Palazzo Guaineri delle Cossere
contrada delle cossere 22
25122 – Brescia, Italy
metro/parking: Piazza Vittoria
Opening Saturday May 24, 2014. From 7 to 10 pm
A+B contemporary art is pleased to announce “L’avventura / Die mit der Liebe spielen”, a group exhibition curated by Lena Ipsen with works by the following eleven artists:
David Czupryn (*1983 in Duisburg), Robert Elfgen (*1972 in Wesseling am Rhein), Max Frintrop (*1982 in Oberhausen), Tobias Hoffknecht (*1987 in Bochum), Melike Kara (*1985 in Bensberg), Valerie Krause (*1976 in Herdecke), Michail Pirgelis (*1976 in Essen), Dennis Scholl (*1980 in Hünfeld), Jana Schröder (*1983 in Brilon), Philip Seibel (*1980 in Hagen) and Stephanie Stein (*1972 in Kiel).
The exhibition title L’avventura / Die mit der Liebe spielen refers to the Italian and German titles of a film from 1960 by Michelangelo Antonioni (English title: The Adventure), one of the most important protagonists of Neo-Realism. The title thus pays homage to this particular Italian-born film genre. The plot can be understood as a metaphor for the quest of the artist and leads to the insight that the emptiness which often remains is just as meaningful as the starting point itself. Since the invention of the new medium of the moving image, film and the visual arts have partaken in a reciprocally inspiring relationship. The perception of the world around us is influenced more than anything else by film, which thus also plays a decisive role both in the production and reception of the visual arts.
For the most part, the artists participating in L’avventura / Die mit der Liebe spielen studied at the Academy of Art in Düsseldorf and live and work in the Rhineland region. The majority of the works on view have been created especially for the exhibition and are being presented to the public for the very first time. The various contemporary positions make use of the media of drawing, painting, sculpture and video and are being presented within an impressive framework, namely the 17th century Palazzo Guaineri delle Cossere in the historic town centre of Brescia, leading to a fruitful dialogue between art created in Germany and the ambiance of Italy.
VRS (Focal-plane shutter with moving subject) is an investigation on the three dimensions of the acronym VRS: (from italian: Veglia, Ricordo, Sogno which stands for waking hours, memory and dream). The title indicates the relation between the subject and the physicalplane, which activates the path of the sight. The moving subject is at the same time both the spectator who being in the physical condition determined by the shape of the work itself, a plane with the image pointed downwards, visible lying on a trolley; the perception of which is modified by how the spectator moves and the subject of the vision itself: the geometry which evolves while moving between the three states.
Opening Saturday March 15, 6pm / Inaugurazione sabato 15 marzo, ore 18.00. Photo by Davide Sala
“Your show title suggests me to think of Actinians that are more commonly known as sea anemones. They are so extremely flashy, almost precious, sensual, and, as a counter to such beauty, at the same time they have stinging and deadly tentacles for those approaching. As a fish unaware of my last end, I get closer realizing I find the place less and less reassuring. And, just as the fish tries to escape after the collision, I do the same with my eyes, but it’s too late: I’m in that space, and I understand that the only way to save myself it’is to look across the surface. Scanning the whole, each corner suggestes me that there are different possibilities refused at the first eyes rest, on another line, another portion of color, another intersection. I understand, everything falls apart in front of my eyes.” (Vincenzo Simone)
visit: giovedì > sabato 15/19 – thursday > saturday 3/7pm – until february 22
photo by Davide Sala
Volumi is the title of the series of photografical works that Paolo Meoni presents for the first solo show at AplusB. “The scanner is used as a sort of photography unconscious, which emerges or submerges the image, and that’s precisely why it becomes other, different, strange, alien. It’s not only the image of reality, but something more. Under the guise of geometry something else occurs and literally comes to light. It is something folded, wrapped in on itself; it is space, time … The image of the photography itself”. (Elio Grazioli)
AQUEMINI is the first solo show by the italian artist Graziano Folata (Rho, 1982).
