Public Walk di Hamish Fulton



Hamish Fulton

Artissima, Pista Lingotto Fiat, Turin

November 2, 2018 h 16.00

Public Walk by the artist Hamish Fulton will be held on 2 November 2018 at the Pista del Lingotto Fiat at 3.30pm. Hamish Fulton, protagonist of international research since the 1960s, with his Public Walks, artistic practices that are expressed in walks in natural contexts or urban areas shared with participants, he is considered one of the masters of conceptual art that is expressed in relation to the territory. The works derived from the Public Walks are present in the main international contemporary art museums.

Practical information

Participation in the performance is free, upon reservation.

Participants are invited to reach the Pista del Lingotto at 3.30 pm to receive the necessary instructions for the walk, which will start around 4.00 pm (punctuality is recommended).

The walk will last about an hour and will take place in any weather condition: suitable clothing is therefore recommended. Participants can bring with them bags or backpacks, as long as they are not bulky or they will be asked to leave their luggage at the cloakroom. The Public Walk will take place in silence and the use of phones and smartphones will only be allowed for videos and photographs. Calls will therefore not be allowed. During the Public Walk, a photographer will take some shots from which the artist can possibly choose some images to subsequently create one or more works.

For the Public Walk Send open call registration

Name, Surname, e-mail, telephone

Hamish Fulton Public Walk Lingotto Fiat track south ramp

The project is carried out by Häusler Contemporary Zürich and the Galleria Michela Rizzo Venezia in collaboration with the Education Department of Castello di Rivoli and the Chair of Cultural Anthropology prof. Massimo Melotti with the patronage of the Albertina Academy of Fine Arts and the Education Department of the Castello di Rivoli Museum of Contemporary Art.



Marcela Cernadas

Smeg Store, Via della Moscova, Milano

From 13 to 23 September 2018

Manon Comerio is pleased to present KITCHEN, the new work by Marcela Cernadas conceived for the spaces of the Smeg Store in Via della Moscova. The original Milanese project is organized by Manon Comerio Art Projects and AROMI in collaboration with the Michela Rizzo Gallery.

KITCHEN is the title that the artist gave to his "long-term project" which includes photographs, poetic texts, environmental installations, objects and performances. The central figures of the project are the analysis of still life as a form of representation, of the banquet as a form of convivial art and of the environment where these figures "happen". A recognizable trait in the works of Cernadas, it is the formal synthesis that from time to time surprises us for its symbolic strength capable of declining both towards the sobriety of the monochromes and towards the sumptuousness of the colors. A dialectical and pulsating tension that does not a priori exclude materials as in the case of its impalpable imprints on paper, fabrics or crystal and which for the first time is confronted with the ceramic chosen for this singular project.

In a text by Marcela Cernadas we read:

I have been studying food and its handling for more than a decade; the banquet and its relationship with luxury; nourishment and its indissoluble link with essentiality, rituality and vitality. Many of my works have delved into the fragile balance of still life and many of them were conceived in kitchens. In that border area between everyday life and creativity. The Kitchen project is nothing more than a mirror of that border area which for one hundred consecutive days has returned the shape of the kitchen of my own studio and of the kitchens I lived in during my travels. A form of immediate and convivial expression that pushes me once again to question the meaning of food and the meaning of its aesthetic and social representations.

And in the poetic intentions for the Milanese project he deepens:

In formal terms, in the environmental installation - a frieze made up of seventy photographs printed on ceramic - I collect a series of recurring elements in my works such as the shell and the pomegranate. This frieze recalls the shape of a polyptych which by definition refers to sacredness, a fundamental aspect of my work, made evident on various occasions, especially in the series of triptychs on the flesh. In symbolic terms, I gave the work the title of "kitchen" thinking of this place as the abode of everyday life and as the abode of the divine to quote Heraclicus - who in the process of receiving unexpected guests and struggling with the preparation of food in his kitchen manifestó -: “Come in. Do not be afraid. Here too there are gods ”.

Together with the frieze, created in collaboration with the MORELATO company and the MAAM (Museum of Applied Furniture Arts), an unpublished statement by the artist and a limited series of porcelain plates with the same title will be exhibited.

