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VAA-VIDEO ART AWARD ITALY SOUTH AFRICA AT CORTOLOVERE FESTIVAL. ACCADEMIA TADINI, LOVERE (BG) 2018 SEPTEMBER 27th, 8.30pm

September 23, 2018

Centro Luigi Di Sarro returns to cortoLovere with the finalists of the VAA-Video Art Award. The 10 finalist videos and the winners of the contest promoted by Centro Di Sarro, the Istituto Italiano di Cultura in Pretoria and cortoLovere will be screened at the international short film festival on Lake Iseo at the Tadini Academy. The event will be attended by the young videomaker winner of the South African section Kamyar Binesh Tarigh, which the Festival will host for the entire week in Lovere.

www.cortolovere.it

A contest dedicated to Video Art, born from the need to stimulate artistic production in the moving image to offer a limelight to experimentation in the audiovisual field and at the same time to develop opportunities for exchange and comparison on the theme of environmental sustainability, economic and socio-cultural. The Video Art Award was launched in the first edition between Italy and South Africa in 2018, and is aimed at artists who are not over 40 years old.

The competition, promoted by the Centre di documentazione della ricerca artistica contemporanea Luigi Di Sarro, with the contribution of cortoLovere and Istituto Italiano di Cultura in Pretoria, and the collaboration of Rainbow Media NPO, has rewarded the best video works produced by emerging artists on the territory of the involved countries. Among the applications, in the two sections South Africa and Italy, 10 finalists were selected by a jury of experts and the two winners were nominated by the VAA for a prize-trip to take part in the award ceremony in Cape Town (24 March 2018) and in Lovere (27 September 2018).

The Winners of the VAA are Luca Coclite, for Italy with the work Solitary Gardens and Kamyar Binesh Tarigh for South Africa with the work Shelter.

The Finalists are for Italy: Ilaria Biotti (8’20 “- On Time Traveling), Gilda Li Rosi (Migration), Caterina Pecchioli (Mani Nostre: Valeria), Michela Tobiolo (Enter this wound); for South Africa: Nonkululeko Chabalala (Nobody Wana See Us Togheter), Rory Emmet (Concerning Alchemy), Faith XLVII (Aqua Regalia), Thania Petersen (Salt).

HAVE A LOOK AT FULL SCREENINGS PROGRAM

 

THE BIG DRAW 2018. THE MOST GREAT WORLD DRAWING FESTIVAL ARRIVES IN ROME. OCTOBER 9th WORKSHOP “FROM VISION TO OBSERVATION” WITH SARA AND RIVKA SPIZZICHINO.

September 23, 2018

Centro Di Sarro hosts 24H Drawing Lab as part of the Big Draw Festival 2018. Since 2000, the annual international festival of design, which unites people under the motto “drawing is a universal language / design is a universal language”, It takes place regularly in more than 25 countries, involves more than 1000 events and has brought over 4 million people to the drawing board. Big Draw Festival takes place this year from 1 to 31 October worldwide, and from mid-September to mid-October for 31 days it arrives in Italy. Beneficial institution for arts education, The Big Draw is the founder and motor of the Festival and believes that “everyone can draw”. The Big Draw promotes design as a universal language capable of changing lives and bringing people of all ages, origins and religions from all over the world together.

Centro Di Sarro and 24H Drawing Lab are happy to present “From vision to observation. Solution to perceptual problems in the design. “On October 9th 2018 at 3pm, free meeting by reservation where the artist Sara Spizzichino and the photographer Rivka Spizzichino will help to recognize the most common pitfalls that do not allow to draw well, facing the perceptive difficulties that they meet in transferring their sign on the white sheet. Understanding and overcoming these difficulties helps to free oneself from one’s internal censor, allowing even non-artists to find their own creative way. The events in Italy are supported by Fabriano.

