FutuRuins. Il corpo e la pietra


Francesco Jodice

Museo Fortuny, Venice

December 19, 2019 - March 24 2020

The aesthetics of the ruins is a crucial element in the history of Western civilization: it symbolizes the presence of the past, but at the same time it contains within itself the potential of the fragment. The ruin, in fact, is never neutral: contested between nature and culture, suspended between destruction and reconstruction, it is immersed in the flow of time and at the same time is stretched towards eternity. It comes from the past, it gives a richness of meaning to the present, it gives awareness to future projects.

Chronologically, the exhibition will try to range over the centuries for salient points, in order to give an idea of ​​the historical complexity of the concept: from the first mythologies of destruction, the effect of divine wrath (the Tower of Babel, Sodom and Gomorrah ...), up to Palmyra's “iconoclastic terrorism”, including ancient Egypt, Greco-Roman antiquity, the “instauratio Romae”, the “ruine du Louvre”, the war destruction of the last century, the rubble of the Twin Towers.

The collapse of the architecture evokes the decadence of the civilization that produced them, so the parallel building-body is the revealing element that, if on the one hand it refers to the transience of human life and to the corruption of bodies, on the other it opens to the concept of cyclicality: alternating in the history of crisis and rebirth.
Even today, the contemplation of the ruins can be a source of new awareness for those who exercise their memory on the one hand and planning on the other.

Cicli attraversati


Michael Höpfner

State Gallery of Lower Austria, Austria

October 19 2019 - May 3 2020

Born in Lower Austria, Michael Höpfner has traveled for decades through remote regions of the world such as the highlands of Tibet, river courses in Albania or through the valleys of the Alps.
He walks through the landscapes on foot in weeks of march and records them photographically, in drawings and diary notes.
Höpfner sees his paths as a search for a human relationship with nature and in his works he tells of silence, the absence of words and loneliness. His are existential experiences, both physical and mental, which he faces through time and space, emptiness and distance.
In the selection presented at the Landesgalerie Niederösterreich, Höpfner tries to capture the paths of the last two decades with new works.
"Walking, as I do, is always an artistic action of rebellion, a protest against ideologies and contemporary society. Going for me is an escape from existing patterns. As an artist, I didn't want to go to the studio, but to look for the lost relationship with nature. This alienation has always been an impulse for me ", emphasizes Höpfner.

Le monde est une invention sans future


Andrea Mastrovito

Fondazione Bullukian, Lyon, France

September 18, 2019 - January 05, 2020

On the occasion of the exhibition Le Monde Est Une Invention Sans Futur at the Bullukian Foundation, the official event of the Fifteenth Lyon Biennale, Mastrovito has conceived a path that summarizes the traits of his research that have persistently emerged over the last few years, studying a site -specific precisely for this location.

The title of the exhibition takes up the definition with which cinema was signed by the inventors themselves, the Lumière Brothers, and revolves around a thought on the circularity of life, the perpetual motion in which nature develops its most destructive part by contrasting it with the life cycle in which is reconstructed: on the one hand the darkness, the heaviness, the degenerative madness; on the other, a sense of lightness, light, regeneration. In the middle, a large garden to cross. The contrast between death and life, that is the whole process that constantly involves nature in all its manifestations, is highlighted in the two distinct sections of the exhibition.

The exhibition is clearly divided into two sections: a darker one, in which the works refer to the main themes of the artist's research by moving characters from the past, real or fictional, into contemporary situations.
The second part, characterized by more gaudy colors, tells how from the waste of our society - the book out of production, the ruler as an anachronistic tool - a new life can be born, thanks to the constant struggle to regenerate itself that characterizes nature itself.

The exhibition therefore starts from the darkest and densest part, to emerge slowly towards that spontaneous and luminous rebirth that characterizes natural cycles and the history of the world.

