are just mere assumptions.

and recognise an area of mutual influence next to one of autono-

By outlining the first area, it is placed inside a second and broader

my, meaning that every speech and every method of expression

one: urban space.

can have its own margin of error.

The reason for this choice does not lie in the claim that the metro-

If cultural exchanges are first and foremost a matter of relation-

politan dimension or that of the Nation-state are sufficient enough

ships, then it is possible to identify a place that, par excellence,

to deplete the dynamics that innervate the exhibition project. On

is the means and the heart of all relationships: the body. As sug-

the contrary, with the firm belief that if a swarming activity devel-

gested by Galimberti, space is not “positional”: it is not the real

ops within cities, in which the opposing and contrasting tensions

or logical context in which things are arranged in accordance with

find a fruitful consequence, it is thanks to their porosity and open-

an abstract system of presumed coordinates. Instead, it is “situ-

ing of cultural boundaries. In view of deconstructing as a channel,

ational” because it is measured by starting from the situation in

not only theoretical but one of reality, Jacques Derrida revealed

which the body finds itself to the proposed tasks and the avail-

the fragility of resistant structures such as “State”, “citizenship”,

able possibilities that it has. As a consequence, not only is the

“belonging”, “territory”. 2 About the crushing of traditional space,

world discovered through the body, but it establishes profiles

Jean-Luc Nancy proposed the term monde-ville, or rather world-

through actions: the reflection of a world can be seen in the body;

ville, thus defining a new transnational geography.3 Pure words

and flesh in that of the world.1

and pictures, free from any support – also of a historic kind – have

However, as stated by Carlo Sini, the body as threshold acts and

never existed except as an illusion. Yet, with the development of

tries to change world and so it meets its resistance, breaks it and

tele-technologies – as Derrida says – a revolution in semiotics has

experiments its own limits. Images, sounds and words comes

been produced in which the signs are produced and broadcast

to us with such a force that they leave a physical mark on body,

at an unbelievable and frenetic speed, and therefore frees itself

but the same images and sounds represent languages, postures,

from a defined location. And it is precisely this shift, this possibil-

gestures that lay, digging beyond the body surface.

ity of mutual reflection between one place and another, that is the

A tight knot closes this starting point, and perhaps ends a lesson

backbone of the exhibition project. When the city, urban practices,

on the construction of relationships between cultures, which do

territory, and even the individual are pulverized, and get mixed

not exclude, but intimately assimilate, a dark and violent base

up, the paradoxical aspect of the body is that even though it is

line, and ferry us out of the isolated dimension of the Galimberti-

involved in this process, it retains its look and, ultimately, itself.

type body, towards the heartfelt interpretation of Husserl.

To complete the reference framework within which the artists

As a matter of fact, bodies make – you might say – body, and it is

have moved, a brief reference to the techniques used seems the

right thing to do.

nicative. It is therefore especially close to an idea of crossing cul-

The four selected artists work on paper, through drawing, engrav-

tures and mediums, which can be recognized, at least on a formal

ing or photography. The choice of combining drawing – in a broad

level, even in very different contexts and often presents a close-

acceptation which includes also the engraving thechniques – and

ness to the moment the idea and the plan come together for this

photography stems from a specific suggestion, masterfully cap-

expressive practice. Enrico Crispolti pointed out that, in the 20th

tured by the words of Giulio Paolini: «Photography and design

century, drawing was particularly important for artistic research,

seem to have in common, and share the attitude – what I would

in that it is more related to the time and methods of experimenta-

call vocation – that shines through: transparency has no end, it

tion. This proximity to research can be read both in terms of form,

tends towards infinity, it is not an “image” but it makes you “im-

and of the historical relationship with the art of the past or of an-

agine”. To always see beyond the contingent limit.» It is known

other geographical location. The “mobility” of drawing is a strong

that, in the presence of the first Dagherro-type tests, the problem

dialectic means in its expressive sense, but is an open one with

was to identify the artistic value of the photographic object next

regards to communication and confrontation.

