{"id":8810,"date":"2020-02-11T20:46:36","date_gmt":"2020-02-11T18:46:36","guid":{"rendered":"https:\/\/www.artificialis.eu\/?p=8810"},"modified":"2020-02-12T13:22:05","modified_gmt":"2020-02-12T11:22:05","slug":"bologna-art-city-2020-glances-on-realities","status":"publish","type":"post","link":"https:\/\/www.artificialis.eu\/?p=8810","title":{"rendered":"Bologna Art City 2020 \u2013 Glances on Realities"},"content":{"rendered":"

\"\"<\/a>For the second part of our Art City tour throughout Bologna, we concentrate on the western area of the city centre. Some exhibitions glance at our present, others are going back in history, partly back into archaic times. There are excursions into dream worlds, human or android; forms or colours are featured and our perception is challenged to (re)discover familiar and unknown fields.<\/p>\n

 <\/p>\n

Spazio Carbonesi: Silvia Camporesi – Circular View<\/a><\/p>\n

Galleria Studio G7: Ann Veronica Janssens<\/a><\/p>\n

Adiacenze: bn+ BRINANOVARA – Dreamt Uncanny Valley<\/a><\/p>\n

Ono Arte Contemporanea: Chernobyl – l\u2019ombra lunga. Fotografie di Gerd Ludwig<\/a><\/p>\n

Casagallery Itinerante: La Passione di Santa Margherita<\/a><\/p>\n

CAR DRDE: Elia Cantori – Shadow in process<\/a><\/p>\n

LocaleDue: Giulio Delv\u00e9 – UE o non UE<\/a><\/p>\n

P420: Franco Vaccari – Migrazione del reale<\/a><\/p>\n

Gallleriapi\u00f9: Contropelo – Ivana Spinelli<\/a><\/p>\n

MAMbo: Figurabilit\u00e0 – Pittura a Roma negli anni Sessanta, Claudia Losi – Ossi, La Galleria de\u2019 Foscherari 1962 \u2013 2018<\/a><\/p>\n

 <\/p>\n

Silvia Camporesi. Circular View.<\/strong>
\nSpazio Carbonesi, Palazzo Zambeccari
\nVia De\u2019 Carbonesi 11, Bologna
\nwww.gruppohera.it<\/a><\/span><\/p>\n

24 January \u2013 24 February 2020<\/p>\n

\u201cCircular View\u201d by Silvia Camporesi, is part of a project, commissioned by the waste disposal and energy supply company Gruppo Hera. During one year, Silvia Camporesi visited the construction zone of the biomethane plant in Sant\u2019Agata Bolognese every month. The completed structure transforms organic waste into natural gas. As complement to the show, a photobook was released with images, which illustrate the genesis of the construction.<\/p>\n

In the exhibition, there are eleven large-sized photos, installed in lightboxes emerging in the dark. Depicted are views of the structure, but also single construction tools, heaps of waste and intermediate products. The settings are chosen to underline the aesthetic character of every single element. Moreover, the whole arrangement permits interesting outlooks where two or more images communicate.<\/p>\n

ngg_shortcode_0_placeholderAnn Veronica Janssens<\/strong>
\nGalleria Studio G7
\nVia Val D\u2019Aposa 4A, Bologna
\n\/ Cappella di Santa Maria dei Carcerati, Palazzo Re Enzo
\nPiazza del Nettuno 1, Bologna
\nwww.galleriastudiog7.it<\/a><\/span><\/p>\n

20 January \u2013 23 March 2020<\/p>\n

Ann Veronica Jannssens\u2019 installation in the Galleria Studio G7 might be a little bit minimalistic, but subtle. However, it takes up the entire space. Two coloured spots illuminate one of the white walls. The light is reflected at the other room-boundings, so that the whole chamber is bathed in coloured shades. This play of light finds a climax in a matt metal rhombus at the wall opposite to the spots, where the tinted echo produces a different effect than on the white painting. It is relaxing to consume the atmosphere. Moreover, it enables a new perception of the environment and of oneself.<\/p>\n

ngg_shortcode_1_placeholderThe installation in the chapel of Santa Maria dei Carcerati is also very discrete. Nevertheless, the three mirrors on the floor expand David Tremlett\u2019s wall paintings. In 2003, the artist\u2019s aim was to enlarge the spatial impression by ideal landscapes. Now the visitor in the small room experiences an additional extension into the ground.<\/p>\n

 <\/p>\n

ngg_shortcode_2_placeholderbn+ BRINANOVARA: Dreamt Uncanny Valley<\/strong>
\nAdiacenze
\nVicolo Spirito Santo 1, Bologna
\nwww.adiacenze.it<\/a><\/span><\/p>\n

