Alessandra Baldoni, Atlas

Dem zwischen religiöser und mathematischer Weltanschauung schwankenden künstlerischen Menschen kommt nun das Gedächtnis sowohl der Kollektivpersönlichkeit wie des Individuums in einer ganz eigentümlichen Weise zur Hilfe: nicht ohne weiteres Denkraum schaffend, wohl aber an den Grenzpolen des psychischen Verhaltens die Tendenz zur ruhigen Schau oder orgiastischen Hingabe verstärkend.

Both the collective and the subjective memory come to the aid, in a very peculiar way, to the man-artist who oscillates between religious conception and mathematical perceptions of the world. This does not only create space for thought, but in fact strengthens the two pole-limits of the psychic attitude: quiet contemplation and orgiastic abandonment.

The Atlas project by Alessandra Baldoni finds inspiration in the writings of Aby Warburg. Einleitung to the Bilderatlas Mnemosyne. To understand this complex conceptual work, it is necessary to retrace the Warburgrian thought through a series of fundamental dissertations.

Warburg’s research inaugurated the study of iconology through his meticulous attention to documents and materials that generally would not fall under the study of art history and his method of study goes well beyond the traditional boundaries between disciplines. By working against the purely aesthetic interpretation of the artistic work, Warburg opened up the scope to a completely new field of research and study.

The breadth of Warburg’s spectrum of interests is based on the “good neighbour rule” which requires thematic and conceptual affinity between the texts. His Library, which is now in London at the Warburg Institute, is a clear example of his elaborated studies and the Atlas of images entitled to memory “Mnemosyne” although unfinished due to his death, is nevertheless, his most original legacy, representing his rich life-research. 

In Mnemosyne Warburg interrogates the Western tradition on the permanence of forms of art from the Ancient Italian and Northern European Renaissance by investigating them, discovering hidden reoccurring mechanisms and by questioning arguments left unsolved.

According to Warburg, the thought is configured as a frequency which ranges between the fantasy world and the rational world, between the religious perspective and the mathematical perspective. Within the artistic creation, the awareness of this frequency is enhanced by memory, both social and individual. However, memory does not act or intervene as a stabilising element, an anchor, of traditional heritage but instead increases the distance between the two poles and therefore between the more passionate and religious impulses of the artist with its rational perception and the structure of reality that science imposes to us as rational thinking. Within this context, the artistic act is placed halfway between contemplation and action. It grasps empirical aspects of reality within a unique and precise form of expression but it also abandons itself completely to it in an adulatory manner: the phases of this polar process were for Warburg a privileged object of study, becoming a “psychological history through images”. 

At the heart of this process of study there is therefore a de-demonisation of the artistic gestures and the ranges of human emotions in all their dynamism, which can be retraced and outlined in a “diagnosis of the Western man”. This theme manifests particularly in the exhilarating but risky experience of the intellectual man of the Renaissance period, which, having emerged from the cultural climate of the Middle Ages, takes appropriation of the “forbidden” and the “impious” ways of art representation, inspired by the figurative heritage of the pagan world.

Initially, Mnemosyne, is conceived simply as an inventory of images, an instrument that helps in understanding the formation of style and depictions from the Renaissance period through the use of ancient forms. In reality, it is a pioneering work, based on a comparative method that evaluates the permanence of the expressive value of images not only from a historical-artistic point of view but also from a socio-psychological perspective. By focusing on “a few main types of artists” and by investigating the assumptions and consequences of their artistic work, Mnemosyne configures a much more complex structure of meaning, becoming a fundamental piece of writing for the historical memory of the Western world and its cultural future.

The fundamental way of reading the Mnemosyne module tables is by adopting the concept of Pathosformel, which is the identification within the image of a content or expression from a superior unit, and is therefore of such expressive importance that it goes beyond any stylistic modification through time. With the help of a linguistic analogy this concept can be defined as the “gesture to the superlative degree”, finding within that content or form of expression its exemplary representation.