to the camouflaged one. Peirce masterfully succeeded by giving the cellulose image a triple nature: “index”, “icon”, and “symbol”. 5 This gradual approach between referentiality and expression, that is, to say, between representative realism and the solicitations of a different nature, which burst into the figurative field for the entrance of dream and desire, determines the epiphany of subjectivity. Such epiphany shows how representative realism and artistic creativity are neither rivals nor opponents, but rather an element that photography shares with the other arts, again according to Paolini. Drawing, first and foremost, because of its lightness and its fragility that open up that manner of exhibiting that Greenblatt called resonance and wonder.6 For the English, resonance is the power of the object to cross its formal limits, in order to evoke the complex and dynamic cultural forces from which it emerged in the viewer. Wonder means the ability of the object to stop the visitor and communicate a sense of uniqueness. Drawing and photography can therefore be channels for synergies with other practices of representation that are present in a culture, and can bring historical circumstances to the surface like a distant echo, in an open dialogue with each other. Drawing, particularly, in its most essential and even elementary nature, represents a fundamental mode of manifestation of the visual content in arts, even when its purpose is purely commu-

1. U. Galimberti, Il corpo, published by Feltrinelli, Milan, 1983. 2. J. Derrida, Spettri di Marx, published by Cortina, Milan, 1994. 3. J.L. Nancy, La città lontana, published by Ombre corte, Verona, 2002. 4. AA.VV. Arte in Italia dopo la fotografia, published by Electa, Milan, 2011. 5. C. S. Pierce, Opere, published by Bompiani, Milan, 2003. 6. S. Greenblatt, Risonanze e meraviglia in I. Karp, S. Lavine, (eds.) in Culture in mostra, Clueb, Bologna, 1995.

CHRISTIAN LEPERINO ÁLVARO NEGRO HARRY PEARCE SUSANNE RISTOW

Christian Leperino

Christian Leperino is a versatile artist who can range from traditio-

Facies (installation view), 2014,

nal techniques to experimentation with new artistic media. Versati-

indian ink drawing on cardboard, cm 210 x 300

lity that he clearly demonstrates during international artistic events

courtesy: the artist

such as the Biennale dei giovani artisti d’Europa e del Mediterraneo (Sarajevo, Bosnia, 2001). In 2003 he wins the Arte Fiera Under

Facies , 2014,

30 prize (Arte Fiera Bologna), so Leperino, for a long period, studies

indian ink drawing on cardboard, cm 70 x 50

and works at the Kunst Werke in Berlin. Subsequently, he begins an artistic/philosophical study on human destiny during technological era. Leperino participates in several international exhibitions, such as Ecology Earth Art (Museum of Modern Art, Saitama/Japan, 2007). The experience of disciplinary contaminations, due to his significant knowledge of Central European culture, leads Leperino to

courtesy: the artist Facies , 2014, indian ink drawing on cardboard, cm 70 x 50 courtesy: the artist

undertake an ambitious multidisciplinary research project on human spaces versus urban spaces. In this perspective, Leperino realizes

Facies , 2014,

prestigious events, such as artistic installation Tactus Intimus (Mu-

indian ink drawing on cardboard, cm 70 x 50

sei Universitari di Palazzo Poggi, Art First, Arte Fiera Bologna, 2009),

courtesy: the artist

the exhibition Hoc est enim corpus meum (Museo Universitario dell’Opera Suor Orsola Benincasa, Naples, 2009), the artistic instal-