Aquemini. The wet nature of vision, the fire nature of the stars. How can you aim for seeing the new? How to ensure that the world can be rediscovered and can be conceived again as if been looked for the first time? And how, by virtue of this inaugural look, can we renew it? How to redeem it for eyes that will come? I believe that this utopian hypothesis is linked to a work in progress; to a sensitivity that joins the world considered as an aesthetic phenomenon, as a construct of events and latent images ready to be awakened, to be disclosed to the power visionary immanence. It’s a gentle force of a secret organ that, secretly likewise, secretes new material expression. It is the desire opposed to starvation of the show, the desire that allows you to see, to make a conscious act of looking and recognize . The active perception becomes composition, poetic gesture, invention transformation and excellence, in a word: Glory. These structures of meaning presented within AQUEMINI are the forms of two inaccessible habitats to man: stars and marine liquidity, but they are also probes for imagination that visits deep and stars. (G.F 2013)
The light of the image moves onto the transparent surface of the glimpse and it lights up what you cannot see. The light marks a perimeter of sense, it draws the line. Gold, stone, light and darkness. Earsplitting beauty in the dark gloomy night that surrounds us and everything seems to swallow. Like a lightning that awakens wingding. The night fills up. The eyes see one more time. Life is here. Beginning without end. Roll out. (Federico Ferrari)
I see moisture and dryness. I feel smoothness and wrinkle. I see an endless assembly of moments seeking a sync in their inescapable and daily run. I also see swings and balances that, on the contrary, are given by a quiet leaving, which does not seem to find peace, precisely because made by something living, destined to a natural aging. A corporal silent action triggers in this “sensory structure”; so fragile and flexible, but in meanwhile so powerful in its ability to stop in a space-time power. This action, “abandoned” to the movement of other bodies, has its origin in a practice – as well as in a precise thought – and seems to want to slowly reach a step that perhaps it’s even not allowed to. Just because it is a gesture that we can define “inaugural”: it is from there that you feel already the germ of the “visual difference” in which it becomes real a dangling picture. The image resists to a “imaginative” flow, and the gaze – who first surveyed material and surface, light and movement – is the embryonic stage of that germ. (Giovanna Manzotti)
Content and container are mixed up. Graziano Folata preserves the trace of what leaves no trace. That melts in the sun, under the gaze of children not aware of how childhood can be synonymous with cruelty and sadism. Those dancers, those paratroopers composed primarily of water turn into water on the paper for etching. They were jellyfish, they become sea. A yellow-crowned sea, choppy. (Marta Cereda)
New domenstic soundscapes #8
BLY (voice) / VILDA&INGA (violin, double bass)
double music improvising performance. Saturday October 12, 9pm
BLY Key to the duo’s artistic expression is the xploration of different textures produced solely by voice. Using everyday vocal sounds as a starting point, BLY seeks to find an electronic expression through an acoustic forma. http://www.blyweb.com/
VILDE&INGA is a young string duo playing acoustic free improvised music, featuring violin and double bass. Vilde Sandve Alnæs and Inga Margrete Aas are classically trained musicians from Norway.
Palazzo Guaineri delle Cossere, contrada delle Cossere, 22 – Brescia
Graziano Folata (Milano, 1982); Max Frintrop (Obenhauser, D, 1982); Silvia Hell (Bolzano, 1983); Osamu Kobayashi (Columbia, SC, 1984); Marco Lampis (Cagliari, 1976); Marco La Rosa (Brescia, 1978); Fancesca Longhini (Brescia, 1985); Luca Macauda (Modica, 1979); Davide Mancini Zanchi (Urbino, 1986); Tiziano Martini (Soltau, 1983); Nicola Melinelli (Perugia, 1988); Paolo Meoni (Prato); Nazzarena Poli Maramotti (Montecchio Emilia, 1987); Aural Tools (progetto oggettuale/sonoro curato da Attila Faravelli, Milano).