The result of this process is a strong emotional intensity that becomes an engram: an experience that is engraved within the cultural memory, becoming part of a hereditary heritage. This experience does not limit itself to the enjoyable aesthetic appreciation of an expressive sign but, quite oppositely, it must be investigated more in depth, with the perspective of a  “biologist” or “entomologist”, such as in the chrysalis-butterfly metaphor. 

The variation of meaning is fundamental for Warburg, and finds historical reoccurrence with the preservation of ancient monuments such as in the case of the Trajan reliefs of the Arch of Constantine, which, thanks to a revival of the “imperial pathos within Christian piety”, avoided being destructed: the antithesis and the continuity between the pagan and Christian world is another core theme of Mnemosyne.

In this regards, the return of ancient forms of expression put forward by Renaissance artists was not only the result of historical awareness or stylistic empathy, but also an act of deep intellectualism.

The acquisition of a new perspective on the ancient was a real conquest for the Renaissance artist and with this process the pagan world underwent two fundamental “unmasking” before being seen in its “olympic” clarity: the first against the monstrous creatures that survived in the Eastern Hellenistic astrology, the second against ancient figures dressed in contemporary French costumes. Although these “masks” were anti-classical expressions, they constituted two legitimate and scrupulous vehicles for the transmission of ancient inheritance, and were now perceived as unacceptable camouflages: another fundamental theme of Mnemosyne is the underlining of the stages of stratification on original ancient forms of expression.

In Mnemosyne the Eastern, Northern and Italian conceptions of the ancient are considered for the first time in ‘unison’ with the formation of the Renaissance style. This last, despite having an obvious predominance of the Roman style, is the result of an exchange of expressive values coming from North and South due to international migration that needs to be studied from both its intensive and extensive point of view.

With this introduction we can now enter Alessandra Baldoni’s Atlas where the role of the artist goes beyond the scope of creation to become a sort of demiurge, an organiser and a custodian of memory. Inspired by the fundamental role of poets in the transmission of myths, Alessandra elevates the role of photography to be the anchor of memory, time and places. 

With its provocative allusion to the conceptual poetics of non-places, Alessandra Baldoni’s research is devoted to the conquest of an existential dimension where time, in its relationship with identity through its systematic recourse of the memory, is the protagonist. 

The choice of Alessandra Baldoni to cut and mend moments into a reasoned alliteration scheme is justified by the axiom: “Cutting is thinking and seeing.”  The cut therefore reorganises and semantically links images and emotions, similarly to knitting. The camera shot therefore marks and gives life to a new reality which is completely conceptual and iconic. In Atlas, the cutting transforms non-places and generates a window, opening infinite spaces. Often the process starts with memories within the creative act of the artist and the development is the construction of new settings expressed through a subjective and universal language.

Alessandra’s association of elements and settings therefore interpret a world that goes beyond the poetic vision of the artist and beyond the rigidity of the physical world, recreating an analytical representation of reality fused with whirlwinds of senses and impressions in a conceptual scheme of photography that becomes a model of study.

In this way Alessandra Baldoni manages to photograph concepts. The shots of the Atlas project are the continuous attempt to anchor a thought, correspondingly to the Lacanian mirror stage. The idea of stopping for a moment to preserve the image from its dissolution does not belong to Alessandra’s intent on identifying the remote balance between artistic creation and image. Photographing these concepts is for Alessandra a rhetorical question: “Can images communicate effectively a philosophical or a poetic thought?”. The answer is enclosed in her works, within the representation of a precarious reality that turns its meaning to an inner world. A world conceived beyond its mere appearance.

Like a theatre within the theatre of existence, art and image become a thought that develops into language and eventually into word. And from the strength of the verb, new horizons are born where photography tightens a series of links between the concepts of existence and expression, modifying the points of interference between the physical world and the subjective experience. Atlas is therefore built as a process of self-reflective intertextuality and the images go through contemporary and ancient poetics. Thusly, the gesture of photographing becomes object and subject, finding strength in its own performative act, sometimes anticipating and sometimes capturing later the events of the scene. Yet, always capturing, by choice or by chance, an exemplary and recognisable moment, seizing it along with the analytical eye of the artist.

