Paintings and papers created by Enzo Cursaro in recent years, which shows a marked interest in the sign as an expressive figure that finds in the plot, a narrative plot full of references drawn from the anthropological sphere. “At stake is the figure of his existential identity, of his link with the places where he was born, with Paestum and his mystery. Attica is above all the panorama that opens to his eyes when, from the top of his studio, they range over the expanse of the plain that welcomes the Magna Graecia city going west, until reaching Capri. It acts as a reunion with its origins, with memory, with the vitality of the first encounter with the sign “.
Enzo Cursaro was born in Paestum in 1953. He studied in Naples where, at the Academy of Fine Arts, he followed Domenico Spinosa’s lessons and where he graduated in 1978. In those years his interest was oriented towards abstract-informal compositions, which he would later resume in the 90’s. In the second half of the 70’s, as soon as he left the Academy of Fine Arts, he began his relationship with San Carlo Art Gallery directed by Raffaele Formisano, thus becoming an active part of a group of artists belonging to the Mezzogiorno (South of Italy). For about thirty years (1983-2012), he lives permanently in Verona, where he teaches art history and pictorial disciplines at public secondary schools. Since the mid-eighties he has exhibited mainly in Europe. Recently he has returned to Paestum where he lives and works.
A Nicca, refers to a core doctrine of Buddhism that is the idea of impermanence, one that articulates that existence is in a constant state of change. The etymology Anicca is a negation of the root word “nicca” meaning stability and continuity. The works of Marcela Gottardo and Flavia Monteiro are less of a negation of permanence but rather explore the Buddhist concept of Anicca through the instability and transformations of materiality and being. Together they interrogate how we see through the subjective lens of our own knowledge and embrace our destined impermanence, beyond the philosophical and existential crisis of nihilism.
Gottardo employs familiar everyday materials and or themes to create fragmentations of one’s temporal existence and conception of self. These fragments are assembled and treated as unique forms that are in a stasis of decay, yet echo the memory of organic forms and negative space. Gottardo’s work presents material explorations of form, resulting in a survey of art works that evoke an archeological indexing, encouraging a visual unearthing of artifacts.
Monteiro showcases several bodies of works that include suspended cyanotypes that echo garments drying on a clothesline; and also include organic shapes of everyday objects including the shadows of desert flora. Monteiro examines her adaptation to living in a new desert environment by embracing the desert sun and its shadows in the creation of her cyanotypes. These works refute her arid environment through the deep blues inherent to cyanotypes, the liquid process developing these images, and through blockages of the desert sun’s radiation in exposing the cyanotypes. These cyanotypes are also pared with photographs that reinforce the deserts yearning for water. Monteiro contrasts the cyanotypes and photographs with her warm paintings of grids and structures that suggest a containment of not only color, but the specter of fluids enveloping the void. Monteiro’s practice examines ideas of transformation through the visual entropy of structure, documenting ones environment and the desire to contain.
FriedrichWilhelm Nietzsche was critical of Buddhist concept of Anicca, postulating it in opposition to his idea of “will to power”, where he equated the idea of impermanence with nihilism. Gottardo and Monteiro’s works challenge his accusations of the ascetic practice Buddhism (and Christianity) as a “will to nothingness”, through their affirmative exploration of the ever-changing material and environment. Their works speak to their transition of impermanent lived lives within the Brazilian diaspora. Ultimately this exhibition embraces our world’s reality of impermanence with a goal of acceptance of the instable and unknown. (Steven Y. Wong, USA)
Steven Y. Wong was born Los Angeles where he currently is the curator at Los Angeles Municipal Art Gallery. Previously he was Interim Executive Director and senior staff curator at the Chinese American Museum where he developed and implemented both contemporary art and history exhibitions. Steven has lectured at UC Santa Barbara and was an adjunct professor at Ventura College and Pasadena City College in Asian American Studies, History and Art Studio Departments. Steven holds a Masters in Asian American Studies from the University of California, Los Angeles and a Master in Fine Arts from the University of California, Santa Barbara.
Marcela Gottardo was born in Brazil. She lives and works in Pistoia, Italy. Marcela’s artwork utilizes materials and processes to investigate the nature of being and becoming. She received a Master of Fine Arts in 2014, and a Bachelor of Fine Arts in Painting in 2012, at Otis College of Art and Design, Los Angeles, California, USA.