Facies , 2014,

lation Human Revolution (Real Museo Mineralogico dell’Università

indian ink drawing on cardboard, cm 70 x 50

degli Studi Federico II, Napoli, 2009). Recently, thank to the exhi-

courtesy: the artist

bition Human Escape at the Museum of Contemporary Art in Niterói – MAC (Rio de Janeiro, Brazil, 2010), Leperino inaugurates a new phase of his artistic research on the human, with which he is selected for Biennale di Venezia/54a Esposizione Internazionale d’Arte. Since 2011, starting from a video and photographic research on the city of Naples, Leperino has developed a personal technique of three-dimensional representation of the urban landscape, in a series of reliefs in aluminum, titled Skyline. In 2012, the Educational Service of the Department of Archaeology for Naples and Pompeii invited him to exhibit at the National Archaeological Museum of Naples. The exhibition, Landscapes of Memory, consists of two site-specific installations, a large painting (600x1000 cm) in the Farnese Bull Room, and an environmental installation in the Exhibition Space. In 2013 he exhibited a new series of paintings, the Districts, and three sculptures in plaster, Human Blocks, at the Academy of Moscow and at the Academy of St. Petersburg.

Álvaro Negro

Álvaro Negro (Lalin, Pontevedra, 1973) graduates in Painting at the

And the garden grew into the tower (from the series), 2013,

Faculty of Fine Arts of Pontevedra at University of Vigo and then

UltraChrome print on Museo Silver Rag, cm 48x25,

obtains an MA at the Central Saint Martins College of Art & Design of London.

courtesy: the artist And the garden grew into the tower (from the series), 2013,

He starts his artistic activity with a type of painting based on the

UltraChrome print on Museo Silver Rag, cm 48x25,

principles of repetition – of a shape or image – with an expressio-

courtesy: the artist

nistic use of colour, close to the investigations of Motherwell and Rothko. Later, he approaches to photography and to moving image, media that allow him to conduct an investigation on the different pos-

And the garden grew into the tower (from the series), 2013, UltraChrome print on Museo Silver Rag, cm 39x29, courtesy: the artist

sible degrees of awareness in the observation of reality. The topic of journey becomes the keystone of an analysis of the concepts of

And the garden grew into the tower (from the series), 2013,

location and dislocation, in which is measured the distance/proximity

UltraChrome print on Museo Silver Rag, cm 27x40,

between the historical and biographical dimension, the beauty and sublime.

courtesy: the artist And the garden grew into the tower (from the series), 2013,

His main exhibitions are: WALL A (2001, Centro Torrente Ballester –

UltraChrome print on Museo Silver Rag, cm 27x40,

Tercer Espacio, Ferrol), Ok! Inside, Time and Outside (2005, Galería

courtesy: the artist

Fúcares, Madrid), Reflexos híbridos (2007, Galería Carlos Carvalho Arte Contenporânea, Lisboa), Natureza! Estás soa? (2011, PALEXCO, A Coruña e 2012, Istituto Cervantes, Napoli). In 2012 he is awarded with the Mention of Honour at the 22nd Premio Internacional de Grafica Màximo Ramos while some of his works are part of public and private prestigious collections, such as: Centro Galego de Arte Contemporánea, CGAC, Santiago de Compostela; Museo de Arte Contemporánea Gas Natural Fenosa, A Coruña; MARCO, Museo de Arte Contemporánea de Vigo; Fundación Barrié de la Maza, A Coruña; Collezione Würth.

And the garden grew into the tower (from the series), 2013, UltraChrome print on Museo Silver Rag, cm 25x48, courtesy: the artist

Harry Pearce

Harry Pearce was born in 1960 and studied at Canterbury College of Art.

Poetry in the street of Naples (from the series), 2014,

He co-founded Lippa Pearce Design in 1990.

engraving etching with acquatint, cm 78 x 54,

Harry’s work touches many disciplines, from spatial design and iden-

courtesy: Made in Cloister; the artist

tity to print and packaging. His clients range from Phaidon Publishing, Williams F1 and Kangol to Shakespeare’s Globe, Saks Fifth Avenue, the Science Museum and Boots, for whom Harry has created designs for over 23 years. Some of his major corporate identity work includes Halfords and The Co-operative. Harry is dedicated to supporting human rights. Over the last 15 years he has created all the design material for Witness in New York City, founded by the musician and activist Peter Gabriel. He also sits on the advisory