Atlas is the construction of an invisible language where nothing is delivered by chance and nothing is improvisation or a casual inspiration. Everything is part of a designed construction in which the innumerable shades of color tones mark the moment of representation. In this way, Atlas presents itself as a project of images where poetry and philosophy dialogue in a discontinuous and personal language. In this project, Baldoni presents photography like an idea that always belongs to the concept of time. Not only with the past but above all with the concept that time stretches and recomposes itself. Poised between the dead-time of the past and the time in which the work is born, Alessandra dialogues with a few distinguishable concepts of time: the subjective, the mourning, the memory and the fruition.

In this interrelation of time concepts, photography becomes poetry and semantics.

Baudelaire said: “Tirer l’eternel du transitire”, and this statement finds full justification in Atlas, a work punctuated by the tension in between being both documentation and poetry. A tension that is also combined with an analytical attention based on profound poetry and reflection on time, life, death, transit, memory, appearance and absence, redefining that added value that Walter Benjamin called the optical unconscious.

Order, rigor and the analysis of these works are the confirmation that the artist-process, when constructing Atlas, does not recall the theme of memory to simply its suggestions. Contrarily, it deeply questions the dimensions of time with experience, work and everyday life research, starting from the analysis of nature and resulting with the structuring of a language similarly to the French of Boltanski.

Exquisitely and purposely conceptual, Alessandra Baldoni therefore experiments with extreme margins and structures, going well beyond the simple image to the point of venturing a semantic deconstruction of the photographic language, recomposing it through combinations inspired by Warburg. Her process is therefore anything but random, according to the logic of resemblance and representation which determines a discontinuity between things and perceptive habits, and nearly touches the thin line that separates the conscious from the subconscious, the idea from the image.

With Atlas photography surpasses itself and takes on the role of art, of conceptual intervention on reality. External disturbances, exhortations and/or personal suggestions are subjected to a cognitive process of reason. The viewer, in front of the absolute need to look inside her work, is confronted with the challenge of time and the sense of eternity, going much beyond the conscious time of the present and of contemporary stories. In this process her photographs do not have just simple meaning or value. Rather, they detect an inner and subjective condition typical of our time, both authentic and tangible, with respect to the mystifying use of the image of the world today, which is credited as certain in the social media and instagrammers era.

The poetry of Alessandra’s images is photography that is both a tool for the symbolic reconstruction of time and an immediate form of representation, according to the logic of an ambiguous Duchampian ready-made. We are therefore intrigued by various interpretative options and yet, we cannot be sure which one is the right one. Ambivalence and plurality make her process contemporary.

Atlas is a work on time and of testimony of existence through scenographic moments of life, transforming the value intrinsic within the poetic expression into a recurrent and evocative element of her series. Alessandra manages to coincide, in alternation between past and present, in which the future is conceptually revealed through its association with memory, both the presence and the absence within reality.

Within Atlas, metaphors of a fragmentary and fragile contemporaneity are recomposed, yet contemporaneity is not immune to the expectation and the search for an ideal beauty.

Alessandra Baldoni takes us, through her eyes, into our own and frightfully beautiful world.

Fabio Zonta exhibition Antonio Canova at Canova Museum in Possagno

We are very happy to announce the opening of ‘Antonio Canova’ by Fabio Zonta’ at the Gypsotheca e Museo Antonio Canova in Possagno on the 11th of November curated by Mario Guderzo.

The Canova Series photographs, after being presented at the Consulate General of Italy in New York, are now hosted in Possagno next to an exhibition entirely dedicated to Canova’s George Washington's sculpture, also previously on show in New York at the Frick Collection.  

The two traveling exhibitions are in fact a collaboration to promote Italy’s art, within Italy and in America, by offering a great journey of rediscovery and appreciation of the famous Italian sculptor.