Flavia Monteiro was born in Rio de Janeiro, Brazil. She lives and works in the Coachella Valley desert in California (USA). She explores altered perceptions by continually reworking her artwork until preconceptions and expectations are broken and a transformation is completed. Flavia has exhibited her work in California at Los Angeles Municipal Art Gallery, Palm Springs Art Museum, Vincent Price Museum, The Bolsky Gallery, Los Angeles International Airport, and has created public artworks for the cities of Malibu and Glendale. Her artwork has been exhibited in galleries in Rio de Janeiro and at the Ibero-American Art Salon at the Mexican Cultural Institute (Washington, DC). Flavia earned an MFA from Otis College of Art and Design in 2013, and BA degrees in Art Education and Social Communication. She completed postgraduate studies in Art Therapy. Before moving to the US in 2003, she worked as an Art Educator and developed art education programs at Colégio Pedro II, the Brazilian Federal model school in Rio.
Marco Cingolani is the winner of the first edition of the Pannaggi Award/New Generations, an initiative born from an idea of “Amici di Palazzo Buonaccorsi”, organization that supports young artists and promotes contemporary art in the Marche region.
The Centro Luigi Di Sarro which has collaborated on the project, in line with its forty-year promotion activity of young talents at national and international level, welcomes the solo of the young sculptor from Recanati, entitled Projections and Visions. The event is organized on the occasion of the 15th Contemporary Art Day promoted by AMACI.
The project Return Berlin-Rome | Rome-Berlin, born from an idea by Susanne Kessler, promotes the collaboration of Centro Luigi Di Sarro with the VBK-Verein Berliner Künstler and aims to start an exchange between the artistic realities of Italy and Germany, through the dialogue between the two capitals where the proposing associations are located.
Andrea Aquilanti, Angelo Casciello, Veronica Montanino, Pamela Pintus and Sara Spizzichino are the italian artists on show at the VBK-Gallery, from September 13th to October 6th 2019.
The project, carried out in two stages, brought the works of 5 German artists (Birgit Borggrebe, Jürgen Kellig, Susanne Kessler, Nele Probst, Marianne Stoll) to Centro Luigi Sarro in Rome in April 2019.
DIVERSIONI, curated by Davide Silvioli is a group show with artworks by Fabio Mariani, Priscilla Pallante, Rosario Vicidomini and Medina Zabo. These are new artworks prepared specifically for this project, in which the four artists, different to each other in terms of training, technique and experience, demonstrate further stylistic possibilities in their way of working, proposing realizations that widen the spectrum of research of everyone. The project subtends an invitation to conceive today’s artistic research in systemic terms, therefore as something that expands horizontally towards a multiplicity of orientations without hierarchies, instead in linear terms, therefore following unilateral relations of cause and effect less and less appropriate to solve the complex articulation of artistic contemporaneity.
Fabio Mariani (1980) attended the Academy of Fine Arts in Rome where he graduated in Scenography. In the last few years he has begun to rediscover and experiment, in painting, the ancient Iron Gall ink. He has created sets for theatrical performances. Winner of several awards, he has exhibited in museums and galleries in Italy and abroad. His works are in public and private collections. He lives and works in Rome and Abruzzo.
Priscilla Pallante (1992) made her debut in 2018 with her first solo show at the Curva Pura gallery in Rome. At the basis of the artist’s experimentation there is an obsessive attitude in the search for representation. The photographic medium relates to new digital technologies, sound and 3D printing.
Rosario Vicidomini (1986) is a visual artist. He studied art in Salerno, Bologna and Urbino. From 2014 to 2017 he lived and worked in Hamburg and Berlin. He exhibited his works in museums, galleries and art fairs in Italy, Germany, France, Switzerland, Austria, Hungary and Japan. He currently lives in Rome.
Medina Zabo graduated in Communication studies at the University of Perugia, thereafter a specialization in New Media at IED Rome, studied at Fine Arts Academy Pietro Vannucci, currently attending the Academy of Fine Arts in Rome. Winner of the international O.R.A. Prize 2018, finalist at XIII Arte Laguna Prize in the Land Art section, main exhibition in museums and places of historical and cultural interest.
Is the lens of the camera a window, or a mirror? And the mirror, in any case, can it also be a camera? And finally, what is seen, in both cases, is shown, or reflected? The photographic installations of Francesca Floris are inscribed within this conceptual field, which, in the electronic age, or rather the season of indistinct multiplication of images without support, constitutes the heart of the contemporary social and anthropological scene.
