Category: artist

ECCENTRIC Art & Research presents Minority Report, a new section dedicated to showcasing young, talented and promising artists. Artists who despite of being at the very beginning of their careers already evidence great potential: A glimpse of, and a bet on the future.

The first selected artist for Minority Report is Carlo Gambirasio (Verona 1994), and his work will be featured at Naturalia et artificialia.

For more information on Minority Report and Carlo Gambirasio please click here.

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ITALIANO

ECCENTRIC Art & Research annuncia il primo artista selezionato per la sezione Minority Report: Carlo Gambirasio.

ECCENTRIC Art & Research presenta Minority Report, una nuova sezione dedicata a promuovere artisti giovani, talentuosi e promettenti. Artisti che nonostante siano all’inizio della loro carriera dimostrano già di avere un grande potenziale: uno sguardo e una scommessa sul futuro.

Il primo artista selezionato per Minority Report è Carlo Gambirasio (Verona 1994), e il suo lavoro sarà parte della mostra Naturalia et artificialia.

Per maggiori informazioni su Minority Report e Carlo Gambirasio si prega di cliccare qui.

Image captions: Carlo Gambirasio, L’ancestrale (2016). Steel, clock mechanism, sensors, software; 10 cm x 32 cm Ø.

Axel Straschnoy’s Neomylodon Listai Anneghino will be exhibited at Inter Arts Center, Lund University, Malmö, opening on October 14th, 2016.

Starting in 1895 with the finding in a cave in southern Chilean Patagonia of a peculiar skin, the world was soon to face a sensationalist chase for an animal that was thought long since extinct. It was a very large mammal, weighing around 1.000 kg, which had both external fur and a protective armor embedded into the skin, which was surprisingly well preserved.

Two Argentinian palaentologists played out a drama of scientific rivalry. Dr. Florentino Ameghino was first to write about the beast and named it Neomylodon Listai Ameghino, declaring it still alive and roaming the plains of Patagonia. Dr. F. P. Moreno responded by pronouncing it extinct since thousands of years. A number of European scientists arrived at the spot or had material sent to their museums for closer scrutiny, creating an intense scientific debate about the animal. This way, some of the material found in the cave ended up in Sweden, other parts in London and Berlin. Some findings made their way much later also to Helsinki.

While scientists were soon doubtful about the existence of the living Neomylodon, the popular press was all the more enthusiastic. A price was promised to the one who could hunt down a specimen, and the Daily Express in London sent off a hunting team. Over the years the interest faded, as of course no-one could find and shoot an animal that had been extinct since more than 10.000 years. The Neomylodon proved to be a result more of wishful thinking than of science.

Axel Straschnoy’s exhibition Neomylodon Listai Ameghino approaches this footnote in the history of science critically and from a multitude of angles. The four vitrines are designed to host the complete findings now spread to different museums in Argentina, Chile, England, Germany, Sweden and Finland, plus the originals of the essential texts published on the animal during the years around 1900. But while the texts remain the same each time the work is displayed on its tour across the world, two of the vitrines will be mostly empty and only show what is available in the local collections.

Thus mirrored, the story of the Neomylodon becomes less a story about science than about the construction of myths as well as of truths. It is also a study of colonialism at work. It quite clearly displays the ironic truth that barely any findings ended up in the country where they were excavated.

Not the least, Neomylodon Listai Ameghino addresses the cultures of display, as well as the roles of the spectator in science and art. By moving between different ways of seeing and of showing artifacts, the vitrines themselves become witnesses of how authority and “truth” is transferred through the methodologies of display.

Pontus Kyander

For more information and updates on the project, please click here.

For more information on Axel Straschnoy, please click here.

We are delighted to announce that ECCENTRIC Art & Research now represents the work of Jamie Allen.

Jamie Allen is a Canada-born artist, researcher, designer and teacher, interested in what technologies teach us about who we are as individuals, cultures and societies. He has been an electronics engineer, a polymer chemist and an exhibit maker with the American Museum of Natural History. He lectures, publishes and exhibits projects worldwide. His work has been exhibited at Kunsthal Aarhus and Nicholaj Kunsthal, Copenhagen; Haus der Kulturen der Welt, Berlin for the 2014 transmediale afterglow; at the Neue Nationalgalerie Berlin for Olafur Eliasson’s Festival of Future Nows; and at Eastern Bloc Montreal, among many others. He is currently Senior Researcher at Critical Media Lab Basel.

For more information on the artist please click here.