24 January \u2013 7 March 2020<\/p>\n

For the site-specific exhibition, the artist duo bn+ BRINANOVARA (Giorgio Brina and Simone Novara) was inspired by dreams, might it be human visions or the ones of androids. Androids, even though different from human beings, are longing to try empathy. Correspondingly, the show takes us into a dream world. Here unexpected objects occur, which could awake memories. This is intended by the artists: they want to find out, if a human being could develop empathy with the artworks on view.<\/p>\n

Presented are pieces that seem to be known, though the artist duo integrated disturbances. The damask wallpaper is black, not white as to be expected; Vittore Carpaccio\u2019s knight has dropped parts of his armament and Damien Hirst\u2019s diamond skull has lost its encrustation. All this might be a nightmare for the quoted artists. Nevertheless, the skull is an attractive installation behind a transparent curtain, where the black head is enthroned on a hill of its detached precious stones, enveloped by comfortable yellow light.<\/p>\n

ngg_shortcode_3_placeholderChernobyl: l\u2019ombra lunga. Fotografie di Gerd Ludwig<\/strong>
\nOno Arte Contemporanea
\nVia Santa Margherita 10, Bologna
\nwww.onoarte.com<\/span><\/a><\/p>\n

32 January \u2013 15 February 2020<\/p>\n

A very different kind of nightmare shows Ono Arte with the long shadow of Chernobyl. On Saturday 26 April 1986 occurred a nuclear meltdown, which contaminated not only the direct environment, but also many parts of Western Europe. Since 1990, the photographer Gerd Ludwig travelled the ancient republics of the former USSR, to document the effects of the dissolution of the federal state. In 1993, he visited for the first time Chernobyl and was in 2005 the first western photographer to enter the nuclear plant and the reactor No. 4, where the incident took place. Gerd Ludwig returned in 2011 and 2014, to complete his researches. His photos witness not only the situation in the centre of the disaster, but also the impact on the direct environment like abrupt left places and the social and health consequences, which still exist, even for the coming generations.<\/p>\n

ngg_shortcode_4_placeholderLa Passione di Santa Margherita<\/strong>
\nCasagallery Itinerante
\nMuseo della Resistenza
\nVia San Isaia 20, Bologna
\nwww.casagalleryitinerante.com<\/a><\/span><\/p>\n

22 \u2013 31 January 2020<\/p>\n

By tradition, the exhibitions of the Casagallery Itinerante are site-specific. Already hosted several times by the Museum of Resistance, the invited artists focus on the figure of the Saint Margaret of Antioch. Depictions of her, are visible in the museum\u2019s hall, due to its past as a convent. This saint inspired the presented artists with regard to the pictures in place, but also by her legend and patronage. The artists are Barbara Ceciliato, Roberta Fanti, Serena Shan Yang Lin and Tomomi Takamatsu.<\/p>\n

ngg_shortcode_5_placeholderElia Cantori: Shadow in process<\/strong>
\nCAR DRDE
\nVia Azzo Gardino 14\/a, Bologna
\nwww.cardrde.com<\/a><\/span><\/p>\n

23 January \u2013 21 March 2020<\/p>\n

At the gallery CAR DRDE, Elia Cantori visualises, in his own tradition, the genesis of his oeuvres. At the same time, he focusses on negatives to reveal new details and spaces. For his series Untitled (Photopsyche), which reminds the Rorschach tables from psychoanalysis, he poured a fluorescent liquid on photosensitive paper. The resulting photograms are showing dark zones where the illuminant touched the sheet. Untitled (Double Absence) is a portray of a broken mirror, replicated in aluminium. However, the shards only describe the space; the original mirror once has taken. In the untitled series (1 : 1 Map) the process of creation remains particularly visible. The aluminium castings of geographical maps show traces of the melting sand. Even though, the reproductions bear the same marks like dimensions and folds as the original plans, they are thicker as the paper and take up more space. Therefore, they recall in their three-dimensionality the depicted landscapes on the maps.<\/p>\n

ngg_shortcode_6_placeholderMono 7, Giulio Delv\u00e9: UE o non UE<\/strong>
\nLocaleDue
\nVia Azzo Gardino 12\/a, Bologna
\nwww.localedue.it<\/a><\/span><\/p>\n

