silvia hell VRS (piano focale a soggetto mobile)

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.

download complete text on VRS process / download il testo di spiegazione del processo VRS

Opening Saturday March 15, 6pm / Inaugurazione sabato 15 marzo, ore 18.00. Photo by Davide Sala

download comunicato stampa – ita /

2- nicola melinelli _ sx ST olio su tela 230x190cm 2014 _ ST olio su tela 190x160cm 2014

“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

CS ita ACTINIARIA - catalogue / text / images

photo by Davide Sala

Paolo Meoni Volumi exhibition view @ AplusB Brescia - photo 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)

catalogue pdf with text by Elio Grazioli on Volumi (ita/engl)

Paolo Meoni Volumi exhibition view @ AplusB Brescia - photo davide sala

Paolo Meoni Volumi exhibition view @ AplusB Brescia – photo davide sala

comunicato stampa – volumi / press release – volumi

AQUEMINI - vista d'insieme2 - A+B brescia ph mauro prandelli_web

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)

 AQEUMINI catalogo – pdf  - ita

First speech.
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)

Slow distance.
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.

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

Comunicato Stampa – AplusB_palazzoGuaineri

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).


web texts: D.repubblica, by Angelo RuggeriEspoarte, by Ilaria BignottiExibart, by Bianca MartinelliArtribune, by Marta Cereda


marco la rosa - nazzarena poli maramotti @ aplusb - 2013 ph: mauro prandelli

Marco La Rosa and Nazzarena Poli Maramotti present at AplusB the meeting between proximity and distance opened to common thoughts that take place in each artist’s practice. “Between signs and measure” is a collection of brand new works, specially produced for this exhibition. Marco La Rosa (1978, lives and works in Brescia) is an artist who prefers sculptur and installations, while the survey of Nazzarena Maramotti Poli (1987, lives and works in Nuremberg) is in pictorial form.

download comunicato stampa / download press release

New Domestic Soundscapes #7


Attila Faravelli & Matija Schellander

Sabato 25 maggio 2013, ore 21.
Il sound artist Attila Faravelli e il contrabbassita Matija Schellander presentano il dispositivo Freie Aerophone (Aural Tools #2).

download introduction to Aural Tools

musical performance supported by


Max Frintrop #Abstraction, exhibiton view, AplusB, I. Ph: mauro prandelli

Max Frintrop #Abstraction, exhibiton view, AplusB, I. Ph: mauro prandelli

“#Abstraction” at AplusB Contemporary Art in Brescia is Max Frintrops (Oberhausen D, 1982) first exhibition in Italy. He completed his studies as a master student with the diploma in art at the Düsseldorf Academy of Art. AplusB shows a series of abstract paintings which reflect the artists work between impetus and composition. With “#Abstraction” Max Frintrop presents a different view of his former Ricochet paintings. Max Frintrop is continuously searching for the perfect way to create a interaction of the components of his paintings and a new sensitiveness. The observer immediately detects this by the compositional tension, the approach of colours and spatial constructions and the strong anthropological presence.

until april 24, 2013

P.R. max frintrop #abstraction – eng

C.S. + Immagini + cv Max Frintrop #Abstraction AplusB 2013


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