“Canova | George Washington” is the first exhibition entirely dedicated to the only statue performed by Canova for America and retraces the history of this lost masterpiece. Organized by Xavier F. Salomon, head curator of the Frick Collection, in collaboration with Mario Guderzo, director of the Gypsotheca and Antonio Canova Museum, the Venice International Foundation and the Friends of Venice Italy, the dual exhibition project, between Italy and America, shows for the first time the preparatory model in plaster in full size, four preparatory sketches and related drawings and engravings. Next to this, “Antonio Canova | Fabio Zonta” proposes the entire series dedicated to the works of Canova through the meticulous photographic eye of Fabio Zonta, whom regularly collaborates with the Gypsoteca e Museo Antonio Canova.

Running until the 28th of April, 2019, these series of exhibitions are of high historical and artistic importance and are part of a renewed-bond between the famous sculptor from Possagno and the United States.

The Opening is on the 11th of November at Gypsotheca e Museo Antonio Canova.

Via Canova, 74, 31054 Possagno TV, Italia


Luciano Romano takes part in the new project of Shirin Neshat

We would mark the collaboration of our artist Luciano Romano in the new project  of Shirin Neshat, in London.

Luciano Romano is part of the project shooting for Shirin Neshat’s last work. A simple and emotional portrait that captures the inner light of a young extraordinary woman. The National Portrait Gallery in London has unveiled a newly commissioned portrait of Malala Yousafzai. The portrait is the first in a series of two commissions given to Iranian-born artist and filmmaker, Shirin Neshat, who is renowned for her work exploring gender relation in Islamic culture. In October 2012, Malala was shot in the head in an attack by a Taliban gunman on her school bus. The attack was in retaliation to her writing about life during the Taliban occupation of Swat Valley, and the ban on girls’ education. In 2014, Malala became the youngest recipient of the Nobel Peace Prize.

Congratulation Luciano we are very proud of your shooting work.
We thank, support and share the great and hide-spirited work of  Shirin Neshat and Malala, brave women, in the defense of women rights.

Franco Fontana, Deep in Colors

 

SR Contemporary Art Gallery is pleased to announce the opening of the solo exhibition Franco Fontana Deep in Colors.

The exhibition curated by Sabrina Raffaghello will run from September 19th, 2018 to October 20th, 2018 with an opening reception Wednesday, September 19th from 6 pm to 8,30 pm.

This exhibition, running for the Berlin Art week 2018, sets out to mark the research in the Franco Fontana’s works.

Franco Fontana sets out from a conception of photography as a creative activity in which the relationship with nature or reality is accompanied by an intense poetic projection.

He made this clear in an interview some years ago: “I think photography is not a study of positive reality but a search for an ideal truth full of suggestion, mystery, and fantasy. To take a photograph is to possess, it is an act in which knowledge and profound possession are acquired. Photography should not reproduce the visible; it should make the invisible visible.”

These are the principles that he has followed in producing the very varied work that we now see in this exhibition at the SR Contemporary art in Berlin. It ranges from the studies of historical and architectural subjects that he made in the 1960s and ’70s, including the famous photo of Prague and pictures of Modena and Venice, to his explorations of rural landscape, interpreted with a new eye, which was very soon recognized as fundamental works of the photography of the time. His series on Basilicata, Apulia and the desert of Erfoud are possibly the most significant examples. Then there is a long sequence of city scenes in which he concentrates on recording signs and traces of humanity. Streets, shadows and road surfaces form a sequence in which Los Angeles, San Francisco, and New York are settings that Fontana explores with a new kind of attention. One might say there is an American light that illuminates all these records of the 1980s and ’90s. People and places with a strongly cinematic imprint come to life and go about their business in an interplay of light and shade. The Swimming Pool series of vintage print showed in the exhibition in the Tokyo Metropolitan Museum.

Colour plays a fundamental part in his startling Polaroid pictures, in his sequences of rural landscapes, in his photographs featuring the sea and the most recent pictures.

Fontana gives his work a poetic intensity that brings out the emotion and magic in every situation, transforming what he does into a search for the invisible, the unrepeatable moment that exists in every work of art. Franco Fontana is an Italian Master Photographer who succeed in making visible the invisible.

 

page3image1779872

 

Luzia Simon acquisition by Sanya Museum of Contemporary Art

 

 

 

 

 

 

 

 

We are delighted to announce that the Sanya Museum of Contemporary Art has acquired two works of our wonderful artist Luzia Simons.