Combined with the reflection motif, the theme of the body. Perceivable as an eternally delayed presence in the game of refractions, the body is confirmed as a strong and inescapable presence.
The art of Francesca Floris thus poses the cardinal problem: in the labyrinth of reflections, is the image a support of the body, or does the body, with its tender and merciless availability, constitute, here and now, the support of the image?
It is up to the viewer to formulate a hypothesis, if not decisive, at least participatory, of a figurative and sensorial project, which touches, in depth and on the surface, the key theme of contemporary culture, a social and also a political theme, that is the fragile question, full-bodied and reflected, though still unresolved, of identity. (Flavio De Bernardinis)
The World of Las was born from the desire to describe a platonic love. The story is about a woman who is projected into the fantasies of the person who loves her. These imaginary places are the only place where she enjoys the love of which she is the object. To represent this situation, I chose to really project the protagonist of this project into the scenarios that represent the imagination of the narrator. The idea was, from the beginning, to “host” the woman in these fantasies, which in the photographs appear as concrete and tangible places, while she appears as a projection, an apparition, something distant and ghostly. The viewer then moves into the mind of the person who loves. (Francesca Floris)
The exhibition is structured in four parts. The first stage of the exhibition is composed of 10 illustrations (one for each chapter of the story), in 40 x 60 cm format, accompanied by a brief quote from the chapter of the story that each represents.
The illustrations are followed by an exhibition of 10 photographs, in 60 x 90 cm format.
The third stage of the journey consists of a limited space, where a backstage video is shown that shows the functioning of the mechanism and the process of making the photographs.
Finally, visitors access a specially lit space, inside which the mechanism with which the photographs were taken is exposed and where they, after learning how it works, can look at each other and photograph themselves inside an interactive environment recreated to show its function and to allow guests to immerse themselves, some in the eyes of the narrator, some in the shoes of the photographed woman.
Francesca Floris was born in Oristano on April 6th 1992. She received her classical high school diploma in 2011, in Sassari. She graduated from Brunel University in London in 2014. In England she joined the art collective Ad Libitum Films, with which she made numerous short films, a web series and her first feature film, the documentary Isole. She moved to the United States in 2014 to pursue a master’s degree. She started working as a photographer at the end of 2015. Since then she has presented two personal exhibitions (Olympus 50 and Il palco bianco) and taken part in two group exhibitions. She attended the Producing course at the “Centro Sperimentale di Cinematografia” in Rome in the 2016-2018 three-year period. At the moment she is graduating in Anthropology at the University of Siena.
The World of Las is her second project of staged photography. The first one was Il palco bianco (2017).
The project RETURN Berlin-Rome | Rome-Berlin, born from an idea by Susanne Kessler, is curated by the Centro Di Sarro in collaboration with the Verein Berliner Künstler, and under the patronage of the Istituto Italiano di Cultura in Berlin, with the intention of starting an exchange between the artistic realities of Italy and Germany through the dialogue between the two cities where the proposing associations are based. The project involves two parts: RETURN Berlin-Rome will exhibit the works of 5 German artists (Birgit Borggrebe, Jürgen Kellig, Susanne Kessler, Nele Probst, Marianne Stoll) and the works at the Centro Di Sarro, from 4 April to 4 May 2019 subsequently RETURN Rome-Berlin will see the exhibition of the works of 5 Italian artists (Andrea Aquilanti, Angelo Casciello, Veronica Montanino, Pamela Pintus, Sara Spizzichino) at the Galerie VBK-Verein Berliner Künstler, from 13 September to 6 October 2019.