Matthew Attard in Los Angels


Matthew Attard

LACDA (Los Angeles Center for Digital Art), Los Angeles, USA

From 13 September to 6 October 2018

Matthew Attard has been selected among the ten artists who will participate in the Ten Artist to Watch exhibition at the LACDA. Los Angeles Center for Digital Art.

The exhibition curated by Joel Ferree will be visible from 13 September to 6 October 2018.



NYSFERATU – Symphony of a Century, a film by Andrea Mastrovito

Cinema Multisala Giorgione - Venice

25 June 2018 at 5.45 pm

Venice, 20 June 2018 - The film NYSFERATU - Symphony of a Century, a film by Andrea Mastrovito, will be screened on 25 June 2018 at 5.45 pm at the Giorgione Cinema Multiplex in Venice. The screening will be followed by a talk conducted by Alberto Fiz, curator and critic of contemporary art, to guide the public to discover the artist's work, who will be present in the room. Andrea Mastrovito, an artist from Bergamo based in Brooklyn, is internationally known for his ability to interpret drawing in multiple languages ​​related to visual art and, at this point in his research, he experimented with cinema as an immediate and popular language.
The screening in the lagoon is part of the path that the film has undertaken in national and international cinemas. NYSFERATU arrives in Venice after a tour that involved, thanks to the production of the non-profit association More Art, various spaces in the New York area including Queens Museum, Central Park, Brooklyn Bridge Park, Magazzino Italian Art, Printed Matter and Cantor Film Center. Subsequently, on the occasion of Mastrovito's personal exhibitions, the film was screened at the Grutli theater in Geneva and at the Kunsthalle in Osnabrück to continue in various international locations such as the Stelline Foundation in Milan, Belvedere 21 in Vienna, Gamec in Bergamo, Museo Novecento in Florence. , Salinas Museum in Palermo, The Chocolate Factory Foundation in Torre - Blenio, Innis Town Hall Theater in Toronto, Zeitz MOCAA in Capetown and St. Ann's Church | Bram Stoker Festival in Dublin.

NYSFERATU is a rotoscoping animation, inspired by Murnau's iconic Nosferatu: in three years of work, Andrea Mastrovito and a team of 12 artists have created over 35,000 hand-drawn tables. The mixture of a surprising technique and an original soundtrack written by Simone Giuliani is enriched by a plot that takes up Murnau's original 1922 Nosferatu and moves it to New York and Syria today. The reinterpretation of Mastrovito proposes, among other things, an urgent theme such as that of immigration, superimposing the classic figure of the vampire with that of the outsider: the definitive version of NYSFERATU was made possible thanks to a series of New York workshops with immigrants from all over the world who interacted with Mastrovito and MoreArt during the drafting of the screenplay.

Andrea Mastrovito (Bergamo, 1978) was trained in Italy and lives in New York. Her path focuses on drawing, alternating studio work with installation and performance interventions. He won the New York Prize in 2007, the Moroso Prize in 2012 and the Ermanno Casoli Prize in 2016. Among the solo shows, Symphony of a Century, Kunsthalle, Osnabruck (2018); Here the Dreamers Sleep, Andersen Museum, Rome (2015); At the End of the Line, GAMEC, Bergamo (2014) and Le Cinque Giornate, Museo del Novecento in Milan (2011). His work has been included in numerous institutions in Europe and the United States, including Museum of Art and Design, New York; MAXXI Museum of XXI Century Arts, Rome; Palazzo delle Esposizioni, Rome; Manchester Art Gallery, Manchester; B.P.S. 22, Charleroi; Museum of Contemporary Design and Applied Arts, Lausanne.

More Art is a non-profit organization based in New York that fosters collaboration between artists and institutions to create public installations and educational programs aimed at raising social awareness. Since its inception in 2004, More Art has created more than 40 public works and screenings in locations including Union Square and Central Park, featuring some of the best-known contemporary artists.

The Michela Rizzo Contemporary Art Gallery, founded in 2004, has been hosting exhibitions of internationally renowned artists in its large exhibition space and promotes the search for young emerging artists. Enriched by the flourishing cultural background of the city of Venice, the gallery dialogues with some of the most important institutions and personalities of the contemporary art scene.
Alberto Fiz art critic, curator of exhibitions and journalist specializing in art and the art market. He carries out scientific projects that involve young artists and classical masters, carrying out roles of direction and artistic consultancy. Former artistic director of the MARCA museum in Catanzaro (also in Catanzaro he created the International Sculpture Park), he collaborates with the Valle d'Aosta Autonomous Region and with numerous other institutions including the Special Superintendence of Rome with which he has organized exhibitions in archaeological areas such as the Baths of Diocletian, the Palatine Hill and the Baths of Caracalla. He is art advisor of Intesa Sanpaolo Private Banking. He collaborates with Arte and Milano Finanza.

