Emergent è la sezione del miart riservata alle giovani gallerie con un’attività espositiva che non superi i cinque anni al momento dell’iscrizione (ottobre 2016) e la cui programmazione sia focalizzata sulla promozione delle generazioni più recenti. Per la prima volta nella storia di miart la selezione delle gallerie partecipanti a questa sezione verrà concepita su base di application e in collaborazione con un Advisory Committee che include i seguenti membri: Marco Altavilla (Galleria T293, Rome), David Hoyland (Seventeen, London), Emanuel Layr (Galerie Emanuel Layr, Wien), Paolo Zani (Zero…, Milan).
Accappella, Naples
Artists: Pennacchio Argentato and Hella Gerlach
The project aims to an interaction of two different ways of approaching sculpture and its different representations. The artists come from the same generation but they have different nationalities and ways of working. Chosen from the gallery’s program, the artists intend to aesthetically interact with each other through materials and colours choices.
They both show an evident interest in the combination of conceptual thoughts and the production process of a sculpture. This approach makes possible to conceive a “new mode” of sculpture that suggests a kaleidoscopic vision of unexpected and different spaces.
Hella Gerlach ‘Cremona (stehend)’, 2015 Metal, c-print on fabric, plastic connectors, velcro (2 x) 200 x 60 x 40 cm.jpg
Nuovi lavori degli artisti NICOLA MELINELLI (Perugia 1988) e JOSEPH MONTGOMERY (Northampton, USA 1979).
Le pitture astratto geometriche dell’artista emergente italiano Nicola Melinelli dialogheranno con i ‘collage paintings’ dell’ artista americano Joseph Montgomery. L’intento è quello di promuovere il lavoro di un giovane talento italiano facendolo dialogare con un nome internazionale, mettendo in relazione il differente utilizzo del mezzo pittorico, volto per entrambi alla definizione e alla continua ricerca di una tridimensionalità, oggettualità e materialità, stratificando e assemblando forme, colori e materiali, trasformando l’immagine pittorica.
Joseph Montgomery, 419 ImageFourHundredNineteen, CAR DRDE
In occasione di Miart 2017, la galleria RIBOT propone un confronto dialettico tra diversi media: la pittura di Kaye Donachie (Glasgow, 1970, vive e lavora a Londra) e la scultura di Lorenza Boisi (Milano, 1972, vive e lavora a Milano).
Due artiste della stessa generazione che cercano nella loro poetica declinata al femminile di evadere il cliché della citazione storica fine a se stessa. Una trasfigurazione del tempo in cui il soggetto e l’oggetto risultano sospesi tra sogno e realtà, tra narrazione e mitografia.
Kaye Donachie, Sleep Returns, 2016, oil on canvas, 35 x 45 cm.jpeg
A solo show by Edouard Nardon, a young artist based in New York.
Edouard Nardon—Arcane N°11 series—2014 ∼ (installation view) ∼ industrial paint, graphite, pigment stick, unprimed cotton canvas ∼ 101.5 × 152.5 cm.jpg
Galerie Maria Bernheim, Zurich
Solo show of Thomas Sauter (1984, Chur, Switzerland). Lives and works inZurich, Switzerland
Thomas Sauter, Axons, 2016, Oil on canvas Diptych; each panel 170 x 130 cm- Courtesy Galerie Maria Bernheim
Solo show: Dino Zrnec (1983, vive e lavora tra Vienna e Zagabria).
Principalmente presenteremo opere che in maniera esemplificativa Dino definisce “crack paintings”; essi presentano quelle che appaiono appunto come delle crepe, risultato di un processo che prevede l’applicazione di colla di coniglio ed altri elementi sul fronte della tela e l’attuazione del gesto pittorico vero e proprio dal retro della tela. Processo che rende impossibile l’esatta riproduzione di una stessa opera.
Il progetto per Miart 2017 è un’evoluzione consequenziale di progetti istituzionali sviluppati da Zrnec in precedenza e costituisce perciò un preciso punto d’indagine: in che misura è possibile sviluppare un progetto, una ricerca, lungo l’asse immaginario di due contesti molto diversi, una fiera d’arte e un’istituzione / museo?
Dino Zrnec, oil on cotton, 65×55 cm, 2017
Ermes – Ermes, Vienna
Artists: Andrea Kvas, Gina Folly, Nicola Pecoraro.
Andrea Kvas, Untitled, 2017. Wood, mixed media.100 x 100 x 10 cm
Grimmuseum, Berlin
Safe and Sound Selection: Frontal Encounters by Alona Rodeh. In occasion of its participation in MiArt 2017 / Emergent, Grimmuseum is pleased to present the Israeli artist Alona Rodeh (*1979). Safe and Sound Selection: Frontal Encounters is a part of a large body of works produced by the artist since 2013 under the meta-title Safe and Sound. In this ongoing project and research, Rodeh examines visual and sonic expressions of safety: how it looks like, sounds and behaves in the streets of the city. Working with diferent mediums such as sculpture, video, sound and light installation, photography and performance, she is able to include and combine the numerous ways of manifestation of the safety issues, both on the civil and the individual level.
