ALS OB. GRENZE hosts Historical Archive Luigi Di Sarro. Verona, Arsenale. 2020, Sept 9-14.

3rd Edition of Grenze – Photographic Arsenals International and contemporary photography in Verona. Vernissage 11 sept h.18 (with face masks in respect of anti-Covid19 rules). Grenze Festival will take place in numerous locations from 9th September to 2nd novembre 2020.

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The Palladio Design Institute, in collaboration with the Department of Culture of Municipality of Verona – International Center of Photography Scavi Scaligeri and sponsorship of IUSVE University, present the third edition of GrenzeFestival of contemporary and international photography.

At the head of the artistic direction and curation of the festival we have the professor and art critic Simone Azzoni, the photographer Francesca Marra, and the professor and photography scholar Arianna Novaga.

This year’s theme is “Als Ob“, meaning “as if”. In German language it implies something doubtful: perhaps it is like this, it is as if it were like that and therefore, sooner or later, it will be like that, otherwise it can’t be helped. “As if” is a self-fulfilling prophecy. A hypothesis is projected into reality and lived as if it were true. The “as if” is an assumption that, by the mere fact of having been pronounced, it produces an event: no matter if it is a realistic thing or not. “Als Ob” opens scenarios towards possible realities, measuring and altering the distance between what is seen and the observer.

There are seven exhibition locations that will host the photographers of the 2020 edition:

– MilitaryArsenal
– Spazio Arte Pisanello
– Civic Library

– Laboratorio Theater

– ShyGallery33

– Isolo17 Gallery

– Museum of Natural Sciences


In addition, the photographers of the Off section will be hosted at :

– Vintage bus ATM – In bus
– Library Pagina12
– Bar Sipario

The program of this year’s edition will be packed with events in the city and outside the walls.

From September 9th to the 14th, at the former Military Arsenal (main venue of the festival), the Pad 20/1 will host :

Archivio Luigi di Sarro (L.Di Sarro Experimental Photography from the 70’s), Jacob Balzani Lööv (Armenia Azerbaijan Sports), Silvio Canini (What are you looking for, the sea?), Gianluca Camporesi (Visions of Hyperbody), Daniel W. Coburn (The Hereditary Estate), Enrico FedrigoliBrian McCarty (War-Toys), Rowshanbakht Hossein & Hassan (The Wall Collection), Stefano Mirabella (DOM) and Alessandro Secondin (The second number)

Also in the Arsenal, with the contribution of the Scavi Scaligeri International Center of Photography, we will be exhibiting a selection of photographs (from the Scavi Scaligeri archive) by Franco Fontana, Luigi Ghirri, Greg Gorman, Michael Kenna, Daniel Lee, Giuseppe Pino, Ferdinando Scianna, Tazio Secchiaroli, Enzo Sellerio, Oliviero Toscani and Jerry Uelsmann.

Inside the Arsenal, for the entire duration of the festival, a space dedicated to independent photographic publishing will also be set up.

From September 10th to 21st, at the Spazio Arte Pisanello will be hosted the exhibition of Mike Crawford Obsolete and Discontinued, a project based on the idea of, giving new life to analogue photography, considered by many to be obsolete. Thanks to the recovery and recycling of old materials that have been out of production for a long time and destined for pulping, the author photography is saved by the intervention of the English printer, involved in the field of ecology and sustainability. The exhibition was exhibited in Barcelona, Cologne, London, Ljubljana and Naples.

A vintage bus of the Inbusclub Association, parked on the Arsenal square during the festival, will host the Off photographers selected through an international call.

At the Civic Library, from October 5th to 12th, will be also possible to visit the photographic exhibition of Kevin Horan, which portrays goats and sheep in the studio.

The Dolomites Stories project by Alessandro Cristofoletti will be also exhibited from September 16th to 25th at ShyGallery33 in via XX Settembre.

From October 16th to 2nd November, at the Isolo17 Gallery (in via XX Settembre), will be exhibited “Cuando el recuerdo se convierte en polvo” by Cuban Ricardo Miguel Hernandez and “Interpose” by Eolo Perfido.

