Venice: Palazzo Fortuny – Futuruins

"Going through the walls of the fallen city and sitting there, we had the ruins under our eyes. What then? We talked a lot about history [...]. Much was also spoken of that philosophy which deals with cultures and is therefore called morality; sometimes even art, its lovers and its rules ".
Francesco Petrarca, 1350-1366

Palazzo Fortuny

Futuruins

At Palazzo Fortuny, Futuruins, until March 24, is curated by Daniela Ferretti, Dimitri Ozerkow with Dario Dalla Lana, it is an exhibition dedicated to the aesthetic of ruins as crucial elements in the history of Western civilization. Over 250 works from the Fondazione Musei Civici di Venezia and the State Hermitage Museum of Saint Petersburg, as well as from other public and private collections, illustrates the multiple meanings attributed to ruins through the centuries: from the architectural and sculptural remains of the Greco-Roman, Egyptian, Assyrian-Babylonian and Syrian civilizations, to Contemporary Art that looks at the physical and moral ruins of today’s society. Ruins of its architecture, cities and suburbs, but also of men and ideas, as the result of time, negligence, degeneration, natural or political tragedies such as war and terrorism.

http://fortuny.visitmuve.it/en/mostre-en/mostre-in-corso-en/fortuny-futuruins/2018/04/17735/the-exhibition-15/

Thomas Hirschhorn  

Beyond Ruins - 2016 

Photograph courtesy Fondazione Musei Civici di Venezia

Ippolito Caffi

Atene - interno del Partenone - 1843

 

Anne and Patrick Poirier

Construction IV - Serie Domus Aurea - 1975-1978

“…built according to a fragmentary rhythm, which compares finds, artefacts, works and thoughts, from antiquity to the present day. Sorted by affinity or contrasts, they are splinters of history capable of suggesting more than one interpretative key. The unfolding of the story through images deals with an extremely vast and involving theme: the planning and construction of the future, through the awareness of its essential link with the past. An invitation for the visitors to reflect on, to discover, through countless possibilities, the traces necessary for the construction of a very personal visual journey.”
Daniela Ferretti

Okunevskaya culture
Slab with human figure that holds two spears

First half of 2^nd millennium B.C.

   

Giorgio De Chirico

Gli Archeologi – 1961

Paola De Pietri

Untitled – Series - Questa Pianura – 2017

Photograph courtesy Fondazione Musei Civici di Venezia

Mariano Fortuny y Madrazo

Pompei - s.d. 

Mariano Fortuny y Madrazo

Travel Album – Rome and Greece – 1936

Photograph courtesy Fondazione Musei Civici di Venezia

Lynn Davis

Tetrapylon - Palmira, Syria - 1995-1997 

 

Dimitri Prigov – Pietra – 2000

Civilta Azteca Messico – statua di Dea Chalchiuhtlicue – XV secolo

Cultura Tagar – Maschera funebra dipinta – meta I secolo d.C.

Mariano Fortuny y Madrazo - Natura Morta – I gessi dell’atelier – 1940

 

 Steve McCurry

Wreckage on September 11 – NY – USA – 2001

Philip Galle (Da Maarten Van Heemskerck)

Il crollo delle Torre di Babele – 1569

“Every civilization learns what it needs.

Ours is an accelerated time, devoid of space for contemplation; the alternation of production / consumption cycles, crisis / rebirth is increasingly frenetic. Our age, strongly characterized by the use of increasingly sophisticated technologies, has multiplied the production of images, which quickly propagate and consume themselves, generating a magmatic bottleneck that is stratified in an infinite digital archive.”

Daniela Ferretti

Wolfgang Laib

House – 2016

 

Anselm Keifer

Am Anfang – 2003

Mirco Marchelli

Aria Rovente – 2014

 

Armando Pizzinato

Costruzione – 1961-1962

Kay Fingerle

Shacks - 2017

“Every truth is curved. Time itself is a circle.”

Friedrich Nietzsche - 1883-1885

Ugo Carmeni - Ombre #09 – 2010

Lawrence Carroll – Untitled – 2013

Claudio Parmiggiani – Senza Titolo – 2008

Mirco Marchelli – Bella Cera – 2018

 

Filippo De Pisi – Grande Paesaggio – 1948

Ludovica Carbotta – Plenum – 2015

 Mimmo Rotella – Not in Venice – 1959

Jannis Kounellis – Untitled – 1969

Jean Dubuffet – Topographie – Gaillard Novembre – 1958

  Photograph courtesy Fondazione Musei Civici di Venezia

Giovanni Battista Piranesi

Antichità Romane IV (Veduta di una parte de’ fondamenti del Teatro di Marcello)

1756-1784 

Photograph courtesy Fondazione Musei Civici di Venezia

Manifattura di Urbino

Fruttiera con storia di Deucalione e Pirra

Seconda metà XVI sec.

