Friday, February 01, 2013

Bologna: Palazzo Bevilacqua Ariosti – Navid Azimi Sajadi – XX Crossing Over exhibition party.

Bologna: Palazzo Bevilacqua Ariosti – Navid Azimi Sajadi – XX Crossing Over exhibition party. The palazzo Bevilacqua Ariosti is one of Bologna's most remarkable buildings, built in the fifteenth century by jurist Niccolò Sanuti, it was the venue for the exhibition, XX Crossing Over by young Iranian artist Navid Azimi Sajadi.  The exhibition was curated by Eli Sassoli de’ Bianchi and Olivia Spatola and the works  were placed in the internal courtyard and in the grandiose rooms of the Renaissance palazzo.
Above: Around the well, which is topped by a lion, a site-specific eight point star brick structure (which represent Mother Earth) is placed in the internal courtyard.  The courtyard with its two loggias, one over the other, is ornately decorated with sculptures and terra cotta relief works.

photograph and copyright manfredi bellati

Palazzo Bevilacqua Ariosti – Navid Azimi Sajadi – XX Crossing Over exhibition party. The hall of Great Council in the Palazzo Bevilacqua Ariosti, venue for the XX Crossing Over exhibition party.


Host Ippolito Bevilacqua Ariosti.


XX Crossing Over - Navid Azimi Sajadi.   In the interior of the hall of Great Council, where the preparatory sessions of the Council of Trento was held, two giant XX’s which represent the female chromosome, were based on a wall of bricks (Mother Earth), in front of which on a five point Iranian carpet, a metaphor of Garden of Eden, a golden egg, majestic in its perfection, a “cosmic egg”, symbol of the creation of the universe and a message of hope for all peoples. The calligraphic marks on its surface formally refer to Persian writing. The image of barbed wire, in addition to that of tangle thoughts, are the implication of violence and blood that barbed wire evokes and persists even conceptually, for those who have eyes to see and whose heart continues to bleed.

XX Crossing Over - Navid Azimi Sajadi. Navid Azimi Sajadi processes the experiences of man (Iranian-born but Western by adoption) before that of an artist, in order to create an artistic language unique to himself, capable of finding a solution to the stylistically harmonious dichotomy: "East-West" through the creation of works and installations where references to Islamic tradition lay deep roots from which vines flourish to re-connect conceptually to a "West" indicated through the development of a set of symbols that look primarily to the Greek-Roman world as a model of aesthetic and a formal excellence to which to refer to.
Co-curator of the exhibition Eli Sassoli de’ Bianchi chats to Luisa Davoli.

photograph and copyright manfredi bellati
The drinks table was set up in the impressive hall of Great Council.

Artist Patrizia Medail and entrepreneur Achille Sassoli de’ Bianchi.

Nicoletta Madrigali Calzolari 

photograph and copyright manfredi bellati
One of the sitting rooms off the hall of Great Council.

Entrepreneur Stefano Pulsoni and Christie’s Paola Gradi.

XX Crossing Over - Navid Azimi Sajadi. A classical statue of Venus is surmounted by an eagle (symbol of the male). The eagle’s head is turned upside down and therefore its presence, first conceptually rather than stylistically, is fitting to the central figure of Venus, symbol at the same time of the strength, beauty and harmony of the female form.   A network of barbed wire encloses and restricts the installation and rises to note, denouncing the reality of violence and abuse on the female condition that Navid Azimi Sajadi perceived as crucial in the construction of all his thought and, therefore, in  the drawing of his artistic career.

The Pool NYC’s young Dealer Viola Romoli and author and curator Sofia Caputo.

Manager Paola Lanzarini and blogger Samina Seyed.

A corner of one of the rooms of the palazzo.

Textile and wallpaper designer Idarica Gazzoni.

XX Crossing Over - Navid Azimi Sajadi. On the main staircase the sculptural work depicting a lying Mary Magdalene, recently attributed to the Master Venetian sculpture Antonio Canova. It is admirably placed in a structure reminiscent to that of the so-called Islamic "muqarnas".

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