Torna Fuori Uso dopo quattro anni di assenza, inaugura venerdì alle ore 19 nei locali dell’ex Tribunale di Pescara.

L’obiettivo di questa edizione è ridare un ruolo chiave alle Accademie nel sistema dell’arte contemporanea, tanto che a garantire i giovani talenti sono proprio i docenti, in questa edizione di Fuori Uso; da qui il titolo: “AVVISO di GARANZIA”. A cura di Giacinto Di Pietrantonio e Simone Ciglia.

Tutti gli artisti di Fuori Uso 2016: Riccardo Benassi, Sara Carraro, Lorenzo Lunghi, Alessandra Pioselli (Accademia di belle arti di Bergamo) Francesca Grilli, Asia Giannelli, Piero Deggiovanni; Luigi Presicce, Mimì Enna, Lelio Aiello (Accademia di belle arti di Bologna) Pantani-Surace, Matteo Coluccia, Stefano Giuri, Cecilia Guida; Paolo Parisi, Lori Lako, Irene Lupi, Pier Luigi Tazzi (Accademia di belle arti di Firenze) Perino & Vele, Rachele Sabatino, Sevi e Tonti, Alberto Dambruoso (Accademia di belle arti di Foggia) Alfredo Pirri, Mattia Abballe, Annamaria Tanzi, Marco Tonelli (Accademia di belle arti di Frosinone) Enzo De Leonibus, Gioele Pomante, Eliano Serafini, Domenico Spinosa; Italo Zuffi, Simone Camerlengo, Manuele Ianni, Cecilia Canziani (Accademia di belle arti L’Aquila) Gianni Caravaggio, Alessandro Mazzatorta, Giacomo Monza, Rachele Ferrario; Marco Cingolani, Alessandro Boscarini, Giulia Trivelli, Giulio Ciavoliello; Gabriele Di Matteo, Gao Lan, Wang Haotian, Elisabetta Longari (Accademia di belle arti di Brera) Adrian Paci, Cecilie Hjelvik Andersen, Isabella Benshimol – Mati Jhurry, Caterina Iaquinta (Nuova Accademia di Belle Arti – Milano NABA) Moio & Sivelli, Alessandro Minervini, Girolamo Viola, Chiara Pirozzi (Accademia di belle arti di Napoli) Stefania Galegati Shines, Genuardi/Ruta, Marcello Carriero (Accademia di belle arti di Palermo) Donatella Landi, Lucia Bricco, Adelaide Cioni, Cecilia Casorati (Accademia di belle arti di Roma) Pierluigi Calignano, Martina Cara, Valeria Secchi, Sonia Borsato (Accademia di belle arti Mario Sironi – Sassari) Mario Airò, Emanuele Marullo, Gabriele Nicola; Simeone Crispino (Vedovamazzei), Mohsen Baghernejad Moghanjooghi, Vincenzo Napolitano Matilde Galletti (Accademia Albertina di belle arti – Torino) Luigi Carboni, Lavinia Cestrone, Alessia Neri, Umberto Palestini; Matteo Fato, Marco Bacoli, Danilo Giuseppe Sciorilli, Alberto Zanchetta; Giuseppe Stampone, Kane Caddoo, Claudio Zorzi, (Accademia di belle arti di Urbino) Nemanja Cvijanovic, Martin Verdross Collettivo del corso di Tecniche e Tecnologie delle Arti Visive / Accademia di Belle Arti di Venezia, Riccardo Caldura (Accademia di belle arti di Venezia) Luca Trevisani, Marco Rizzardi, Valentino Russo, Angela Vettese (Università IUAV di Venezia).

We are pleased to announce that ECCENTRIC now represents the work of Tomislav Brajnović.

Tomislav Brajnović obtained his MA at Central Saint Martins College of Art and Design in London in 2003. He is Assistant Professor at the Applied Arts Academy, University of Rijeka and teaches courses at the MA in Media Arts and Practices program and New Media at Applied Arts program. He is member of the artist organisations Delta 5 and SIZ, and founder of Studio Golo Brdo and Supper with the Artist projects. His work has been featured in many solo and group exhibitions in relevant spaces in Croatia and abroad.
He received several stipends and awards including Soros Grant, Gunk Foundation Grant and Pollock-Krasner Foundation Grant.
Among the residencies he participated of are worth mentioning Leitrum Sculpture Centre, The Arctic Circle and FMC Kasterlee.

For more information on the artist please click here.