Poetry in the street of Naples (from the series), 2014, engraving etching with acquatint, cm 54 x 78, courtesy: Made in Cloister; the artist Poetry in the street of Naples (from the series), 2014, engraving etching with acquatint, cm 54 x 78, courtesy: Made in Cloister; the artist

board. Harry has won many national and international design awards

Poetry in the street of Naples (from the series), 2014,

including two D&AD Silvers.

engraving etching with acquatint, cm 54 x 78,

He was one of a few graphic designers chosen to exhibit in a show

courtesy: Made in Cloister; the artist

of excellence in New York to celebrate British design. His work was exhibited at the 50th anniversary exhibition of the Alliance Graphique Internationale (AGI) Paris, of which he is also a member. He is a member of the Royal Mail’s Stamp Advisory Committee. He regularly speaks at major international design conferences across the globe, including AGIdeas in Australia, Design Indaba, South Africa, Semi Permanent, New Zealand and Design Yatra, India. Speaking engagements have also taken him to New York and Chicago, as well as colleges, Museums and the Typographic Circle in the UK. In 2006 he joined the London office of the groundbreaking multi-disciplinary design firm Pentagram as Partner.

Susanne Ristow

Susanne Ristow lives and works in Düsseldorf where, in 1997, she qua-

Siamo tutti in pericolo (from the series), 2004,

lifies as Meisterschülerin of the artist Jannis Kounellis. The next year,

engraving etching with acquatint, cm 40 x 60,

thanks to a scholarship of the Deutschen Akademischen Austauschdien-

courtesy: Il Laboratorio, Nola; the artist

stes, she spends a long period in Naples, privileged vantage point not only for understanding the history of ancient Europe but also for the analysis of her modern evolution. The first results of this reflection flow into her first solo exhibition called Agitatorische Zeitung (1998); followed by, among the most famous exhibits, Fassbender Preis (2001, Städtische Rathausgalerie, Brühl), Einsame Helden (2003, Bochynek Galerie, Düsseldorf), Frau R. packt endlich aus (2008, Museum Ratingen, Ratingen), Das Adonis Deport (2008, Kunsthalle, Düsseldorf), Bridal Expo

Siamo tutti in pericolo (from the series), 2004, engraving etching with acquatint, cm 40 x 60, courtesy: Il Laboratorio, Nola; the artist Siamo tutti in pericolo (from the series), 2004, engraving etching with acquatint, cm 40 x 60, courtesy: Il Laboratorio, Nola; the artist

(2012, Matthias Küper Galleries, Peking), and Cinacittà presented in 2010

Siamo tutti in pericolo (from the series), 2004,

at Foundation Morra of Naples and, one year later, at the Robert-Schu-

engraving etching with acquatint, cm 40 x 60,

mann-Saal of Düsseldorf. This exhibition has recently merged into an

courtesy: Il Laboratorio, Nola; the artist

art book presented at the Provincial Archaeological Museum of Salerno, within the third edition of Le cose che amiamo davvero.

Siamo tutti in pericolo (from the series), 2004,

Susanne Ristow’s favourite artistic medium is drawing, owed, in the

engraving etching with acquatint, cm 40 x 60,

manners, to the great mitteleuropean artistic tradition – from Grünewald

courtesy: Il Laboratorio, Nola; the artist

to Kiefer – with which she plumbs her interest for the body through a sign made of a trenchant, crooked line that over time has become continuous, curved and regular. Her signs don’t want to swing between abstraction and figurative but rather intend to analyse all the possible emotional situations. In keeping with this intent is the choice to deal with one topic through a plurality of images that, avoiding the risk of becoming icons, create choral tales in which each part is intimately connected to the others. Besides the drawing, Susanne Ristow cultivates an interest in moving image that leads her to the creation of animated films (Augenblick, mammaromamontage), in which the study of great masterpieces of world cinema becomes description of the collective memory with several references to myth and history of art.

thanks to

Prof. Giorgio Amitrano IIC Tokyo Michelangiolo Severini IIC Tokyo Vittorio Avella, Il laboratorio, Nola Antonio G. Martiniello, KellerArchitettura, Napoli Giovanna del Bello Istituto Cervantes, Napoli