Ryts Monet. Forse vincerai di Pietro Gaglianò


“Forse vincerai” è un’ipotesi o un augurio, o anche una sardonica professione di dubbio che relativizza ogni certezza rispetto agli umani successi. In forma di cartiglio spunta dalle briciole di un biscotto della fortuna di un ristorante cinese e per Ryts Monet innesca un confronto dialettico con le ossessioni della cultura contemporanea: la memoria, l’identità, la forma visibile delle cose e le ambiguità che ne nascono. Una delle contraddizioni più irrisolte delle civiltà riguarda l’investimento di senso nelle immagini: una iconofilia che talora degenera in fanatismo e che con l’avvento della riproducibilità tecnica ha originato una crisi rispetto alla determinazione della realtà effettiva. È l’ossessione del visibile, è l’equivoca fiducia nella rappresentazione del sé collettivo e individuale che si fonda sulla fragilità di un riconoscimento automatico e acritico in simboli ridotti a feticci, in figure degradate a semplice apparenza, e riguarda tanto la Storia del mondo quanto le storie personali. In questa prospettiva “la costruzione e la demolizione dei monumenti”, come scrive Gerard Raunig, “sono parte di uno stesso gioco”¹, rispettano la presunzione che la registrazione di un’immagine o la sua distruzione siano il punto supremo della certificazione dell’identità. Per questo motivo in alcuni luoghi i monumenti vengono fatti saltare in aria e altrove vengono replicati, riprodotti, imitati, come avviene per le effigi degli uomini politici e, su un’altra scale, per i ritratti dei protagonisti della nostra geografia sentimentale. Vanamente, nell’uno e nell’altro caso.

Ryts Monet si è concentrato in vari modi su questo tema nel corso della sua ricerca, isolando ogni volta fattori controversi del rapporto che l’uomo contemporaneo intreccia con il vasto panorama della produzione di immagini, delle iconografie del potere, dei miti dell’identità e della realizzazione personale sollecitati dal sistema consumista. Un altro dozzinale oracolo cinese (“You are going to find recognition”) diventa così la chiave per interpretare il rapporto tra una vecchia cartolina di Roma, con le tre colonne superstiti del Tempio dei Dioscuri, e la banconota da cinque dollari dove appare il Lincoln Memorial del 1922 a Washington, con le sue colonne che sono la citazione di una malintesa citazione neoclassica del mondo antico. L’artista descrive senza moralismi l’irrevocabile vocazione dell’umanità a contraffare i simboli, a distruggerli, a crearne di nuovi, e la sua disinvoltura nello scambiare la realtà con la sua rappresentazione. Tutto questo avviene con le dinamiche del consumo accelerato, in uno scenario dove il vecchio e il nuovo, l’autentico e i suoi scimmiottamenti giacciono nello stesso paesaggio di rovine avvolte in un moto continuo.

La serie Miracolo da 50 punti (presentato qui per la prima volta) di cui fa parte l’opera appena descritta (assieme ad altre tra cui Maybe you will win) è solo l’ultimo progetto dedicato al senso dell’umanità per i monumenti. All’origine si trova Sisters, del 2014, una serie di ottantotto immagini di copie della Statua della Libertà riprese in altrettanti luoghi (in mostra ne vengono presentate 22, tra cui anche quella della statua che si trova a Parigi, originaria, anche se non originale rispetto al colosso newyorchese). L’opera “sintetizza l’indifferenza in cui cade l’icona, in questo caso la controversa paladina delle libertà democratiche, spogliata di senso, dilatata e contratta come una serigrafia pop”², e traslata a ornare giardini privati, periferie anonime e centri commerciali.