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There will be also numerous side events in various locations around the city and outside the walls:

The 8th of October at 4.00 pm, at the Museum of Natural Sciencesa talk will be held entitled: I spoke to a goat. The poetry of everyday life through photos of animals and plants. The speakers are the critic and journalist of the Republic Michele Smargiassi, the publisher Valentina De Pasca and the writer Giulia Mirandola.

The 15th of September at 9.00 pm, the electronic musician Vincenzo Scorza will hold an audio-video performance entitled “Island – liveset for inaccurate sounds and errant photons” at the Laboratorio Theater. The artistic intervention is in collaboration with the perAspera festival.

On September 12, at the former military Arsenal at 2.30 pm, the lawyer Toti Bellastella, will hold a conference entitled “Photography and copyright”.

In this third edition, Grenze will still maintain its identity linked to training and education. On Saturday September 12th, the photographer Yvonne De Rosa of “Magazzini fotografici di Napoli”, will be available throughout the day for free Portfolio Readings that will be held in the main office.

Two Workshops included in the program of the festival: the one with Eolo Perfido by the Association NESSUNO[press] and the one with Valeria Pierini.

Furthermore, Grenze is also out of town. This year the Festival has partnered with different events in Emilia Romagna and Trentino:

in Bologna, it partnered in the Art and The City Festival with Giorgia Chinellato’s The Flutter MtF / FtM project, created in 2018 on commission from the festival;

in Trento, it exhibited Andrea Roversi’s Dauðalogn at the Trentino Impact Hub. And again in Trento, at the Due Punti Bookstore will be exhibited Nostos by Fabio Moscatelli.

In the same bookstore in Trentino, a fanzine space will also be open for the duration of the exhibition (until the end of June).

Grenze is a non profit Festival but it is made possible by the important presence of some partner friends.

Supporters: Zanotto Foundation, Flos, Mail Boxes ETC, Cartongraph
Partner Galleries: Isolo17, Photographic Warehouses, Luigi di Sarro Contemporary

Artistic Documentation Center

Technical sponsors: E-Graphic, Art Verona 2020, Teatro Scientifico, Museo Diocesano d’Arte, Associazione Are We Human, IC09 Valerio Catullo, Nessunopress, Incontridifotografia, Libreria Due Punti, 5Continents Edizioni, Trentino Impact Hub, e Domini Veneti

Photo prints are possible thanks to Samuele Mancini Canson.

The communication of the festival is entirely conceived and designed by the students of the IUSVE Graphic and Multimedia Communication Sciences and Techniques course, coordinated by the professor Stefano Torregrossa.

The exhibitions at the former Military Arsenal (Pavilion 20/01 and bus) and the Arte Pisanello space will be free entry and open during the festival days from 10.00 am to 7.00 pm.

For other locations, see the time of each individual office. Daily updated information on the festival can be found on

www.grenzearsenalifotografici.com www.facebook.com/grenzearsenalifotografici/

@grenze.arsenali.fotografici

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Luigi Di Sarro_Experimental Photography ’70_from Historical Archive L.Di Sarro

Luigi Di Sarro. Theater in the form of photography, curated by Lorenzo Mango. Italian Cultural Institute Belgrade for the 15th Contemporary Art Day Amaci-Maeci. 3-22 October 2019.

The Italian Cultural Institute of Belgrade presents Luigi Di Sarro. Theater in the form of photography, an exhibition dedicated to Luigi Di Sarro, an artist active in the Sixties and Seventies, a period that today is being brought to the attention of critics for the innovative thrusts brought to contemporary art. The exhibition, organized on the occasion of the forty-year anniversary of the artist’s death in collaboration with the Documentation Center of Contemporary Artistic Research Luigi Di Sarro, is curated by Prof. Lorenzo Mango of the University of Naples “L’Orientale” and will be opened at the Italian Cultural Institute of Belgrade on October 3rd 2019 at 6.30 pm, where it will remain on show until October 22nd.