Alona Rodehgirl (Safe & Sound Poster series), 2015, Print on plexiglass, aluminium lightbox130 x 100 x 8 cm framed – Photo credit: Vlad MargulisCourtesy of the artist and Grimmuseum
Nicholas Cheveldave’s work utilizes a range of processes such as photography, painting, 3D rendering and sculpture that culminate in densely layered collages. His practice directly engages the conditions of our mediated present. Responding to the ever-accelerating surplus of commercial and social imagery, Cheveldave reflects on how contemporary identity is constructed in the wake of high-speed networks and image-sharing. Stefania Batoeva’s large-scale paintings are situated on the threshold between abstraction and figuration. Working rapidly across multiple canvases simultaneously, the London-based artist draws on a variety of literary, art historical, and musical references to map out power dynamics and reciprocal energetic relations. The conversation between fields of color, gestures, layers and strokes is marked by a tension where all elements are set into flux and an openness in content and meaning ensues.
Stefania Batoeva. Event Front Line II, 2017. oil on canvas. 170 x 200 cm
Artists: Amy Brener and Manuel Scano Larrazabal.
Amy Brener Omni kit, 2016 Urethane resin and foam, plaster, pigment, found objects 155 x 82 x 40 cm. Courtesy pact and the artist
MAX FRINTROP, 2017, untitled (Elogium), 200 x 150 cm, acrylic, ink, pigments on canvas
Il progetto espositivo di Viasaterna per Miart 2017 presenta il lavoro di Lorenzo Vitturi che ha realizzato un progetto ad hoc. Il progetto raccoglie una selezione di opere tratte rispettivamente dagli ultimi lavori dell’artista: la serie Dalston Anatomy (2013 – 2014), Droste Effect, Debris and Other Problems (2014 – 2015), e un’anteprima di The Bagolun Particle (2016 – ongoing), progetto inedito e ancora mai esposto.
Lorenzo Vitturi, Signed Avocado and Peanuts #1 from the series Dalston Anatomy, 2014, giclée print on Hahnemule Bamboo, cm 44×29.5 © Lorenzo Vitturi, courtesy Viasaterna
Painting, photographs and installations created by Francesco De Prezzo (Lecce, 1994) are linked to a rethinking of the relationship between body, space and dimension, raising questions about the reading, physical and individual perception, of these three elements. Pierre-Etienne Morelle (Câteau-Thierry, 1980) explores predicted failure through installations, videos and performances. His works face physical characteristics of raw material, and challenges methodically elementary forces through absurd and experimental outcomes; involving the audience in the accomplishment of the pro- cess. The works examine the relations and tension, arising between the given space and the bodies; ob- jects and materials appearing in this space, create extreme situations that cannot easily be maintained, therefore they are risky. Louis Reith (Hengelo, 1983) with an interest in printed matter, book design and handicraft, started a series of ty- pographic ink drawings on old book pages during his art and design studies. Bold shapes formed an illegible visual language where hidden words were portrayed as abstract solitaire sculptures on a horizon. Deliberate compositions were made with precision on the aged pages, as if they were preserved objects of an archive from the future.
Francesco De Prezzo Null Drapp, 2016 oil, charcoal, concrete on canvas cm. 140 x 100
Works by Michal Bohdankiewicz. The project includes 9 abstract paintings sized 35 x 25 cm. Taking inspiration from daily walks and the personal research conducted in the studio, Bohdankiewicz’s canvases explore visual experience through the traditional use of oil paints. The appreciation of the simplest forms like the blossoming of a flower, the infinite colors of a city, the organization of construction sites, the sparkle of raindrops, the patterns and lines that appear every day, is inevitably reflected in the aesthetic of the painting, which in turn is permeated by a psyche charged with anxieties, desires, fears, ethical values.
Michal Bohdankiewicz Let the singer be silent Charcoal and oil on canvas 35 x 25 cm 2017
Eastwards Prospectus, Bucarest
Solo show by Razvan Anton. “I work with drawing and memory. Drawing is for me the most direct path towards a possible image. Memory is not the subject but the medium and drawing is a conscious choice of a medium beyond mediums, a language that has the advantage of keeping a safe distance from the norms of the art world. It is a continuous and open research that eludes conclusion. It is a process that leaves a trace. It is the trace of a thinking process and the image is its proof. The speed at witch i think and observe is also the speed at witch I draw. The mark, the path and the image belong to this visible process of constructing meaning. It is a imprecise and uncertain route meant to change, consolidare or contradict our views. it is a landscape of shifting geography where historical, political and personal elements hover relentlessly while searching for a state of balance”, R.A.
THE HEART NOTEBOOK (2014). Photo credits: Razvan Anton. Courtesy of EASTWARDS PROSPECTUS
Nell’occasione di miart 2017, Clima presenterà Jason Gomez (Los Angeles, 1986) e Matteo Nasini (Roma, 1976), con alcuni lavori inediti. Nel booth verrà indagata la scultura da diversi punti di vista. Per Gomez la scultura è sempre in atto di modifica con il passare del tempo. In uno dei lavori presentati, Leg log (2016), l’oggetto trovato da cui è partito l’artista e del quale è stato fatto un calco è stato lasciato esposto agli agenti atmosferici in giardino per circa due anni prima che il lavoro venisse portato a termine. Le sculture di Nasini della serie Dream Portrait (2016-2017) derivano dalle onde celebrali emesse dalla mente umana durante la fase dei sogni, a cui l’artista ha attribuito diverse forme nella stampa 3D e delle quali altezza e movimento sono dati dalla durata e dai vari momenti nel sogno.
Jason Gomez, Leg log, 2016. Polyurethane, cement, watercolor, rebar. 16 x 44 x 35 cm. Photo: Marco Davolio
Solo show by Vivien Zhang
Vivien Zhang, Paths Stamper