Birgit Borggrebe.Born in Arnsberg, lives and works in Berlin. “The harsh and abstract character of our cities, the globalization of the modern world, are in contrast with what remains of Nature: here a tree, a herd of goats there, yet even the clouds themselves shine with suspicious colors. Borggrebe’s images are kaleidoscopes, poetic encounters with a nightmarish reality that could soon cover a large part of our planet. An aesthetic protest spreads from the paintings: that our world is not as it should be. Although it seems strange, the futuristic and apocalyptic landscapes depicted in his paintings are permeated by something that could be described as a “nostalgia for Paradise”. (Kai Michel, Zurich)
Jürgen Kellig. Born in Berlin where he lives and works. My drawings deal with rhythm and structure, in particular with the interaction between chaos and order, with the similarities between micro and macrocosm. Although reworked in a concrete way, these works can recall organic networks, as well as technological networks. (Jürgen Kellig) Jürgen Kellig draws freehand. The accuracy of its graphic elements does not follow a program, a pre-established scheme. It simulates the certainty of geometric laws, as in a free zone between micrological proximity and macrological distance: a subject already addressed by the author in previous works. Consequently, the titles of his drawings suggest conceptual clarity: “notation”, “score”, “interconnection”, “civilization”. They transform images into conceptual associations. Images that are the result of associative processes related to a graphic self-referentiality, fixing point as point, line as line and plan as plan or their arbitrary succession. (Wolfgang Siano, from the text in the catalog “Implacable, between line and line and beyond”)
Susanne Kessler. Born in Wuppertal in 1955, she lives and works in Berlin and Rome. She studied painting and graphics in Berlin at the Hochschule der Künste (UDK) and in London at the Royal College of Art (RCA). She prefers large installations, both indoors and outdoors. She has taught at California State University (CSU) and at the City University of New York (CUNY). Business trips have taken her to Ethiopia, Guatemala, Mali, Pakistan, India and Iran. All these places have left traces in her work. Her installations, sometimes ephemeral, are published in numerous catalogs and books. The former director of the Wilhelm Lehmbruck Museum Raimund Stecker describes the artist’s method as follows: “Susanne Kessler constantly plays with separation and contact, closeness and distance, reality and illusion. The tangible is sometimes lost in the incomprehensible and the inconceivable becomes tangible, the chaotic becomes cosmic, the messy sometimes rational, and the certainties seem confused “.
Nele Probst. Since 1995 he lives and works in Berlin. From 1989 to 1993 he studied Visual Communication, Fachhochschule für Gestaltung, Mannheim with Prof. Günter Slabon, Prof. Wolf Magin, Prof. Roland Fürst, Prof. Eckhard Neumann. From 1993 to 1995 he lived and worked in Hamburg. In the works of Nele Probst, both in painting and in sculpture and installations, the additive process, understood as collection and thickening, plays an important role. The narrative moment and its associations are reflected both in the content and in the structure of his works. Color and material are in the foreground. His playful, experimental and sensitive relationship with materials and composition creates a sense of lightness and joy that characterizes his work and involves the viewer.
Marianne Stoll. Born in Darmstadt, lives and works in Berlin. She studied art history with Prof. Uwe M. Schneede, Ludwig Maximilian Universität of Munich. Through sculptures and drawings (…) Marianne Stoll explores in a playful but always serious, lucid and surprising way the many facets of living, of the house, of the origins – and of the constant threat of loss of a dwelling, of a shelter. In her compositions, Marianne recalls the question of how one should inhabit the World-Home, how to settle into this dwelling, which has not been handed over to humanity on a turnkey basis. With daring changes of perspective, the small and the large, the solid and the fragile, the dangerous and the harmless come together in the act of drawing (…) the graphic forms satisfy and nourish each other, in a strange analogy with creating a habitat for humans. (Dorothée Bauerle-Willert, from the text in the catalog “Dream Houses”)
Thanks to Giorgio Benni for photographs of the exhibition in slideshow.
“I think it is not difficult to immediately realize that the most relevant key to reading for the intelligence of Giorgio Russi’s painting regards the dream-like dimension”. So the great Enrico Crispolti – who worked closely with Russi, at least for all the eighties, considering him then one of the most significant figures emerging in the Italian artistic landscape – opened the part dedicated to him in his text in the catalog of shows Casciello, Gadaleta, Russi. A current triangulation, held at the Galleria Comunale d’Arte Contemporanea of Arezzo in 1986. A statement, therefore, of more than thirty years ago, but which besides well framing the imaginative area of making of Russians of that period, the best known (among the most iconic celestial landscapes dominated by the presence of strongly disquieting birds, first, and more essential scenarios, now more less vaguely landscaped inhabited by mysterious “flames”, then), is perfectly fitting also to the current work of the artist , which constitutes the present exhibition. And it is the sign not only of a coherence, of a continuity (even if his art has made its way since then), but of the existence of a certain field to which Russi necessarily continues to respond, thus feeling almost always intimately as own. (…) Antonello Rubini
On show 20-25 recent works by Giorgio Russi including paintings and sculptures.