IIC Belgrade participates with this event in the Day of the Contemporary, promoted by AMACI that in the last editions, with the collaboration started by the Mibac with Maeci, also involves Embassies, Consulates and Italian Cultural Institutes abroad in organizing events for the enhancement of contemporary Italian art and culture.

The inauguration will be preceded by the presentation of the book by Carla Cucchiarelli That night in Rome, a biography of the artist who died prematurely, only thirty-seven in 1979, killed for a fatal misunderstanding in the tense climate of the Seventies in Italy.

The international promotion project linked to the forty years from the death, is inspired by an intuition of the same Di Sarro – who in a pen drawing had indicated places on the terrestrial globe “Rome, New York, Tokyo and … who knows where” -, was promoted and realized in numerous locations abroad and after the Belgrade stop will continue for other exhibitions in the world.

https://iicbelgrado.esteri.it/iic_belgrado/it/gli_eventi/calendario/2019/10/mostra-luigi-di-sarro-teatro-in.html

Luigi Di Sarro’s artwork in the big exhibition at Gallery of Modern Art in Rome. January 24th – October 13th 2019

About 100 works, between paintings, sculptures, graphics and photography, some of which have never been exhibited before or not exhibited for a long time, coming from the contemporary art collections of Rome – GAM.Galleria d’Arte Moderna and MACRO – to document how the female universe has always been the object a favorite of artistic attention, from an object to admire, as an angel or a temptress, to a mysterious subject who wonders about his identity up to the new image born of the contestation of the Sixties.

It’s Women. Body and image between symbol and revolution, exhibition that the Gallery of Modern Art hosts from January 24 to October 13, 2019. The exhibition path is accompanied by documentary material, video installations, photographic and film documents taken from cinematographic works and newsreels, as well as from performance videos and artist films.

In the series of portraits on the second floor of the exhibition stands out, among others, the face of Elisa, the wife of Giacomo Balla, portrayed while he turns to look at something or someone behind him. The iconic value of the image is enclosed in the look that changes the amazement in seduction and curiosity transforming the portrait of the young woman from an object to admire to a mysterious subject.

The exhibition itinerary is accompanied by video installations, photographic and filmic documents taken from cinematographic works and newsreels from the Bologna Film Library and the Istituto Luce-Cinecittà Archive which have overseen their implementation.

In a room of the exhibition is shown the film, produced by the Istituto Luce, Bellissima (2004) by Giovanna Gagliardi which, through historical documents of the Luce Archive, film clips, popular songs and interviews tells the story of women’s journey in the twentieth century .

The last section of the exhibition, dedicated to the dynamics and relationships between the developments of contemporary art, women’s emancipation and feminist struggles, presents documentary material from ARCHIVIA – Women’s Libraries Documentation Centers – and testimonies of performance and film artist of some protagonists of that fundamental season coming from private collections, important museums and public institutions (Museum of Rome in Trastevere, Centro Sperimentale di Cinematografia – National Film Library, Galleria Civica of Modern Art Turin, MAMbo – Museum of Modern Art of Bologna, MART – Museum of Modern and Contemporary Art of Trento and Rovereto – Tullia Denza Archive).

GAM: Via Francesco Crispi, 24 – 00187 ROMA ITALY

web site: 
http://www.galleriaartemodernaroma.it

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.

 

CONTRIBUTI AL NOVECENTO. Luigi Di Sarro’s painting in a group show at Fondazione Stelline. Milan 2018 September 13th – October 14th

On the occasion of “Novecento Italiano”, a program of City of Milan, which documents the history of art from the historical avant-gardes to the contemporary, from September 13th to October 14th 2018 the Stelline Foundation presents the exhibition Contributi al Novecento. From Boccioni to Rotella to the contemporaries, curated by Bruno Corà and Tonino Sicoli. The aim is to make the 20th century collection of the MAON – Museum of the Nineteenth and Twentieth Century Art in Rende (CS) known to the general public. Thirty-five works exhibited in a chronological account from the early twentieth century to the twenty-first century, organized in two time sections.

