Curated by Martina Cavallarin
February 27 - April 03, 2010
Latitudes | Longitudes is a collective exhibition for single voices, an exhibition that makes use of the presence of works by artists who collaborate with the Michela Rizzo Gallery, diversifying by culture, generation, geographical area, language, and poetic code.
The geographic latitude and longitude are the coordinates that allow you to find a point, thus establishing the conjunction that is prescribed in the exhibition for differences and comparisons.
In the halls of the Venetian gallery, the temperature varies, passing from the primordial sculptures of the New Yorker Richard Nonas to the unrivalled aesthetic perfection of the Californian Barry X Ball, from the volumes of the Australian Lawrence Carroll to the conceptual signs of the Venetian Maria Teresa Sartori. The walls support the sheet metal mechanisms by Francesco Bocchini from Romagna, the ironic and unsettling works of the Bassano Antonio Riello and the Macedonian Robert Gligorov, and the alienating refinement of the Venetian Giovanni Rizzoli. The atmosphere becomes magical-religious with the idols of the Italian Argentine Sebastiano Mauri up to the "plastic souls" of the video Packaging's Life by Silvio Giordano and the processuality of the works of the New Zealander David Rickard.
Latitudes | Longitudes revolve around the coexistence of different obsessions organized in a structure of controlled chaos, modulated with variable languages, but which presupposes technical research, the different identities of the presences, the dangerous stratifications, the tension between the visible and the invisible, the sedimentations of experiences always to be checked, constantly to be undertaken.
Barry X Ball was born in 1955 in Pasadena, CA and lives and works in New York.
He has reinvigorated the age-old tradition of figurative sculpture through the use of unconventional materials and methods. Ball employs a complex array of equipment and procedures to realize his sculptures, ranging from the cutting edge to the traditional, from 3D digital scanning, virtual modeling, 3D printing, and computer-controlled milling to hyper-detailed hand carving and polishing. Although paying reverent homage to their historical antecedents, they are completely new. With their simultaneous fever-pitch intensity and surreal stillness, Barry X Ball’s bravura works make an expansive case for the reconsideration of contemporary sculptural practice.
Ball’s art has been exhibited at Nasher Sculpture Center, Ca' Pesaro in conjunction with la Biennale di Venezia, Villa Panza, Powerhouse Museum / Museum of Applied Arts & Sciences, Frist Center for the Visual Arts, Casa Vasari, Museum of Arts and Design, Bass Museum of Art, Ca' Rezzonico in conjunction with la Biennale di Venezia, PS 1 Contemporary Art Center, SITE Santa Fe, Ballroom Marfa, Galerie Nationale du Jeu de Paume, Magasin 3 Stockholm Konsthall, Le Printemps de Septembre, Domaine de Kerguéhennec, Kunsthalle Krems, Museo Cantonale d'Arte, me Collectors Room Berlin, Modemuseum Hasselt, Beijing Today Art Museum, Museo di arte moderna e contemporanea di Trento e Rovereto, Le Quartier, Centre d'art contemporain de Quimper, Musée d'art contemporain de Lyon, and at many international contemporary galleries and art fairs.
His work is in the collections of the Hammer Museum, San Francisco Museum of Modern Art, The Norton Museum of Art, The Maramotti Collection, Le Fonds régional d'art contemporain Bretagne, Magasin 3 Stockholm Konsthall, Museo Cantonale d'Arte, Museo di arte moderna e contemporanea di Trento e Rovereto, The Berlingieri Collection, The Olbricht Collection, and The Panza Collection.