Giorgio Russi was born in Turin on December 29, 1946, he lives and works in Treviso. After the Diploma of Art Master and Applied Arts Maturity he obtained the Diploma of Sculpture at the Academy of Fine Arts in Rome under the guidance of Pericle Fazzini. From 1971 to 1988 he was a lecturer in Sculpture at the State Art High School of Teramo. Since the early eighties he has carried out an intense and significant artistic activity by participating in numerous national and international exhibitions. Winner of the National Competition, from 1988 to 2011 he was Dean of the Liceo Artistico Statale di Treviso.
Opening on Wednesday, October 10th, starting at 6pm. Catalog in the gallery. The event adheres to the Fourteenth Day of Contemporary Art promoted by AMACI.
The exhibition is divided into three moments, or better, in three movements, in resonance with the structure of the concert n. 20 by Mozart which gives the title to the exhibition.
The first space in the gallery houses the Kronos 2018 installation, consisting of an intervention on the wall and about sixty sculptures that run along the floor. The sculptures belong to the “fragments of time” series (performed from 2003 to today) and are made of terracotta, majolica and cold enamelled terracotta.
The second room is entirely dedicated to the series “nosce te ipsum”, works of 2018 made of acrylic, sand, earth and resin on Amalfi paper.
The exhibition closes in a deep and velvety blue, with works of the cycle “blue moments” realized starting in 2017: these are small and large sculptures made of EPS and synthetic resins with flocked finish.
Curated by Massimo Bignardi, the show was presented during 2017 at the Istituto Italiano di Cultura in Cologne, Germany and 2018 at the FraC Contemporary Art Museum in Baronissi (SA), italy.
ANTONIO AMBROSINO was born in Naples in 1982, he trained first in Torre del Greco in jeweler’s art Atelier and then at the Academy of Fine Arts in Naples where he graduated in Sculpture with an experimental thesis about the quartapittura collective. Since 2011 he lives and works in Serdes, small village near San Vito di Cadore in the north of Italy.
In the fortieth anniversary of the death of Luigi Di Sarro, the exhibition organized by the MLAC with Centro Di Sarro offers a glimpse of the production of Luigi Di Sarro between the 1960s and the 1970s, highlighting the transversal nature of his approach to techniques and materials and his characteristic conception of the “sign” as a generative element of shapes and spaces, without a real caesura between abstraction and figuration, evident both in graphic and pictorial work, and in photography and sculpture.
Di Sarro, avid experimenter in his artistic activity, has practiced drawing, painting, engraving, sculpture, photography and performance, focusing in particular on themes related to the body, movement, light and abstraction capacity of the sign and the geometric figures. Di Sarro died only thirty-seven years old, killed for a fatal misunderstanding in the tense climate of the years of lead in Rome, on February 24, 1979; he left a vast artistic production (paintings, drawings, photographs, sculptures, graphics, projects, notes, aphorisms). Works by Luigi Di Sarro are in several Italian and foreign public collections (including GNAM, MACRO, Palazzo Braschi and the National Institute for Graphic Design in Rome, Pompidou Center in Paris).</p>
Active since 1987, the Museo Laboratorio di Arte Contemporanea-MLAC, directed by Prof. Claudio Zambianchi, has been proposed since the beginning as a meeting place between the university and the contemporary cultural world, distinguishing itself for its vocation to research and training. Among the initiatives that have animated the program for thirty years, there are exhibitions, conferences, round tables, book presentations, festivals, video reviews and musical proposals, which aim at first hand to put in contact the most lively artistic and cultural realities of the moment with the students and scholars of the University, often coming to involve them actively. In the same way, the will to open up to the city is strong, involving all citizens through the proposal of a very varied program.
Exhibitions and events promoted and organized by the MLAC take place in the spaces set aside in 1985 by the La Sapienza University of Rome, at the Rettorato Building, in the heart of the University City.
On the occasion of organizing and carrying out the exhibition the MLAC offers a possibility of internship to students who have an interest in deepening in the field the craft of the historian and art critic in all facets. The internship foresees, in fact, an active commitment both during the preparation stage, with the possibility of working in close contact with the curators, and during the opening period of the exhibition, managing the guided tours, the reception of visitors and, last but not least , all the work related to the promotion of the exhibition, learning to manage the various online communication channels, from the blog to the main social networks.
Per offrirti un'esperienza di navigazione ottimizzata, centroluigidisarro.it utilizza cookie di sessione. Chiudendo questo banner o scorrendo questa pagina acconsenti il loro impiego. chiudiInfo