Lirica del vuoto


Pierpaolo Curti

Spazio Acra presso ASP-ITIS, Trieste

June 15 - September 8 2019

For the first time, drawings and works by Pierpaolo Curti (Lodi, 1972) are presented in Trieste, some produced for the occasion, which allow you to come into contact with a very special research, focused on the theme of the landscape.
It is an extreme landscape, represented objectively, with the detachment and precision of a photographic approach, even if it is only and exclusively paintings. Rocks, precipices, the empty sky that surrounds the whole. In this immobile landscape, between steep walls and abysses, built structures appear, as if to suggest that those places are not completely uninhabited, at least because walls have been erected, vertiginous passages have been built, they are anchored, to the walls and at the edges of the abysses, steps, platforms and slender structures for ascending devices.
They are landscapes portrayed with icy exactness, where large monochromatic backgrounds dominate, which restore a rarefied atmosphere and, from the point of view of formal solutions, bordering on abstraction.

With the collaboration of: Galleria Michela Rizzo, Venice

Il Corsaro Nero e la vendetta dei Gavi


Francesco Jodice

Forte del Gavi, Gavi (AL)

May 30 - September 7, 2019

The Black Corsair and the revenge of Gavi was born from a year of research by Francesco Jodice on the landscape, the cultural and social history of Gavi. Jodice, artist and photographer, whose works are present in important international museum collections and whose work has been presented in numerous Biennials, pushes his photographic research out of pure representation and documentation. The result is a process in which the images and stories evoked are articulated in a dialogical form, telling the places, their past and their distinctive elements.

For this exhibition Jodice photographed the architecture, landscapes, monuments, hills and cellars, investigating the vernacular anecdotes and characters that have marked the history of Gavi and Novi Ligure. In his research, the artist came across the work of Angelo Francesco Lavagnino (Genoa 1909 - Gavi 1987), an important classical composer, one of the fathers of the soundtrack of Italian cinema, who chose Gavi as his chosen land. Lavagnino worked in the late fifties and seventies on hundreds of original soundtracks, including Orson Welles' Othello, as well as many B-movies of Italian popular cinema, such as Ercole against the tyrants of Babylon, Maciste against the vampire, Gungala, the virgin of the jungle, and many others, without ever leaving Gavi: a Salgari from the world of music.

The works of Francesco Jodice - bas-reliefs born from the unexpected fusion between the landscape photographs taken by the artist for this project and the protagonists of the posters of the films set to music by Lavagnino - are the result of the superimposition of two worlds: one real, the other fantastic . Taken together, they seem to transform the Gavi into the fictional set of a film populated by cowboys, vampires, pirates, mythological figures and seductive women. Jodice, through a pop and low-fi collage operation, transfigures the castles, valleys, mountains and waterfalls of Gavi into dreamlike and unforgettable places. Playing with kitsch he stages these cult characters in “other” places, altering their context, to transform photography into a contemporary tool of multidisciplinary storytelling. The result are nine large-format photographs-sculptures, three-dimensional collages born from the conceptual union between landscape and fantasy figures, but they are also a stage in the long process of reflection that Jodice has been conducting for years on nature and the sense of the history of images. , of the influences and osmosis between the object-photography and the society in which it is produced as a cultural device and apparatus.

The title of the project ironically opens up to the fantastic images protagonists of post-war Italian cinema, to whose success Lavagnino's work greatly contributed. Il Corsaro Nero e la vendetta del Gavi consists of a photographic exhibition created for and with the Forte di Gavi Polo Museale del Piemonte, a musical performance - born from Jodice's interest in Lavagnino's music, which led him to activate a collaboration with the Niccolò Paganini Conservatory of Genoa and the “Romualdo Marenco” musical body of Novi Ligure composed of 45 elements - and an installation at the La Raia farm, headquarters of the La Raia Foundation. The musical performance will take place on the opening day in La Raia, bringing back the music of Gli specialisti (1969, directed by Sergio Corbucci) and Death comes from the planet Aytin (1967, directed by Antonio Margheriti) in the Gavi landscape. The transcription of the scores was edited by Maestro Pietro Leveratto under the direction of the Niccolò Paganini Conservatory of Genoa.



Marcela Cernadas

Ca' Pisani Rubelli, Venice

May 10 - October 10, 2019

Rubelli is pleased to present the Loom exhibition by Marcela Cernadas specially conceived for Ca 'Pisani Rubelli in collaboration with the Michela Rizzo Gallery. On display a series of works form an environmental installation through which the artist proposes the idea of ​​weaving as a figure inextricably linked to the continents where it takes place.

