How to tell two distant places after having had an intense experience of them? What shapes can they take? What in them can be considered full? What, instead, empty? And how these entities so different can dialogue?
These are some of the questions that revolve around The folds of the void, the exhibition by Giulia Fumagalli (Carate Brianza – MI, 1990) with Aran Ndimurwanko (Trento, 1991) which take place at the Centro Luigi Di Sarro in Rome, from 19 November to 23 December 2022. Critical text by Alice Evangelisti.
It is a heterogeneous selection of works resulting from the double residency that the two artists experienced during the spring 2022, first in Chile and then in Panama. The result is thus their personal and artistic vision of these two places, geographically close, but completely at the antipodes. On the one hand, the Chilean landscape, visually open due to the immense desert expanse, which, although empty, is capable of triggering continuous connections. On the other hand, the Panamanian one, visually closed due to the presence of the impenetrable jungle, which fills the eyes and the mind, overpopulating them with images.
Two completely opposite experiences, which mutually activate sensations of fullness and of emptiness, opposing them but at the same time making them also become the consequence of the other. Thus, focusing on the extrinsic and intrinsic characteristics of these two places, Fumagalli and Ndimurwanko give their interpretation. If Fumagalli investigates two natural elements water and air – which materialize in light and poetic installations able to evoke their presence, Ndimurwanko shapes the earth, giving life to works full of daily rituals.
The exhibition is part of the project CL/PA – the travel by Giulia Fumagalli, created thanks to the support of the Italian Council (X edition, 2021), a program for the international promotion of Italian art of the General Directorate for Contemporary Creativity of the Ministry of Culture.
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.
Theme “Interconnections: Legacy and Identity”. A very topical subject for this 2nd edition of the competition that Centro Di Sarro dedicates to artists under 45 who work with video and new media. Call CLOSED – UNDER SELECTION.
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).
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.
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.
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.
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.
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.
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