Her work was previously on show for the exhibition “Between Exploration and Revelation” – Sino-Germany International Contemporary Art Exhibition – within the prestigious museum. Curated by Tereza de Arruda, the exhibitions has been a true success.

Luzia’s artwork truly originates from a deep and relentless search for techniques that recreate images faithful to her imagination and her expectations of beauty. Her unusual paths of experimenting with photographic methods and her use of unexpected tools have indeed led to beautiful solutions. Internationally recognized for her splendid flowers, we are very proud of Luzia and her work.

Sanya Museum of Contemporary Art
Address | Yihaitang, Haitang Bay, Sanya

Women, Shape and Soul

 

   SR Contemporary Art Gallery is pleased to announce the opening of the group exhibition Women Shape and Soul featuring four gallery artists: Vera Lehndorff & Holger Trülzch Franco Fontana, Luzia Simons, Barbara La Ragione

The Women Shape and Soul curated by Sabrina Raffaghello will run from July 7th, 2018 to September 4th , 2018 with an opening reception Saturday July 7th from 6 pm to 8,30 pm 

This special exhibition, running for the Berlin Fashion Week, sets out to put women in contemporary art and raises the fundamental question of how visual Art deals with Fashion. 

Full of glamour, theatricality, escapism, but also with innovation and issues confronting our time, the  exhibition present the archetype of women in fashion, design and in art.

“Femininity” is a social construction that has been defined and redefined by ideological discourses over time and from culture to culture. The artists present their own perspective on femininity, going beyond pre-established archetypes, challenging imposed generalizations, and emphasizing elements of feminine identity and empowerment rooted in both history and the female anatomy.

Within every woman, there is a queen who possesses the most idealized qualities of contemporary womanhood: strength, beauty, leadership, grace, authority and fear. The photography investigates how storytelling artists understands this duality better than and symbols capture the imagination of most.

Franco Fontana  

Looking at his images and at the sensitivity inherent in his work, we can speak of Zen photography. In fact, with his minimalist photographs, Fontana has touched the abstract world and the purity contained today in a few contemporary images. His Fashion photographies tell a story in which women are a sort of paradigma.  By removing all that was superfluous he managed to give added value to his landscapes. Yes, we talk about “his” landscapes as the photographer has succeeded, through his eyes, to create his own unique and unmistakable style. The contrasts given by light, the bright colors of southern Italy and the shadows in the right places, have given life to the essentiality of its landscapes. The camera and the photographer himself are an inseparable unit and thanks to this, Franco has managed to achieve perfection in his work. A perfection that the same landscape has helped to create. It is enough to read the photographer’s thought to reach the same dimension that led him to immortalise landscapes that speak of symmetry, sign and purity. Franco Fontana is an Italian Master Photographer who succeed in making visible the invisible.

Luzia Simons 

Themes of “absence and abundance, entropy and energy” run like a narrative thread through the otherwise disparate objects in the show. Women, for Luzia, become ‘Icons of Absence’ as her works play on both the concepts of presence and absence. Her particular expression and her photography language merges landscape and figurative elements into one evocative dialogue. This work contains a number of features characteristic of the art of Luzia Simons: Memories of early silent films with their typical, underdeveloped approach to the handling of light, with which only a segment of any given scene could be illuminated, and the dramatic contrasting of light and shadow to create the effect of bodies growing forth from shadow into the light. Luzia Simons makes deliberate use of a device reminiscent of the pin-hole camera, a photographic technique whose origins lie in the archeological realm of the early years of photography, purposefully exploiting its particular conceptual and aesthetic qualities. The “surrealistic” medium of photography already fragments reality par excellence. The pin-hole camera technique heightens the effect by focusing the view and the light on a single detail. Body parts but also plants and fruits are enveloped in Carravagesque darkness only to be brought dramatically to the fore by light. Luzia Simons establishes links in her photographs between the forms of plants and fruits and those of the human body. The ripe skin of the fruits stretches over its flesh – and such revealing, suggestive language is also characteristic of Luzia Simon’s deliberately fashioned analogies to the human body. Regardless of the object upon which it is fixed, this photographer’s gaze is always conditioned by the desire to take erotic possession of the world.