Al centro ideale di questa attenzione si trova Lamassu, emblema del conflitto tra  la furia iconoclasta dell’estremismo, che produce rovine di rovine, e la moltiplicazione del feticismo occidentale nei loro confronti. Lamassu è il nome di una divinità assira, un demone alato dal corpo di leone e dalla testa umana che spesso sovrintendeva benevolo gli ingressi dei palazzi e dei templi. Nel 2014 il millenario Lamassu della città di Nimrud in Iraq ha condiviso la sorte di distruzione di altre vestigia della civiltà mesopotamica, devastate dall’ISIS. Il frammento delle due zampe anteriori, è stato rilevato con una scansione 3D³. Le zampe artigliate di Lamassu, sono ora una malinconica “scultura dell’immagine di una scultura” che racconta il fatale ciclo di ascesa e caduta, di gloria e dissipazione di ogni cosa umana. E aggiunge un po’ di sconforto rispetto al progresso della civiltà e un po’ di cinismo riguardo all’ottimismo acefalo cui si ispira la tecnologia.

Quasi disposto ortogonalmente rispetto a questo percorso sui monumenti e la memoria si trova un’altra interpretazione delle contraddizioni del mondo. RIOT:, un’iscrizione in lettere dorate  sulla vetrina dello spazio espositivo, racconta in sintesi un articolo di fisica sulla formazione dell’oro sul nostro pianeta. Il fatto che il simbolo dei conflitti e della protervia sia una presenza aliena, e la polisemia di ‘riot’ (disordine, protesta, sommossa), si connettono idealmente al video The Battle of Bijlmer (visibile solo la sera dell’inaugurazione). Una telecamera a circuito chiuso ha ripreso una competizione di freestyle-rap, organizzato tramite un bando aperto ai rapper del quartiere di Bijlmer, Amsterdam, dove convivono abitanti di 130 diverse nazionalità e solo il 30% è olandese. L’unico vincolo imposto ai partecipanti era quello di utilizzare ciascuno la propria lingua nativa durante la competizione: una nuova Torre di Babele che dai suburbi europei si congiunge ai panorami biblici della Mesopotamia, con l’origine della divisione degli uomini in una reciproca incomprensione.

Si torna dunque in Iraq, sulla linea di altre mitologie, e l’intera umanità appare alla fine indifesa al cospetto di se stessa, schiacciata dall’induzione di desideri e comportamenti in una diffusa atmosfera di sopraffazione, di violenza, di finzioni contrabbandate come realtà.


Per leggere la versione originale:


¹ Gerald Raunig, Kunst und Revolution. Künstlerischer Aktivismus im langen 20. Jahrhundert, Vienna 2005 [ed. cons. Art and Revolution. Transversal Activism in the Long Twentieth Century, Semiotext(e), Los Angeles 2007, p. 108].

² Pietro Gaglianò, Memento. L’ossessione del visibile / The Obsession with the Visible, Postmedia Books, Milano 2016.

³ La scansione è stata realizzata nell’ambito  del  Virtual Museum of Iraq, un archivio multimediale on-line che raccoglie le principali opere e reperti presenti sul territorio iracheno. L’archivio è stato finanziato dal Ministero degli Affari Esteri italiano e realizz ato nei laboratori del Consiglio Nazionale delle Ricerche.

Tutta l’arte è imitazione della natura


Ivan Barlafante

Museo Orto Botanico di Roma

From 18 to 23 June 2018

We are happy to report Ivana Barlafante's participation in the exhibition All art is imitation of nature (Seneca).

25 international level artists will exhibit at the Botanical Garden Museum in Rome. A collective exhibition that will have Nature as its absolute protagonist.
With the statement "All Art is imitation of Nature", the Roman philosopher Seneca describes the fundamental link that exists between Art and Nature, born in man through the interpretation of the environment that surrounds him, a fundamental element in the constant dialogue that Nature generates with the Work of Art. For this reason, the Botanical Garden Museum represents "The ideal place" where the artistic works will recreate a dialogue, never predictable, but always reflective.
The works placed in different points of the Botanical Garden Museum, will give life to an itinerant visual path.

Francesco Jodice alla II^ Biennale di Yinchuan




Francesco Jodice

II^ Yinchuan Biennale, China

From 9 June to 19 September 2018

We are happy to share with you some images from the II Biennial of Yinchuan, curated by marco Scotini.

On display, Francesco Jodice with a series of works related to his film Aral Citytellers.