 

LUIGI DI SARRO’S SELF-PORTRAITS ON SHOW AT ROCCA ROVERESCA IN SENIGALLIA – 2018 AUGUST 25th

FOR THE ANNUAL EXHIBITION OF THE PHOTOGRAPHIC SELF-TIMER AT THE ROCCA ROVERESCA: GIORGIO BONOMI CALLED 150 ITALIAN ARTISTS TO SENIGALLIA. THE EXHIBITION AT THE ROCCA ALSO RECOGNIZES THE HISTORY AND THE NEW ACQUISITIONS OF THE ITALIAN ARCHIVES OF THE PHOTOGRAPHIC SELF-PORTRAIT IN COLLABORATION WITH THE MUSINF. On show are works by Piergiorgio Branzi, Franco Fontana, Maria Mulas, Nino Migliori, Aldo Tagliaferro, Mario Giacomelli, of whom Musinf preserves and exhibits all over the world, many of the most famous works, Luigi Di Sarro, Stefania Beretta, Luigi Erba, Maurizio Gabbana, Antonio D’Agostino, Edoardo Romagnoli, Licinio Sacconi, Brigitte Tast, Miriam Colognesi, Marco Circhirillo, Donatella Spaziani, Francesca Della Toffola and many others.

Musinf has two works by Di Sarro in his collection.

 

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”.

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SEGNI disegni e fotografie di Luigi Di Sarro, curated by Carlotta Sylos Calò – Istituto Italiano di Cultura in Warsaw (2018, May 30th-June 28th) and Krakow (2018, July 6th-September 6th)

The celebrations on the occasion of the 40th anniversary of the death of Luigi Di Sarro go on with a series of events in Italy and abroad and the aim of spreading and deepening a multifaceted artistic production that is still considered highly topical today.

The tribute to Luigi Di Sarro, an artist active in the Sixties and Seventies – a period that is now being brought to the attention of the critics for the innovative pushes into contemporary art – wants to highlight his strong experimental vocation. An attitude and a need on the part of the artist who proceeded experimenting in all the fields and in all the expressive techniques with which he worked (besides photography, painting, drawing, sculpture and graphics). Italo Zannier writes in an essay on Di Sarro’s photographic research: […] but what is experimentation if not the result initiated by an idea? They are also the imprecise ‘photodynamics’ of Bragaglia as the ‘strobophotographies’, the ‘luminographies’, the ‘chronophotographies’, the “corporal” sequences of Luigi Di Sarro. These images are first of all results, not “trials”, as the “experiments” would be like. Experimentation is in fact implicit in doing and we do not know where it leads and when it will complete, if it will end; and woe, however, if we were to conclude, because every phase of it is already a result. […] Luigi Di Sarro – photographer, has realized his visual rite with an extraordinary expressive happiness, even lucid and dense but of irony, dramatic also, disturbing […]. (in I. Zannier, Luigi Di Sarro) Discovering Photography, 2001.)

In addition to the material kept in the Historical Archive dedicated to the artist, two substantial collections of photographic works are kept at the National Gallery of Modern Art and the National Institute for Graphics in Rome. Moreover, in 2009, some of the artist’s photographic works were acquired in the collection, and consequently also exhibited, in Paris by the Pompidou Center. The acquisition was curated by Quentin Bajac.

The ongoing archiving of the amount of work that the artist has left allows today to deepen and connect many issues, in the immediate not obvious. Numerous so far are the scholars who wrote about Di Sarro, who have studied a large part of his production, and many more are still under study. The occasion of the anniversary is to be a new and prolific opportunity to analyze a work that is increasingly revealed as a broad theorem argued in many directions, as if it were an encyclopedic atlas.