Barbara La Ragione

The artistic research of Barbara La Ragione starts with black and white analog photography adopted to compose a series of portrait which express the ‘hic et nunc’. The artist constructs truly complex ‘mise-en-scène’ in which every subject, or object, becomes an inanimate mask. Thus, the mask is a fundamental and recurrent element, that gives life to fetish bodies, which are brought to life through the photographic shot and the light’s alchemy created by the photographic process – the ultimate procedure within the whole creative process of the artist. Through photography, the subject obtains an identity that is clearly and perfectly represented through the mask establishing a game of interconnectedness between reality and fictitiousness, truthiness and manipulation, pureness and artificialness. Her works are open to the reader and the observer, underlining the ‘staging’ within a perfect and beautiful world and the life it holds. The eyes of her subjects, visible through the mask, are another important element of this fictional and real world, emphasizing a sense of memory that we can all relate to. As the artist explains: “The eyes are expression of the soul. They wonder in oblivion for those who observe them…photography is about eyes…it rests its look upon anything immobile. Unexperienced life presence, without tongues, fill the guise of the observer, telling us numerous things”.

Vera Lehndorff & Holger Trülzsch

The artist duo Vera Lehndorff & Holger Trülzsch created a rich and compact oeuvre in the ’70s and ’80s. Before they met, Lehndorff had a career as Veruschka, the celebrated supermodel of the ’60s, declared by photographer Richard Avedon to be “the most beautiful woman in the world,” while Trülzsch explored the territory of art, music, and politics as one of the leading figures of the student movement in Munich in the ’60s. The idea about body painting come about by casual experimenting. Initially they didn’t intend to paint the body. They bought dresses, make up and other things for a project intended at imitation of famous movie icons. However painting the dresses on the skin seemed like stronger way of mixing media. The central point of the project was the fact that Vera was an icon herself. Her being an icon and understanding how the media functions in creating personalities. Thus, the icon Veruschka is always shining through the imitated figures. This turned out to be something very strong, causing scandals in the ’70s. But the media structure of the capitalist society, can easily and smoothly reintegrate everything, even a strong social critique. Instead of being rejected it became a success.

“HORIZONS” FRANCO FONTANA’S LANDSCAPES EXHIBITED IN NIZZA.

SR CONTEMPORARY ART is proud to announce the upcoming exhibition of this magical artist at Musée de la Photographie Charles Nègre in Nice, which will open on the 31st of May. 

Franco Fontana’s most renowned works will be on display, for the entire summer, at Musée de la Photographie Charles Nègre in Nice.

Considered one of the most famous contemporary masters of art photography, Fontana started taking pictures in 1961. Inspired by the minimalist current and abstract expressionism that were spreading throughout the American art scenery during this time, he quickly became a pioneer in photography, exhibiting his first show in Vienna in 1963.

Although he experimented various areas of art practices, such as black and white photography, documentary, painting and societal overtones, his “photographic line” project, which portrays landscapes of his homeland, represent his most well-known and uniquely recognizable work.

The incredible composition of the lines, the careful selection of colours and the skilful geometric construction of the works, make his style distinguishable. Mountains and coasts, seas and lakes, hills and fields appear in multi-coloured lines, sometimes in contrast and occasionally in succession, yet always, in harmonic unity.

Splendid extraction and isolation of the elements, the brightness of the tones and the portrayal of simple spaces that surround us, are typical of Fontana’s photographic philosophy, which will be intrinsic within “Horizon”. The photographer captures the visible, building beautiful compositions of the world surrounding us.

Franco Fontana
Museum of photography Charles Nègre
June 1 – September 30, 2018. Opening May 31 at 7 p.m.
11: 00-18: 00 until June 22 and 10: 00 to 18: 00 from June 23. Closed Monday.