In the choice of the title Loom there is the synthesis that characterizes the works of Marcela Cernadas. A word capable of suggesting the poetic and formal intentions of the proposal which consists on the one hand in intertwining the works of art with architecture and on the other in celebrating fabrics as fundamental elements of the project. Intentions also molded in the graphic choice where in the interweaving of the characters a trespassing of forms and a continuum-like action - that of the tesserae - in the stylized symbol of infinity are recognizable.

The works on display make up an environmental installation that crosses the façade spaces, the historical archive and the showroom with great lightness. The installation "without beginning or end" alludes to cyclicality: another constant in the artist's work. Embroideries, collages and frottages on display are made with carefully selected fabrics from the new Rubelli collection, which on this occasion try to give formal boundaries to a "constellation of petals": now garden, now sky, now garland, now cartouches - with words by Cernadas.

The collaboration between the Rubelli textile company, the Michela Rizzo Gallery and the artist Marcela Cernadas dates back to the long-term project Peneolpe: an association gathered in the recent essay published in Madrid * which traces the performances presented in the Garden of the Gallery in the autumn of 2016 and in the previous Venetian headquarters of Rubelli in the spring of 2017. Two occasions where white linen - one of the artist's favorite colors - had an undisputed centrality. Now from the purity of the whites it ranges towards the lightness of the blues, wisteria and blues, recently appeared in the artist's research and associated with his position "on the ephemeral", stated in his Ephemeral Manifesto - also visible in the exhibition.

Dire il Tempo


Roman Opalka, Maria Teresa Sartori

Fondazione Querini Stampalia, Venice

May 7 - November 24, 2019

From 7 May to 24 November, the second chapter will involve the rooms of the Querini Stampalia Foundation House Museum, where the works of Roman Opałka and those of Mariateresa Sartori will be related to each other and to those of the institution's ancient collections.

Dire il tempo stems from the desire to deepen Roman Opałka's production through a selection of works that mark fundamental stages in his research, many of which have never been presented before in Italy or have never been exhibited, coming from important private and public collections, including the museum. Muzeum Sztuki of Łódź and above all the Fonds de Dotation Roman Opałka, with which a close collaboration was born in the conception of the project.

Both exhibitions will revolve around OPALKA 1965/1-∞, a research to which the artist has dedicated most of his life and of which the first and last Détail on canvas will be exhibited together for the first time ever: the first from Muzeum Sztuki, Łódź for the first time in Italy, and the last, left unfinished, never presented to the public and coming from Poland, and visible for the
a private collection.

Heart of the Franco-Polish artist's production, OPALKA 1965/1-∞ will be the fulcrum of the exhibition itinerary that will unfold between Milan and Venice covering the entire span of his activity, from the first works to the most recent, making the great I also publish lesser known aspects of his artistic research, but fundamental for his conceptual and linguistic formulation.

At the Querini Stampalia Foundation, alongside the representations on time by Roman Opałka, a nucleus of works by Mariateresa Sartori (Venice, 1961), an artist from another generation who had developed a deep friendship with Opałka, will be presented. Scattered along the path of the museum, Sartori's drawings and photographic images reveal the subtle and invisible textures determined by our movement in space and through time. At the center of the itinerary is the impressive installation The time of sound. Waves: a wall completely covered with sheets of paper on which the artist, with charcoal, translated the sound of the sea waves in real time into a visual form. The installation will resonate with Opałka's voice as he pronounces the numbers he is painting in Polish.



Francesco Jodice

Fotografia Europea 2019 - Reggio Emilia

On June 17, 1989, Francis Fukuyama mentions for the first time the expression End of History to indicate the term which has occurred of the events generated by men.
According to this theory, all events subsequent to this point in history are circular repetitions of events that have already occurred.
The future is over.

On the same day, the Chinese space agency secretly launches the Kaiju 2 probe.
Mission intent: to reach the edge of a black hole, the threshold where time stops, the light goes out and all matter collapses.
Purpose: to see what is on the other side.

This cutscene is the last message sent by the Kaiju 2 probe two before disappearing inside the black hole.