Speciale Biennali


Francesco Jodice 
Second Yinchuan Biennale
09.06 - 19.09.2018

Francesco Jodice, Aral Citytellers, Kyzylorda, #007, 2008

Martino Genchi
Ryts Monet 
6. Moscow International Biennale for Young Art
07.06 - 31.07.2018

Martino Genchi, Comets Buried Underground, 2016

Ryts Monet, Migrant, 2017

Kateřina Šedá alla XVI Mostra Internazionale di Architettura di Venezia


Kateřina Šedá

Biennale di Architettura di Venezia, Venezia

From 26 May to 25 November 2018

The absence of normal life in the centers of popular tourist cities. This is the theme of the project Kateřina Šedá is working on for the 16th International Architecture Exhibition in Venice. The Czechoslovakian exhibition pavilion will become the fictitious headquarters of the UNES-CO company, which aims to bring normal life back to the depopulated centers of historic cities.

"The houses in which no one lives. The shops that are of no use to anyone. The streets in which people do not meet but avoid each other. This may be the characteristic of socially excluded places but also the characteristic of the most beautiful places in the world inscribed on the UNESCO World Heritage List. These diametrically different similarities and similarities of places inspired me for the project which is experiencing problems associated with the increase in tourism ", says Kateřina Šedá.

The first city chosen by the author, to 'warm it' (make it more welcoming), became Český Krumlov; small town with thirteen thousand inhabitants in the south of the Czech Republic. Every year more than one million visitors visit which leads to the gradual move of citizens out of the historic center. In the houses where people used to live today there are hotels, restaurants or shops with tourist goods. Only a few people live in the center of local people. This is the fate that many predict in the not too distant future even in Venice.

Kateřina Šedá's project - UNES-CO company - will try to reverse this trend and show possible solutions. It will offer some families not only housing for an initial period but above all a salary for carrying out 'normal life' in the city center. The headquarters of this initiative will be built in Venice in the Czech-Slovak pavilion. Here it will be possible to take a look at the materials with the offer of 'normal activities' and direct transmission from the streets of Český Krumlov where the test of: bringing normal life back to the streets of Český Krumlov will take place.

The artist's attempt is not only to warn of the problems associated with the extreme increase in tourism but above all to bring concrete solutions to interested parties. The important element of the project is the visitor himself. “My goal is not to criticize tourism but to find a way to stop the foreigner and make him a villager for a moment. I look from man to man - it is the keystone of how to change the excluded locality into a common place ” adds Kateřina Šedá.

Eresia (del) Florilegio


Matteo Fato

Spazio K, Palazzo Ducale, Urbino

from 22 March to 06 May 2018

After the great success of the first edition, the National Gallery of the Marche continues its programming in SPACE K, the permanent space dedicated to emerging artists, in the Great Kitchen of the Underground of the Ducal Palace in Urbino. The second edition, entitled “Cambi di strada”, curated by Umberto Palestini, begins with a solo show by Matteo Fato: Eresia (del) Florilegio.

Matteo Fato is one of the most interesting authors in the current contemporary artistic panorama. He is an artist capable of revitalizing the practice of painting through the ability to create 'sensitive' spaces thanks to a refined compositional tapestry, orchestrated in an admirable way.
Over the years, for some significant personal, he has created easels of different sizes, with rigorous and minimal shapes, as evident references to his personal investigation. Three of these easels, together with some paintings, arrive at Palazzo Ducale for the personal Eresia (del) Florilegio. The title, in addition to indicating the last unpublished work linked to the cycle of (busts), expresses the artist's desire to propose an anthology of works that return or arrive in Urbino, the city where the author was trained.
Installing works made in distant times and spaces in the womb from which everything was born, means accepting the dangerous challenge of verification, releasing unexpected meanings, energies, but also showing possible inconsistencies. If this is the risk of florilege, its heresy, the challenge is welcome, because art that does not contemplate the possibility of error is lifeless art, trivially pacified. The paintings exhibited in the Doge's Palace are surrounded by easels, and refer like a distant echo to a work dear to the author: The artist in his studio by Rembrandt. Very often art is a journey through time where the return, however, does not become a simple landing place, but an impetus for a new restart towards routes not yet traveled.
The solo show proposed by the author in one of the symbolic spaces of the Renaissance will be a site-specific installation that will bring together a series of historical and unpublished works in a project of great and evocative impact.