Fabio Zonta exhibition “Antonio Canova” in New York

The photographic exhibition "Antonio Canova" by Fabio Zonta, which will be inaugurated in the Consulate General of Italy on May 22, together with a display of tempera paintings entitled "Canova e la danza", is part of a larger project, which is the result of the collaborative effort between the Gypsoteca e Museo Antonio Canova in Possagno, Italy, and the renowned Frick Collection in New York. 

The upcoming Canova’s George Washington exhibition at the Frick Collection marks the 200 years since Canova sculpted the statue depicting the first President of the United States of America George Washington, which was commissioned by the North Carolina Senate, and was completed in 1818.The exhibit is of highly historical and artistic importance, and is an opportunity to renew the bond between the famous sculptor from Possagno and the United States. The full-length preparatory model of the nation’s first President, which was tragically destroyed when a fire swept through the North Carolina State House in 1831, will be on display at the Frick Collection, alongside some preparatory sketches, as well as related drawings and engravings. 

Within this framework, and in conjunction with other initiatives endorsed by the Ministry of Foreign Affairs and International Cooperation, and aimed at promoting Italy’s image abroad, the Consulate General of Italy and the Italian Cultural Institute in New York in accordance with the Italian Embassy in Washington, will open their doors to two previously unseen exhibits, and will join the Frick Collection in a journey of rediscovery and appreciation of the famous Italian artist and his personal bond with the United States, where he was greatly admired and held in high esteem at the beginning of the 19th century. 

The inauguration of the photographic exhibition will be held at the Italian Consulate on Tuesday, May 22, 2018 at 6.30 pm. 

The inauguration of “Canova e la danza” exhibition will be held at the adjacent Italian Cultural Institute on Tuesday, May 22, 2018 at 6.00 pm. 

WUNDERKAMMER DER NATURE

A special exhibition for the Gallery
Week End is running at SR Contemporary
Art in Berlin, sets out to put nature
in  contemporary art .

While displaying visual Art also raises the question of how art deals with nature.
Wunderkammer der Nature refers to works that express “the relationship between nature, environment and artists,” and serves both aesthetic and researches functions.

This exhibition features artists who have created their own interpretations of their experiences by working through their theories of nature and natural occurrences, while allowing nature to take a supporting role. From the com- plex relationship between man and na- ture, the exhibition investigates the era of globalisation and the use of new technologies in a presentation tackling and exploring themes such as ecology, memories and recycle. Nature reveals a new paradigm of art and its contemporary beauty.

This special exhibition for the Gallery Weekend that running at SR Contemporary Art in Berlin, sets out to put nature in contemporary art. While displaying visual Art also raises the question of how art deals with nature. Wunderkammer der Natur refers to works that express “the relationship between nature environment and artists,” and serves both aesthetic and researches functions. This exhibition features artists who have created their own interpretations of their experiences by working through their theories of nature and natural occurrences, while allowing nature to take a supporting role. From the complex relationship between man and nature, the exhibition investigates the era of globalization and the use of new technologies in a presentation tackling and exploring themes such as ecology, memories and recycle.

Luzia Simons
The work of Luzia Simons is located precisely at this interface between the obvious and the cultural code, naked reproduction and metaphor. Using modern scanning techniques, the artist produces images of flowers. In this way, her images not only come to include the ideal forms of blossoming beauty, but also faults, malfunctions and the start of irrevocable decay. Simons’ art, however, is not primarily concerned with the warning of vanitas – the reminder of the transience of all being in the old paintings -, but with the rather rambling tale of a cultural symbol. The tulip thus becomes a metaphor of mobility, globalisation and intercultural identity. Once the much sought-after flower was worth its weight in gold, and developed into a cultural symbol in both the Occident and Orient.

Fabio Zonta
Zonta represents his subjects with the scientific precision of the orthogonal projection, alternating sequences of zenith looks with others of lateral views, which predispose the natural elements to the rigorous analysis by a look that questions the processes of nature. On the other hand, Zonta is not limited to the realistic reproduction of this crucial moment; on the contrary, as soon as he succeeds in taking possession of it, he immediately subjects it to a process of abstraction and de-realization, with the whiteness of the white background or with the black that seems to impose an unattainable distance between the object taken in the moment and the other infinites moments of his natural life.