The workshop in Rome took place on 9th October in the Centro Di Sarro spaces in Via Paolo Emilio 28, from 3 to 6 pm. The Centro is also home to the Luigi Di Sarro Historical Archive which preserves the legacy of the artist’s works, including a fund of over 10 thousand drawings.

For more information about the Festival and the event “From vision to observation. Solutions to the perceptual problem in the design” please visit: https://thebigdraw.org/event/24H_Drawing_Lab__Dalla_vision_allosservation/8118

or watch the video (by Benedetto Sanfilippo):

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

September 23, 2018

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

September 13, 2018

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.

 

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

September 12, 2018

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

August 25, 2018

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

May 28, 2018

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”.

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)

May 27, 2018

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.

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

LUIGI DI SARRO.The live body of painting curated by Paola Ballesi 14th May – 1st June 2018 Rathaus Stuttgart

May 11, 2018

The celebration for the 40th anniversary of the death of Luigi Di Sarro continues. After the stage in South Africa, where the exhibition of Sculptures and Giantgraphies at the Edoardo Villa Museum of the University of Pretoria is still underway, Centro Di Sarro proposes a new exhibition of works, this time pictorial, at the Stuttgart Rathaus, in Germany. The international circuit takes place in partnership with the Istituti Italiani di Cultura. The exhibition titled LUIGI DI SARRO.The live body of painting is curated by Paola Ballesi, and realized with the collaboration of the Centro Studi Marche. On show 38 paintings realized by Di Sarro between the Sixties and Seventies with various techniques from gouache to acrylic. The opening will be on May 14th at 6.30pm.

GIUSEPPE RESCIGNO ATLANTE DELL’IMMAGINARIO curated by Massimo Bignardi April12th-May4th 2018

April 6, 2018

Opening April 12th 2018, 18 pm

The exhibition GIUSEPPE RESCIGNO Atlas of the imaginary, curated by Massimo Bignardi, proposes a selected selection of works created by the artist, taken from the cycles that highlight a sort of neonaturalism, charged with a playful figure.

“In current works – said Massimo Bignardi – striking the color, carefully studied and thought, to create an imaginative shot that subtracts the repeated forms of the branches, exhibited in their point of articulation (as bodies with raised arms that later take the form of totems and signals as it is for Vegetal symbolism, of 2013), from the universe of nature. It is a playful nature, dreamed, just like the color that intercepts it, leaving great margins to the imagination, even urging architectural similarities of an urban scenario. An order that over time will give space to paginations that call into question tactile perceptions that the artist manages by alternating molds of stylized leaves, made of wood or terracotta, with the imprints that they leave on paper, such as to activate, on a semiotic plane , a relationship between the graphic sign and the object-shape that determines it “.

“It is indicative, scrolling the biography of Rescigno – writes Ada Patrizia Fiorillo in the introductory essay to the recent monograph appeared for the types of Gutenberg Editions – to read that the beginnings of his artistic work should be placed at the beginning of the seventies. An affirmation that obviously induces to immediately enter the reader in contact with the phase of his work that he considers more assimilable to his own path. […] This is an aspect that connotes him in a relevant way, but with which attitudes emerge, that is a certain way of looking at things compared to which other points of view face to recognize his personality and his poetics. The broad spectrum of actions that has guided the path towards the production of images and situations historically placed, frame it, within the margins of a reconsideration of the visual […] for which today has focused more attention on the recovery of forms objects, signs taken, in an imaginative playful and disenchanted projection, from the world of nature “.

During the exhibition, Thursday April 19th at 6.30 pm, the book Arte contemporanea in Ferrara From the neo-avant-gardes to the post-modern outcomes, by Ada Patrizia Fiorillo (Mimesis, 2017) will be presented. Ferrara is a reality with which Rescigno will relate during the Seventies, with the participation in the exhibition “Extra Media. Current experiences of aesthetic communication”, curated by Enrico Crispolti in 1979, and with a performative intervention such as, Video cancellation (with Marano) made in the same year at the Multipurpose Hall of the Civic Gallery of Modern Art.