A crucial question to ask is what happens when artists’ struggles at the years of financial crisis are entering the museum walls. Art and economic crisis has become a fashionable topic these days, much appreciated by a number of museums, institutions and foundations that have rushed to incorporate it in their programme, as part of their “struggle showcase vitrine” that tends to also include feminism or anti-colonial perspectives.
Assembling bodies in performances, public engagement projects, radical manifestos readings and community projects have been incorporated in most high-profile art institutions. The museum, in its perceived status of existence as public good, has always been a place where radical ideas found a place to flourish without avoiding at the same time the risks of institutionalization. Nonetheless, it is important to take a closer look at the terms under which these ideas are being incorporated. Is the material artwork simply replaced by the physical presence of the artist without challenging the subject-object relationship, adding other elements to be capitalised?Continue reading “(IM)MATERIAL GESTURES”
For conceptual reasons related to the article’s issue, this paper it is proposed in two languages, Italian and English (Italian version below)
One of the crux of PIIGS An Alternative Geography of Curating project is certainly the debate; the tool of comparison between different point of view, different practices and curatorial education, different cultures and languages.
Through the on-line platform, TalkingPiigs, we attempt to create shared language and a code that, in the course of time, became the common field where to reflect on. During the meetings of November and through discussions, talks and projections this dialogue will carry on; it will materialize in a concrete form also through an exhibition that in a dialogical way will try to create a narrative between the different curatorial project presented by each of the five nations involved. Continue reading “Cesare Pietroiusti. The “economy” of language”
Fiona Marron is a visual artist based in Dublin, Ireland. She holds a BA in Fine Art from Dublin Institute of Technology and an MA in Visual Arts Practice from IADT Dun Laoghaire. Solo exhibitions include Co-location at RUA RED South Dublin Arts Centre, Ireland (2013), Last and First Men at The Joinery, Dublin, Ireland (2011), As Topic and Tool at The Joinery (2010) and For Who Knows What at FOUR, Dublin, Ireland (2009). Recent group exhibitions include In Free Circulation’ at Mother’s Tankstation, Dublin, Ingenious Showcase at The Drawing Project, Dun Laoghaire, We all live on the same sea at Sirius Arts Centre, Cobh, Co.Cork (2014). She has recently been awarded a residency as part the Digital Media Award at Firestation Artists’ Studios, Dublin and a production residency at Creative Spark, Dundalk, Co.Louth.
Sophie Behalf, Maeve Lynch, Steven Nestor, Rosie O’ Reilly and Benjamin Stafford had interviewed her.
Q1: Do you consider yourself an Irish practitioner of the arts? If so how does that manifest itself and is it difficult to be an Irish practitioner?
Yes – Identifying myself as an Irish practitioner of the arts, I acknowledge that my practice is based in Ireland and has a particular perspective because of this. While geographically on the periphery of Europe, and due of the island nature of the country I feel there are certain particularities to being an Irish artist. While still being exposed to European influences it is easier to be impartial to some trends. I don’t think being an artist in Ireland is necessarily difficult but I would be of the opinion that support for artists in other parts of Europe is more ingrained in society and perhaps eases certain pressures. Continue reading “Fiona Marron”
Serena Osti is a visual artist and performer actually based in Bolzano. She studied communication and product design at the Free University of Bolzano and graphic design and typography at Ecal — École Cantonale d’Art de Lausanne. After that she has been assisting several artists learning from their practice, in parallel to this, she started taking part in multidisciplinary activities, residencies, collective exhibitions and festivals, developing her own projects span from experimental graphic design, artistic research, political activism and social business. Continue reading “Is There A Crisis?”
Mauro Folci’s Future (1996) consists in a neon that spreads weakly a bluish light in a room. The lightning word Future appears to be the only source of light in the room. Under the blue neon there is a sofa with white sheets which evoke an idea of carelessness and illusory purity. Next to them, some photos show neo-degreed students in the best economics school of the world.
According to the Economic Times the future is a contract between two parts where both parts agree to buy and sell a particular asset of specific quantity and at a predetermined price, at a specified date in future. Folci creates a sort of ambiguous memento, halfway between the economical context and the daily one. Continue reading “Mauro Folci: when the words become goods”
Since several years Danilo Correale (Naples, 1982; lives and works in New York ) pursues an artistic practice that deals with analysis of contemporary economic dynamics and of their consequences on society as a whole.
In a matter of fact his practice spans from video to scultpure installation to publications; all instruments through which Correale proposes sensible readings of delicate issues in specific contexts.
The Surface of My Eye is Deeper than the Ocean (2011) is a collaborative project consisting in a video and the artworkPareto Optimality, exhibited in 2011 at Supportico Lopez Gallery in Berlin. 90% of the production budget has been used by the artist to buy 600 scratch-off tickets distributed to seven people chosen at random in a Lotto shops in Naples, who have agreed to split the winnings with each other and with all the Correale’s and Gallery staff (at the end each participant has won about thirty euro). “Pareto Optimality” is a work composed by this silver powder of the loser ticket.
The recent research of Giulio Delvè (Naples, 1984), delves into the study of dominant social dynamics in gentrified spaces, especially in those contexts more harshly hit by this almost ten-year old crisis. Delvè’s approach to social dimensions is characterized by a direct participation in these social bounds, in order to gain a first-hand knowledge and experience of them, his artistic output is often expressed through sculpture-objects and installations marked by a metaphorical language. His gaze from within comes, all of a sudden, synthesized and through “sought objects” translated in a new meaning-form, despite their being firmly embedded in the real world.
“Muralismi, a work-in-progress series, is composed by various graffiti’s colorful flakes of plaster, rearranged in order to form abstractly the setting from which they come from. My reflection is dedicated in this case to observation, not to painting: I needed a pretext to analyze a situation, a movement, a contingency much close to me”. Continue reading “A gaze from within: the social experience of Giulio Delvè”