Category: opening

Ivana Adaime Makac, Le Banquet (2008-2017). Pedestal, fruits, flowers, vegetables, locusts or crickets; variable dimensions. Photos: Marc Dommage, Ivan Binet and Ivana Adaime-Makac.

Ivana Adaime Makac‘s ongoing work Le Banquet will be featured in the group show Enchanter le réel, curated by Claire Lambert at Le Bel Ordinaire art contemporain, Pau, from September 13 through November 18, 2017.

The exhibition explores how the imaginary architecture oscillates between pure fiction and utopia. The artists are invited to reflect on how, as human beings, we both inhabit and are inhabited by the habitat.

In Le Banquet, Adaime Makac reverts the process by inviting insects to taste sculptures and structures composed of fruits, flowers, vegetables and different types of food.

Artists: Ivana Adaime Makac, Michel Blazy, Alain Bublex, Benedetto Bufalino, Frédéric Chaubin, Filip Dujardin, Nicolas Floc’h, Yona Friedman, Taro Izumi, Béranger Laymond, Marine Pages and Peter Wüthrich.

For more information on the exhibition please click here.

For more information on Ivana Adaime Makac and Le Banquet please click here.

Federico Luger, Swiss Alps, the End of the Illusion (2013). C-print on aluminium. Edition of 3.

ECCENTRIC Art & Research is delighted to present Federico Luger’s first solo exhibition in Milan Mi casa es tu casa, which opens on September 18th, 2017.

The title of the show (my house is your house) alludes both to the fact that it will take place at Secondo Pensiero, a space which is in fact a B&B, thus a temporary house to its guests, and also because one of the series, The Swiss Alps, has been inspired by Luger’s second home in Switzerland.

The exhibition will present different series of works: The Swiss Alps, the End of the Illusion (2013) the aforementioned set of photographs that addresses the end of bank secrecy in the country; small paintings from the series Bananas, a selection of two massive paintings which deal with the human figure, more specifically with portraiture; the Line Concept collages, two works from the Monochrome series and the almost complete Venice Book series. This last set of works on paper will be installed in one of the rooms, so it will only be visible during the opening evening.

Federico Luger is a Venezuelan artist and gallerist. After several years spent travelling around Europe, he opened an art space in Milan, which then turned into Federico Luger Gallery. In the twelve years during which the gallery has been operating, Luger has produced more than fifty exhibitions. However Luger never stopped his artistic practice, which he preferred to conduct in secrecy, reflecting on conceptual art, perception of art, and the art system in general. Both his activities, artist and gallerist have enriched each other. This exhibition and Luger’s oeuvre deeply reflect on the complexity of the twofold nature of his passion.

The exhibition will be open from September 18th thought October 18th, on Tuesday and Wednesday from 3 to 7pm, or by appointment.

To make an appointment, or to request images and further information please contact Gabriela Galati at info@ec-centric.eu.

Secondo Pensiero
Corso Magenta, 12
20121, Milan MI
www.secondopensiero.com

For more information on Federico Luger please click here.

Fino all’età di 21 anni Luger ha vissuto a Caracas, Venezuela. Ha studiato pittura alla Scuola d’Arte “Armando Reveron” e con Adriana Cifuentes; social communication, graphic design, fotografia e commercio internazionale. Per anni ha vissuto in varie città europee per poi stabilirsi a Milano, dove ha aperto la Federico Luger Gallery.
Negli anni la ricerca artistica di Federico Luger si è concentrata sempre più sul sistema dell’arte e la sua fruizione: in quale contesto l’opera diviene oggetto d’arte? Per Luger anche il progetto della galleria è stato un atto artistico, un processo attraverso il quale trovare risposta a numerosi interrogativi sul fenomeno dell’arte.
Interessato in particolare a determinati aspetti della vita contemporanea – sharing economy, flussi di informazione, decentramento della produzione, la coesistenza di culture diverse, il diluire dell’ego – nella sua pittura si manifesta una riflessione sulla fine del Monocromo attraverso i suoi elementi formali più essenziali, il colore e la materia.
Nei lavori esposti, prodotti nell’ultimo anno, emerge la sua interpretazione dell’intervento artistico, quale elemento catalizzatore di cambiamento.
Ironico e dissacrante, Federico Luger include però anche un aspetto poetico nelle sue immagini che realizza con medium e tecniche differenti, funzionali alla contestualizzazione dell’opera.

La mostra rimarrà allestita fino a sabato 10 dicembre 2016.

Inaugurazione mercoledì 2 novembre, ore 18.30

Opere Scelte

via Matteo Pescatore 11/D, Torino.

Per maggiori informazioni su Federico Luger si prega di cliccare qui.

APPUNTO / EXACTLY

Steve Piccolo for ECCENTRIC

To all participants and guests of the exhibition Naturalia et artificialia
A tutti i partecipanti e invitati alla mostra Naturalia et artificialia

ITALIANO
Siete pregati di usare con insolita frequenza la parola “appunto”, abituandovi a pronunciarla in modo eccessivo, appunto, nei giorni prima dell’inaugurazione e cercando – appunto – di farla diventare un vero e proprio tic. Appunto all’inaugurazione, avrete la possibilità di dimostrare i risultati di quest’allenamento, e di condividere – appunto – le vostre esperienze. Suggeriamo a tutti di mettere un post-it con la parola “APPUNTO” sulla propria scrivania o in altro luogo ben visibile in casa. Grazie, appunto!

