Marco Cingolani, Projections and Visions, curated by Paola Ballesi. 4 – 26 October 2019

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.

Return. Rome-Berlin The exchange project with Verein Berliner Künstler will exhibit 5 italian artists. Opening 13 September, 6pm.

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. Fabio Mariani, Priscilla Pallante, Rosario Vicidomini, Medina Zabo. Curated by Davide Silvioli. 2019, June 13th – July 3rd

Opening: 13 June, 5 pm

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.

Francesca Floris – The World of Las – curated by Flavio De Bernardinis – 2019 May 11th / June 8th – Opening May 11th from 6:00 pm to 20:30 pm

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).

RETURN Berlin/Rome 2019 April 4th – May 4th. Exchange project with VEREIN BERLINER KÜNSTLER under patronage of Istituto Italiano di Cultura in Berlin. Opening 4.4.2019, 6-8pm

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.

Meteoriti a Roma – Giorgio Russi – curated by Antonello Rubini – Opening March 9th at 6.00 pm.

“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.

K466 Allegro assai – ANTONIO AMBROSINO – curated by MASSIMO BIGNARDI – 2018, October 10th/November 16th

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.

SEGNI. Photographs, drawings and sculptures by Luigi Di Sarro, curated by Carlotta Sylos Calò. 11 October- 14 November 2018 MLAC – Museo Laboratorio di Arte Contemporanea, Rome

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.

www.museolaboratorioartecontemporanea.it

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.

 

DREAM – LUIGI TEODOSI 2018 September 13th – October 6th

The Centro Luigi Di Sarro, in collaboration with CesMa and the Associazione Amici di Palazzo Buonaccorsi, presents a Luigi Teodosi solo exhibition , curated by Paola Ballesi. On show works that summarize more than sixty years of artistic career always accompanied by great curiosity, enthusiasm and indomitable creativity.

Teodosi’s works – showed in important solo and group exhibitions both in Italy and abroad and included in Italian and foreign collections- mark the stages of a coherent aesthetic path, poised between abstraction and figuration, reality and fiction, past and present.

Luigi Teodosi was born in 1935 in Jesi where he lives and works. After attending the basic schools in his city, he enrolled at the Art School of Rome and among his teachers Franco Gentilini, Renato Guttuso, Marino Mazzacurati, Libero de Libero, while Mario Mafai and Francesco Sapori are his teachers at the Free School of Nude of via Ripetta. From 1955 to 1962, he completed his education thanks to scholarships first at the École Nationale Supérieure des Beaux-Arts in Paris and then in Zagreb, but also with long stays abroad. Among the many companions on the road with whom he shared the experience of the research we must remember the associations with Claudio Cintoli, Nino Ricci and Giuseppe Uncini. From the early 60s, reestablished in Jesi, he also entered the design world with his original creations and, as an experimenter without limits, continues his artistic activity to put in place the most disparate materials, but among all privileges the paper that has the the merit of retaining the memory and the secrets of the soul among its material textures, subsequently deployed in the large installations of the recent Gorilla series.

 

LUIGI DI SARRO.The living body of painting, curated by Paola Ballesi. June 7th-September 7th, 2018. Istituto Italiano di Cultura in Cologne

Following the stage on Stuttgart, the exhibition LUIGI DI SARRO.The living body of painting, curated by Paola Ballesi, opens in the spaces of the Istituto Italiano di Cultura in Cologne. The exhibition continues the celebrations of the 40th anniversary of the death of Luigi Di Sarro.

“Di Sarro’s creativity investigates various artistic and scientific fields, such as painting, philosophy, poetry, mathematics, technology, which involved the aspects of the process more than those related to representativeness. His approach is rather analytical. We note that this diversity of interests is the result of his great curiosity and desire to deepen the issues he was dealing with. In the cycle of the gouaches of 1964 he repeated the motif of the square, and in the pictures partially realized with the “dripping” process, in which he sprays the canvas with color, he shows two different procedures, two opposite principles: repetitiveness and expressiveness. In his oil and acrylic paintings instead he experiments and plays with the three-dimensionality on the surface. Today his works offer a richness and a stratified meaning, which in the course of time have lost nothing of their artistic potential”, writes Maria Mazza, Director of IIC Cologne in the Prologue of the catalogue which offers a curatorial note and a large critical anthology.

On show 38 painting realized by Di Sarro between the Sixties and the Seventies with various techniques from gouache to oil, acrylic and mixed media that “decline the phenomenology of the sign born from the gesture of the body” – as Paola Ballesi explains – “With the ‘spelling’ of the body, understood in its variations, ranging from the physical presence of the painter on the canvas through the unique and continuous sign, to the ‘figuration’ of the body felt as a map of energy, Di Sarro subtracts the creation at each formal stylization. Perhaps he would have preferred, as an artist-physician, to make the language of art become a living body that acts and reacts in contact with new and different stimuli each time”.