16 January \u2013 25 February 2020<\/p>\n

LocaleDue continues its exhibition series \u201cMono\u201d, where it only presents one single oeuvre, without any curatorial, biographical or critical information. The only given information is the artist\u2019s name and the title of the work. Appropriate to the Brexit, Guilio Delv\u00e9\u2019s PVC-banner is called \u201cUE e non UE\u201d. Nevertheless, the title might refer to the origin of durum wheat for the production of pasta. Actually, the banderole is an enlarged replica of a noodle package, released by the FEAD (Fund for European Aid to the Most Deprived). In the description of the content, the origin is vaguely formulated: \u201cUE e non UE\u201d.<\/p>\n

ngg_shortcode_7_placeholderFranco Vaccari: Migrazione del reale<\/strong>
\nP420
\nVia Azzo Gardino
\nwww.p420.it<\/a><\/span><\/p>\n

23 January \u2013 21 March 2020<\/p>\n

The gallery P420 invites the visitor to emerge into Franco Vaccari\u2019s dream worlds. Supported by the dimmed lightning, it can be directly experienced, when entering the gallery. Ten works of the artist\u2019s long-term project are on view, which can be discovered when approaching closer. Only when the spectator is close to one oeuvre, a lamp above turns on. Then, one of Vaccari\u2019s dreams from the 1980s can be contemplated. On view comes a collage made of drawing and text, which describes a particular oneiric image from a special day. Some images are more familiar than others are. Beyond that, new contexts arise. For example, there is a Mickey Mouse descending stairs. In the background, one could recognise a Marcel Duchamp quote, with forms from \u201cNude Descending a Staircase, No. 2\u201d. Both motives are \u201cexisting\u201d in the real world. Nevertheless, they are human inventions, but found their way into the artist\u2019s dreams. Franco Vaccari commented this entanglement in 1985: \u201cThe real world has been emptied of reality, while at the same time reality has migrated towards the territory of dreams\u201d, underlining that he is \u201cattracted by the \u2018real\u2019 dimension of dreams\u201d.<\/p>\n

ngg_shortcode_8_placeholderAnother interleaving is produced in the monumental projection of the video \u201cOumuamua\u201d (a messenger from afar arriving first). A stone in form a cigar approaches from far away, until filling the entire screen. Its environment seems to be the cosmos. It is a video simulation of the interstellar object \u201cOumuamua\u201d, detected in 2017. Scientifically evidenced, the celestial body remains invisible for the human eye. Once again, reality and imaginary worlds are mixed.<\/p>\n

ngg_shortcode_9_placeholderContropelo. Ivana Spinelli<\/strong>
\nGallleriapi\u00f9
\nVia del Porto 48 a\/b, Bologna
\nwww.gallleriapiu.com<\/a><\/span><\/p>\n

23 January \u2013 28 March 2020<\/p>\n

Ivana Spinelli deals with prehistory and in particular with the beginnings of scripture. On focus in the exhibition is the zigzag, which outlasted in our subconscious and as decorative element until today. However, for the indigene people of ancient Europe, this sign meant water, important for survival. The artist includes the zigzag into her artworks. This could be in sculptural objects, where the meandering line becomes stairs or a portable element like a bag. Alternatively, it could be printed or engraved on different materials, sometimes besides other signs, for us hardly to decipher. In connecting the zigzag to organic or artificial components, Ivana Spinelli refers to the prehistoric origin of our contemporary time.<\/p>\n

In doing so, the artist points to the Gilanic society, widespread throughout Europe during the Neolithic Age. Scientific researches, in particularly by Marija Gimbutas, established that it was an egalitarian, matriarchic and peaceful civilisation, later infiltrated by patriarchal people (Kurgan hypothesis<\/a><\/span>). The concept of Gilanic society is confronted with our actual worldview like combing against the grain, as the exhibition title \u201cContrepelo\u201d suggests.<\/p>\n

ngg_shortcode_10_placeholderFigurabilit\u00e0. Pittura a Roma negli anni Sessanta. & Claudia Losi. Ossi.<\/strong>
\nMAMbo \u2013 Museo d\u2019Arte Moderna di Bologna
\nVia Don Minzoni 14, Bologna
\nwww.mambo-bologna.org<\/a><\/span><\/p>\n