ENGLISH

We would like to ask you to use the word “exactly” as often as possible in the next few days, exactly before the opening of the exhibition. Train yourself as exactly as possible to overuse this word until it becomes a meaningless verbal tic, exactly a very bad habit, exactly like the word “like,” for example. At the opening you can show off exactly how well you have trained yourself, and share your experiences exactly with others. English speakers have a special option in this exercise: you can choose between “exactly,” “precisely,” “definitely” and “absolutely.” Choose the word that comes most “naturally” and make it come all too naturally, as a matter of habit – precisely! We suggest putting a post-it with your exactly selected word on the edge of your computer, or in an exactly and constantly visible place in your home. Thanks! Absolutely!

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.

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).

Federico Luger’s work is featured at Relevant Notes, a group exhibition that presents a dialogue between the work of 11 artists to explore the boundaries of disciplines among installation art, land art and architecture. Exhibiting in a wide variety of medias including installation, drawing, photography, painting and sculpture–each created over the past five decades – act as relevant notes to the testimony of the artists’ interpretation of the concept of human intervention. Studying their sustainability in the natural environment, these artists take the location and materials of their work into careful consideration using cultural, political and environmental histories to create art as a catalyst for change.

Through their respective practices, the exhibiting artists have been analyzing the unification of materials, space and nature to address the importance of interference. If the balance between these elements were to be lost the intervention of the artist would be lost as well. The visual and conceptual investigations into the conjunction of these elements transform the architectural space of the gallery into an exhibition space where the artist is evident and a vision is perceived.

Relevant Notes, as an exhibition, comments on the temporary nature of spatial structures and the constant flux of our environment. Physical and mental aspects of art making come through in order to express the importance of creating a history for a place and acknowledging the presence of the artist. With the constantly shifting nature of time and knowledge our focus is easily destabilized, causing us to forget what we have experienced in the past. The temporary aspect of these works, allow them to live in a location if only for a moment before they are moved or destroyed by the hand of man.

Artists Exhibited: Christo & Jeanne-Claude, Gianni Pettena, Bruna Esposito, Andres Jaque, Diango Hernandez, Igor Eskinja, Jason Middelbrook , Franklin Evans, Federico Luger, Matteo Berra, Ebtisam Abdulaziz.

From June 23 through July 30, 2016 at

Cara Gallery, 508 W 24th Street – New York, NY 10011.

For more information on Federico Luger please click here.

The exhibition at Del Infinito presents three projects by Straschnoy from the period 2003-2006, a period which roughly begins with his invitation to take part in the exhibition Ex-Argentina and ends with his move to Helsinki and the closing down of his studio. What is peculiar to The Builder (2003),  Studio (2005), and The Projects Medley Studio Dra (2006) is that, even if they take the form of projects, their subject matter is the artist’s studio. Furthermore, the first two were never realised and while parts of The Builder appeared in previous exhibitions this is the first comprehensive presentation of both projects.
The three projects were conceived in a peculiar socio-political and cultural context. At the beginning of the 2000s —just after the major crisis of 2001—two ideological ways of approaching art were in confrontation: on the one hand, project artists dealing with socio-political issues mostly in the public space; on the other, the artists of the Centro Cultural Rojas defending the ornamental object produced inside the studio. Straschnoy emerged in the context of a new generation that pushed forward the new premise that the categories of political projects and the production of studio-based objects should be ignored or merged. In either way, the antagonism that marked Argentine art since the early avant-gardes was rendered inoperative.
In a time when curators and art historians are beginning to write the history of the early 2000s in Buenos Aires, The Great Morning / Winds of long ago / Blow through the pine-trees places Straschnoy’s work in context. The exhibition highlights the way in which Straschnoy ́s projects proposed new forms of dialogue between the forces in struggle in the arts and in the political arena on those years. Taking a cue from the projects on display, the exhibition merges two ways of dealing with objects from the past, most of which were never meant to be exhibited but which are now the only leftovers from the projects they belong to: it is a retrospective from a curatorial viewpoint, as well as an artistic project on how to present pieces that were never realised. It is old and new work at the same time. It deals with the ideas of revisionism, rewriting, reconstruction and conservation: it is an exhibition about time and its dialogues.

Straschnoy’s work will also be on view in Buenos Aires between May 18 and 22 at arteBA, the local art fair, in: Oasis, Dixit 2016, curated by Lara Marmor, Sebastián Vidal Mackinson, and Federico Baeza; CPR Film F estival, curated by Tainá Azeredo (Sunday 22 May at 15:00); and Del Infinito’s booth (C4). He is also participating in Bosquejar Esbozar Proyectar {tomo II], at Galería Quimera, curated by Santiago Bengolea and Javier Aparicio.
The exhibition is jointly produced by Kolme Perunaa and Del Infinito.

Presented at Del Infinito, curated by Javier Villa

Av. Quintana 325 P.B, Buenos Aires, Argentina.

From 12 May to 12 June 2016
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For more information about Axel Straschnoy please click here.