Franco Fontana
Franco Fontana looking at his images and at the sensitivity inherent in his work, we can speak of Zen photography. In fact, with his minimalist photographs, Fontana has touched the abstract world and the purity contained today in a few contemporary images. By removing all that was superfluous he managed to give added value to his landscapes. Yes, we talk about “his” landscapes as the photographer has succeeded, through his eyes, to create his own unique and unmistakable style. The contrasts given by light, the bright colours of southern Italy and the shadows in the right places, have given life to the essentiality of its landscapes. As one of the master Italian Photographer he succeeds to make visible the invisible.

Maura Banfo
The Nest – explains the artist – is the projection of the concept of home, the envelope that somehow each of us carries around, through our own memory. Places live in time, spaces are transformed and shaped with the experience of the moment. “The time of the places” wants to underline just how a place can change according to the fruition that is made of it. In this context, NIDO, the living image par excellence, tells its story and its memory. Intimacy and majesty are compared on tiptoe, in the silence of a place that invites almost to meditation, returning a dimensional relationship with what surrounds us. Nature lives around us and inside us.

Ivan Piano
Eros and Thanatos gathered in a logic of absences and non-places that take over and flow into a completely surprising image in the results; results that go well beyond the constructive logic and break the conventional aesthetic canons to propose a reality divided between abstract forms and fluctuating dimensions of a real parallel, where dream and madness seem to meet between the notes of songs borrowed from the Anglo-Saxon electronic music. This is not through the important component of authorizing a ghost, allows Ivan Piano to produce extremely refined, conceptual works, where Nature in the creative act in all its parts goes to merge into its ego, as if to bring back the myth of the mirror which reflects hidden and mysterious worlds.

Alessandra Baldoni
The approach of Alessandra Baldoni is the impossibility of photography to tell the truth.
Having abandoned all documentary aspirations, the photography by Alessandra Baldoni is a visual metaphor that, yes, establishes a strong link with the world’s forms, but with the single desire to allude to reality, perhaps evoke it and then transform it into a powerful, tormenting, sometimes dangerous appearance, recollection, memory.

Francesco Bocchini
There is a bit of madness in contemporary art that corresponds with the idea of art itself or on its borders. Transforming the material, the most banal, into something different, is a dream that often caressed the twentieth century. Bocchini makes an apparently simple and damn complicated operation to carry out. To do anything into something. It is a process that rarely succeeds, a little like alchemy or at least alchemy linked to art. The transmutation of the banalities in art, Duchamp master obviously from the height of its Pissoir, is not for everyone, precisely because many try it. Ferrous scrap that become poetic elementary mechanisms. Poor materials that are sublimated in sophisticated colours and existential allusions, always ironic. Leaves and metallic flowers of absolute beauty, which open unexpected blooms in silent walls and showcases.

Giancarlo Marcali
The artist’s expressive means are constantly changing: from man-sized paintings to sculptures, with a strong architectural value to visual poetry. The words of Giancarlo tell of a person in love with creating, the act of expressing himself and freely deciding, the material appropriates these flavours: and every time that the whims find and take a form, things have the ability to transform that that one perceives them, and perhaps here lies the essence of beauty. The artist questioning the nature in a conceptual vision, the sentence ‘Rose is a Rose’ closes inside its roots the force to hurt and free through art and poetry.

Guest Designers

Simona Rinciari
The wearable micro sculptures of Simona Rinciari are handmade with organic parts of the plant world: leaves, flowers, seeds, berries, they preserve colour, consistency and soul over time, embellished with gold, silver and brass. Simona Rinciari uses a procedure unique in the world to preserve the collected elements, patented by her by the name of petrification.
Together with the natural elements, the metals used are 21 or 24 carat gold, silver and brass.

Superfluoo
Superfluoo mainly works on the design and realization of unique pieces, especially lights sculptures and tables.
Nature as inspiration is at the hearth of all our projects.
Attention to sustainability, social cost and productive impact of environment are the roots of their projects.