The exhibition SEGNI disegni e fotografie di Luigi Di Sarro curated by Carlotta Sylos Calò for the spaces of the Italian Institute of Culture in Warsaw and Krakow, in Poland,  is one of the many possible research about the links that Di Sarro studied and experimented. In the premises of IIC Warsaw are exposed some series of experimental photographs, a group of drawings and some etchings produced at the turn of the ’60s and’ 70s. 

Di Sarro’s research, writes the curator in the catalog published by the italian Institute of Culture: “became radicalized in terms of his experimental approach – dictated in part by his dual profession, given that Di Sarro is not only an artist but also a physician – and matured in terms of his irreverent use of materials (netting, bitumen, iron rods, brushes, pencils, photography) that could bring out particular evocations in the forms he created. In this context, the sign in particular took on an extraordinary power to generate forms and spaces, still (but now more consciously) without any real caesura between abstraction and figuration, thanks to the enduringly transversal nature of his approach to techniques”.

Following  the show and opening at IIC CRACOVIA (July 6th-September 6th 2018) pictures.

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Following the Opening at IIC Warsaw (30 May-28 June 2018) pictures.

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FACING THE CAMERA 50 years of Italian portraits curated by MARCO DELOGU Istituto Italiano di Cultura New York

The Experimental self-portraits by Luigi Di Sarro on show at the Istituto Italiano di Cultura in New York. The multiple show curated by Marco Delogu will open on March 28.

This exhibition chronicles fifty years of Italian history showcasing a series of portraits, by 25 photographers, in which stories, identities and heritage are narrated by the looks of the subjects, eyes staring directly at the camera, at the authors of the shots and, ultimately, at all of us. Curated by M. Delogu.

Italy is a country rich in history whose borders have been rather fluid throughout time. A melting pot of identities, the DNA of its inhabitants is most varied  (with a diversity up to thirty times greater than the European average).

This wealth is reflected and it is recognizable in the features of the Italians.

The exhibit begins with a group portrait taken at Portella della Ginestra by Fausto Giaccone twenty years after the horrible massacre, followed by Gianni Berengo Gardin’s pacifist nudes, Gastone Novelli’s portrait of Ugo Mulas (two great protagonists of the ’68), demonstrations and factories by Francesco Radino, the work on Bagheria by Ferdinando Scianna, Tano D’Amico’s work in ’77 (a very Italian experience, stemming from the ’68).
Then a photo by Emilio Tremolada (engaged alongside Franco Basaglia in the battle for the abolition of the asylums), the work of Lisetta Carmi on “transvestites “, and self-portraits by Luigi di Sarro.

In the eighties the tone becomes more intimate with photos of the “Australian from Tuscany” Stephen Roach, belonging to the famous series dedicated to his wife Fabrizia, and the portraits of the neighbors of George Tatge, in Umbria.

From the nineties the photographic portrait becomes more and more a collaboration of two: the photographer and his subject work together for the final image using symbols, backgrounds and landscapes. It is the case of Guido Guidi’s portraits, and the photos of cardinals, peasants and Romani people by Marco Delogu, where the main focus is on the gaze of the person, while the environment is just a background.

Moira Ricci is even part of her mother’s photographs, is at her side, producing very moving images. Nature is present in the portraits of Sabrina Ragucci and Alessandro Imbriaco; Jacopo Benassi increasingly eliminates every background until he gets to the white, while Antonio Biasiucci chooses the classic black for characters that come out of the shadows. The exstensive overview ends with two portraits by Paolo Ventura, where the photographic technique is blended with ancient pictorial practices.

On view until May 2nd 2018 Monday through Friday 10am to 5pm

LUIGI DI SARRO WORLD DISCLOSURE curated by Paola Ballesi EDOARDO VILLA MUSEUM UNIVERSITY OF PRETORIA SOUTH AFRICA

March 2 – May 18, 2018

Inaugurated in Pretoria, South Africa, the exhibition with which the international celebrations for 40 years after the death of Luigi Di Sarro starts. The event is promoted by the Istituto Italiano di Cultura in Pretoria with the collaboration of the UP ARTS Department of the University of Pretoria. The images of the opening and the academic lecture.

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