22 January \u2013 30 June 2020<\/p>\n

After the realist-abstract debate, figuration returned within a group of artists residing in Rome in the 1960s. Influenced by Renato Guttuso and an ambience of emerging and interlaced galleries and art critics, they developed a visual language, including popular images and propaganda symbols. Partially, they referred to historical models. For the exhibition \u201cFigurabilit\u00e0. Pittura a Roma negli anni Sessanta\u201d (Figuration. Painting in Rome in the 1960s), the MAMbo researched their archives with regard to this special period. In the hall dedicated to Guttuso\u2019s \u201cFunerali di Togliatti\u201d (Togliatti\u2019s Funeral) from 1972 are now some of the works presented, to communicate with this monumental painting.<\/p>\n

ngg_shortcode_11_placeholderAlso included in the permanent collection, is Claudia Losi\u2019s installation \u201cOssi\u201d (bones), which goes even farther back into history. The ceramic replica of three whale-bones invites to reflect on the relation between history and nature by the reduction of this enormous mammal to its bones. Herewith, the sculpture refers to our imagination going back to archaic times.<\/p>\n

ngg_shortcode_12_placeholderAdditionally, in the Project Room the exhibition \u201cLa Galleria de\u2019 Foscherari 1962 \u2013 2018\u201d is still visible (until 15 March 2020). It is dedicated to the influential Bolognese Gallery, which brought renowned artists and curators to the city, enriched by a cultural and editorial program. The show describes the gallery\u2019s activity from the beginnings until 2018, when Pasquale Ribuffo, co-founder passed away.<\/p>\n

ngg_shortcode_13_placeholderIn the Sala delle Ciminiere, \u201cAIGAINandAGAINandAGAINand<\/a><\/span>\u201d is not to be missed. Here seven international artists are reflecting on the eternal loop. (until 3 May 2020)<\/p>\nngg_shortcode_14_placeholder\n","protected":false},"excerpt":{"rendered":"

For the second part of our Art City tour throughout Bologna, we concentrate on the western area of the city centre. Some exhibitions glance at our present, others are going back in history, partly back into archaic times. There are excursions into dream worlds, human or android; forms or colours are featured and our perception… (read more<\/a>)<\/p>\n","protected":false},"author":1,"featured_media":8906,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[18],"tags":[33,2311,2278,359,302,2297,2279,23,2295,398,1530,2025,2277,2292,2288,1143,2303,2280,1415,2290,2309,2286,118,44,2282,2305,2313,1566,2294,87,2289,2312,2308,2283,397,2281,565,2306,2287,271,2293,2304,147,2296,1264,2291,2310,2302,2301,2307,2298,2068,2299,2284,934,2314,2276,2300,2285,719,357],"class_list":["post-8810","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-exhibitions","tag-adiacenze","tag-aigainandagainandagainand","tag-ann-veronica-janssens","tag-art-city","tag-arte-fiera","tag-barbara-ceciliato","tag-bn-brinanovara","tag-bologna","tag-cappella-di-santa-maria-dei-carcerati","tag-car-drde","tag-casagallery-itinerante","tag-chernobyl","tag-circular-view","tag-claudia-losi","tag-contropelo","tag-david-tremlett","tag-dream","tag-dreamt-uncanny-valley","tag-elia-cantori","tag-figurabilita","tag-foscherari","tag-franco-vaccari","tag-galleria-studio-g7","tag-gallleriapiu","tag-gerd-ludwig","tag-gilanic-society","tag-giorgio-brina","tag-giulio-delve","tag-gruppo-hera","tag-italy","tag-ivana-spinelli","tag-kurgan-hypothesis","tag-la-galleria-de-foscherari-1962-2018","tag-la-passione-di-santa-margherita","tag-localedue","tag-lombra-lunga","tag-mambo","tag-marija-gimbutas","tag-migrazione-del-reale","tag-ono-arte-contemporanea","tag-ossi","tag-oumuamua","tag-p420","tag-palazzo-re-enzo","tag-photography","tag-pittura-a-roma-negli-anni-sessanta","tag-project-room","tag-realities","tag-reality","tag-renato-guttuso","tag-roberta-fanti","tag-sala-delle-ciminiere","tag-serena-shan-yang-lin","tag-shadow-in-process","tag-silvia-camporesi","tag-simone-novara","tag-spazio-carbonesi","tag-tomomi-takamatsu","tag-ue-o-non-ue","tag-ussr","tag-white-night"],"_links":{"self":[{"href":"https:\/\/www.artificialis.eu\/index.php?rest_route=\/wp\/v2\/posts\/8810","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artificialis.eu\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artificialis.eu\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artificialis.eu\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artificialis.eu\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=8810"}],"version-history":[{"count":0,"href":"https:\/\/www.artificialis.eu\/index.php?rest_route=\/wp\/v2\/posts\/8810\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artificialis.eu\/index.php?rest_route=\/wp\/v2\/media\/8906"}],"wp:attachment":[{"href":"https:\/\/www.artificialis.eu\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=8810"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artificialis.eu\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=8810"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artificialis.eu\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=8810"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}