Wednesday, December 06, 2017

Milan - Palazzo Fagnani: The Pool NYC - Constante Colore Exhibition



Palazzo Fagnani

The Pool NYC - Constante Colore

Our name is taken from the place of our first exhibition in an old swimming hall in New York City. But, our name has much wider implications. It implies a gathering – a pooling – of artists of diverse backgrounds from different cultures into an entity dedicated to the pursuit of art.”
Luigi Franchin and Viola Romoli


Luigi Franchin and Viola Romoli, founders in 2009, of The Pool NYC, previously a touring gallery, they celebrated the opening of their new permanent exhibition space in Milan at Palazzo Fagnani, with a group show focused on colour and entitled Colore Costante, until February 16.



Giuseppe Stampone - Tierra - 2017
  
Always Colour, from the dawn of art till today…

In Costante Colore (Constant: Colour) the works on display are an ode to colour, the pictorial substance that is declined according to the expression of each artist.  We focus on the way of using the colour in order to highlight the importance and the constancy in the world of art regardless the subject or the medium of the work on exhibit.


  Aldo Mondino - Pois Pois Poivrons - 1964

Andrea Salvatori


Colour on glass, on ceramics, crayon, neon light, in pen and wash drawings, in acrylics, in oil paintings and videos. Bright, soft, metallic, primary, artificial, natural, complementary colour.

 
Andrea Salvatori

Colour is life



Claudio Ciani Bassetti, Bepi and Dodo Franchin and Anna Ciani Bassetti

 
 Stefania Fersini -  Playboy n49 dic-gen 2014 pag. 38 - 2017

Colour is matter, scent, space

Colour arouses strong emotions such as tension, obsession, eroticism, action, joy, euphoria, rupture, movement, pain, desire, passion, surprise, chance, option, balance, entropy, physicality, transfiguration, proportion, coherence.


Bianca Sforni
James Case-Leal - Invisible light 3 - 2015

Black and white gain significance in Art History

 Colour becomes clarity with Impressionism, does not stop with DaDa, shines in Secessionism, triumphs with Pop-Art, degenerates with Expressionism, erupts with Abstractism, subsides with Minimalism, suffers in the Arte Povera, stabilizes with Transavanguardia. The artistic movements evolve, the centuries pass by, the colour keeps burning.

 
Patrick Jacobs - Living Room with Radiator - 2014

 
Angelo and Silvia Calmarini, German Frers


Francesco Mori

Colour evolves, changes, becomes warmer, becomes fluorescent, becomes neon light, becomes non-colour.


Audio installation
Matteo Vinti




Roberto and Wally Romoli


The Music
 Salzedo - Andes - Inglefield - McDonald
Ada Oggioni


 
Bertozzi and Casoni


Federico Corra and Marco Bonaldo

 
Vinicio Vianello

Olivier Lexa


Vases
L-R: Vinicio Vianello – Fulvio Bianconi – Vittorio Zecchin

 
Federica Toledo and Marzio Rusconi Clerici



Andrea Salvatori – Untitled - 2017

  
The Wine

Prosecco - Castello di Roncade

 Photo and copyright Manfredi Bellati



Federico Solmi - The Gentle Barbarians

Colour is exhaustion, impression, redundancy, exasperation, suffering, discomfort, madness, exaggeration, sensitivity, extenuation, tradition, appearance, substance, interiority, expression, mania, immediacy, reflection, spontaneity, gesture, rhythm, fire, warmth, cold, intolerance, magic, dream, recurrence, spasm, puff, sexuality, intransigence, zeal, alacrity, energy, assiduity, annoyance, beauty. 
 Colour 
is 
naturally creativity - genius














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Wednesday, November 29, 2017

Venice: V-A-C Foundation – The Electric Comma Exhibition

 
Photograph courtesy KADIST Collection and V-A-C Foundation

V-A-C Foundation

The Electric Comma - Exhibition
The Electric Comma is a group exhibition curated by Katerina Chuchalina and Pete Belkin, produced by V-A-C and developed in dialogue with KADIST, combining the V-A-C and KADIST collections, until March 31. Taking its title from Shannon Ebner’s installation The Electric Comma, the exhibition focuses on shifts in language, perception and understanding in the age of artificial intelligence. Through varied practices and from different backgrounds, participating artists deal with the negotiations between the conscious mind and today’s pervasive learning machine, imagining pathways of exchange between human and nonhuman, ranging from the poetic and intuitive to the algorithmical and analytical. A number of works in the exhibtion look at ways in which we communicate with information technologies and the ecological impact they may have, paralleling cryptographic and biological systems, revealing or imagining living infrastructures for artificial life.

Daria Martin - Soft Materials – 2004
16mm film looped
photograph courtesy Sadie Coles HQ, London and V-A-C Foundation
Shannon Ebner – Dear Reader – 2011
single channel video 3’

The construction and interpretation of language is key in understanding how our minds work, how we perceive and communicate with an increasingly connected and automated world. In the thirteen-line poem that forms the basis of Shannon Ebner’s series The Electric Comma, written language is transformed in abstract and more intensely visual form. By turning unfinished poetry into image, Ebner’s process exposes the nonlinear, often erratic way in which we experience language.
 
Dayanita Singh – File Room – 2011
gelatin silver prints
As the majority of our collective histories, memories and imaginations are being digitized, the effects of this on the human condition and on our planet as a whole remain underestimated. Encountering Dayanita Singh’s File Room is like glimpsing a frozen, forgotten world of paper. An archive of archives, this series of photographs depicts seemingly infinite stacks of records and memories stored within India. An elegy to the disappearing paper trail, File Room is a stark reminder of today’s sea change in humanity’s relationship to memory. The way stories are told, records are kept and histories are constructed no longer follows the same trajectory as before.    
Above. Co-curators, Katerina Chuchalina and Pete Belkin talk with Francesco Manacorda, in the center, who will curate part two of The Electric Comma, which will take place at the Moscow Museum of Art in April 2018.

Bridget Riley – Stretch – 1964
emulsion on panel
Photograph courtesy the artist and V-A-C Foundation
Andrey Shental – Descent into the Fungal – 2016-2017
two channel video installation – mushrooms
Andrey Shental’s video installation Descent into the Fungal features fungal mycelium networks that enable connected plants to communicate in addition to transmitting nutrients and energy, looking at how certain life forms benefit from this network of connections while others fall prey to it. Today, a growing super-organism of algorithms and databases increasingly filters how we perceive, learn, communicate and remember. Sprawling around the globe like a fabric of mycelium, our current digital infrastructure bears more resemblance to living systems than outdated analogue technologies.
 
Alighiero Boetti – Due mani e una matita (Se resto sul lido…) – 1976
mixed media and collage on paper
Urban Fauna Lab – Misting Miner – 2016
ethereum mining rig with 4 graphics cards water cooling cycle, glass aquarium
Misting Miner, a vapor sculpture by Alexey Buldakov from the Russian collective Urban Fauna Lab, visualizes the invisible phenomenon of mining crypto currency. The excess heat produced by the computer as it performs this process is a latent and untapped source of energy that can be redirected and used in many ways.
 
Daniel Keller - Soft Staycation (Gaze Track Edit) - 2013
flexible Led curtain, video
   
Director of the V-A-C Foundation - Teresa Mavica








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