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Follina: Studio Visit - Denis Riva – Deriva

    

Deriva

Studio Visit - Denis Riva

In the quiet village of Follina, north west of Venice, in a disused part of the two centuries old Lanificio Paoletti wool mill, the artist Denis Riva, better known as Deriva - drift – has his studio.  Deriva is native of Ganzamonio, a land of dark etymology, comprised in the triangle Bologna, Modena and Ferrara, he  is an illustrator, a painter, a collector, an installation designer, he experiments and is also a non-actor, who does not attend awards.  He is rarely seen without his two dogs Lui and Hugo. In a series of small rooms of the former administrative offices and in the gigantic loft spaces of the former stock rooms of the mill spreads his studio. And, though he didn't graduate from any art school, he is pressed by the terrible weight of the art that he carries around with him daily. He did not take any Master degrees, but often uses the word Mazter.   He is not a university professor either. Notwithstanding the large output of works during the last year, he thinks he is just at the start of his own research - but – he also understands he could also be at the end of it.   

http://www.denisriva.com/home

 

 Il Laboratorio

Work in Progress – Horses in the Sky

In his works Denis Riva depicts a dream and restless nature; he uses mix media obtained by mixing painting and collage, then he proceeds in a constant and almost endless layering of materials. For his strictly pictorial works Deriva prefers a fluid, see-through, almost imperceptible matter that he calls “sourdough”, which is basically the waste-product of brush cleaning, kept and constantly nurtured for years until it becomes a sort of pulp. His paintings are currently on show in his one-man exhibition Memorandum, until January 31, at the Gilda Contemporary Art in Milan which is curated by Cristina Gilda Artese and Alessandra Redaelli

http://www.gilda.gallery/portfolio-item/memorandum-di-denis-riva/?lang=en

 

Il Laboratorio

For mix media the artist likes to hoard and overlap old papers collected from flea markets or recovered from old archives, paper fragments, pages from last-century magazines. His work becomes enriched by lived stories, people from the past, while on the surface archetypal scenes come to life, where man and nature search the sense of their coexistence.

Domenica Mattina

 “The environment in which I live immersed in, finds its way out of the papers that I bend, ruin and carry around,

as if they were maps of my relocation, useful to get lost in.

The landscape that surrounds me and that seems to always be the same, while constantly changing, is fluid.”

Deriva

L’archivio

Cambiamenti Improvisi

 

L’archivio

A corner of the archive room

Deriva Family Banner

 

Works on Paper

His works depict flocks of birds, but above all it is noticeable for the presence of the dog, man’s best friend and first link to Nature, but also a wolf, a pack of wolves, symbolic of a hostile nature, like a ruler that is sometimes fickle and at other times cruel, ready to get back at Mankind that it is unable to respect.  

 

La Stanza delle Stampe

Engravings and Drawings on Wood

 

La Stanza delle Stampe

Primordial Printing – Lino Cuts

 

“Derive builds worlds and watches them run wild in entropies, then he brings them back and fixes everything, picks up the pieces and fragments and reassembles them again;

 it doesn't mean that the reconstruction is always true or real,

quite the contrary, the usual order is always changing a bit, 

revealing surrealism and non-sense, 

shifts that bear astonishment, 

a pair of wings for those who don't have them, or clogs and claws and Long hair, tongues of flame, branches attached to feet and knees.... 

where the collages and assemblages are a vital practice of grafting 

de-contextualization which governs everything.

 A sort of careless God, or a tamer, or a conductor who moves in the chaos... alone by now ... 

A playing child who in the meantime 

relentlessly creates and destroys,

 by making up worlds, making them happen and tirelessly change. 

Derive is an explorer. 

He gives things a name and owns a jumpsuit.

He raises dead brushes and put pieces of dry color into cans.

Then he waits. I don't know if he's blindfolded, but certainly he's Listening.”

Massimiliano Fabbri

  

The Secret Room

Piacevoli Attese

 

The Secret Room

 

“Embers and coals are active during the day and sometimes even at night. Burn everything, throw even the last chair left, on which you were sitting on whilst watching your big fire.
To disappear, to become mud, to discover ticks, to be afraid of them, to be loved by nothing, to listen to molds, to touch the day, to use spring water, to open and close gates,

 to always be accompanied by dogs,

 to find dead salamanders, to suddenly feel in Japan in reeds near your home, to be continually surrounded by carcasses of trees, 

to smell the sounds of the wind, 

to be reborn every day,

to think it's the end,

to understand that you're always in the middle.
Personal interpretations and unpredictable changes of my life will continue until my certain death”.

Deriva

The Secret Room

Autoritratto con Faccia che Bruccia

Paper Landscapes

 

The Secret Room

Monoliti

 Work in Progress

A collaboration with the Lanificio Paoletti dal 1795 with leftover scraps of woolen fabric

http://www.lanificiopaoletti.it/en/

Hugo and Lui

 

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