Monica Bonvicini

Monica Bonvicini emerged as visual artist and started exhibiting internationally in the mid-1990s. Her multifaceted practice—which investigates the relationship between architecture, power, gender, space, surveillance and control—is translated into works that question the meaning of making art, the ambiguity of language, and the limits and possibilities attached to the ideal of freedom.

Bonvicini has earned several awards, including the Golden Lion at the Biennale di Venezia (1999). She is currently represented by Galerie Peter Kilchmann, Zurich; König Galerie, Berlin; Galleria Raffaella Cortese, Milan; and Mitchell-Innes & Nash, New York.

 


© Monica Bonvicini — monicabonvicini.net↗︎
Photo by Jens Ziehe, Achim Kukulies, Christopher Burke


Adelaide Cioni

Adelaide Cioni ↗︎ (Bologna, 1976) studied drawing at UCLA, Los Angeles, and holds a BA in Sculpture from the Academy of Fine Arts in Rome.

In 2014 she was resident for six months at the Cité Internationale des Arts in Paris, and won the Celeste award. In 2015 she was resident in Villa Sträuli, Switzerland. In 2016 she moved to Umbria and opened with Fabio Giorgi Alberti an independent space/studio called “Franca ↗︎“.

She has exhibited in Italy and abroad in independent and institutional venue, including the MAMbo ↗︎ in Bologna with the solo exhibition “à propos de bacchelli 5″, curated by Elisa del Prete and Home Movies in 2015.

Cioni works with drawing, also in installation form.
Among the themes of his research there is the relationship with the living space, memory and objects.

In Adelaide Cioni’s work, colour breaks in and invests in us: it is a body-colour that embodies itself in a form, becoming volume, surface or threshold and filling the space.

—Cecilia Canziani, 2019

 

His latest exhibition “Shape, color, taste, sound and smell” has been presented by the P420 ↗︎ gallery in Bologna in a double solo exhibition with the Belgian artist Guy Mees (Mecheln, 1935 – Antwerp 2003).


© Works by Adelaide Cioni — adelaidecioni.com ↗︎
© Pictures C. Favero – Courtesy P420, Bologna


The architectural metamorphoses in the work of Matteo Galvano / Interview

The exhibition architAMORfosi by Matteo Galvano, sponsored by the Association of Architects of Milan and supported by Interface Facility Management ↗︎ and Sharebot Monza ↗︎, has been inaugurated at the Interface HUB/ART exhibition space and will be open until September 8th.

The exhibition, curated by Roberta Macchia and Greta Zuccali, highlights the Galvano’s work.

His artistic research characterized by the use of the pen, a technique that requires time and precision to trace by hand countless signs and traits, sometimes more intense and others lighter, offers the opportunity to capture the essence of the subjects represented.


GZ. Your research started in 2002 and evolved along with your ability to use the ballpoint pen. Your work now arrives in Milan, a city while maintaining intact a bourgeois soul represented by the beautiful Art Nouveau buildings of the early twentieth century, in the last twenty years has not only changed skyline but also architectural imagery. Can you tell us how your work was born, and which city inspired it?

MG. My work was born from a trip to New York in 2010 where I developed the idea of evolving my artistic research focusing it on the theme of architecture. Initially, the vision also contained elements of the urban landscape that I called “urban jungle” and I was constantly looking for perspective details useful to enhance the architecture of my interest, as if they were accompanying it.

 

So, from the study of the architectures encountered during your travels was born in 2014 the series architAMORfosi (officially presented at the Italian Pavilion during EXPO 2015) in which, through drawings made in black and white, rewrite with the sign of the “ballpoint” your personal vision of urban architecture, you suggest new spatial and temporal coordinates. How does the theme of metamorphosis, who evokes multiple references and literary references, fit into your work?

From 2015 comes architAMORfosi, a new term coined by myself, as my strong need to unite the heart of different cities by creating a single body. I evolve this new research as every chrysalis becomes a butterfly. Just as Ovid in “Le metamorfosi” remembers that the creator of things forced the human being to contemplate the sky and raise his gaze straight to the stars, so my gaze moves from earth to sky imagining the amalgamation of my favorite architectural elements.

ARCHITECTURE – LOVE – METHAMORPHOSIS. This is the basis of my new current.

 

In Milan, as in other European cities, social inequalities are often associated with spatial inequalities. Do you think that your work can be the basis of an experimentation that leads to the birth of forward-looking and cutting-edge projects for the cities’ outskirts?

I am wide open to the use of new housing units in unimaginable contexts. With the current exhibition I have had the confirmation that every project can have an aim. The 3D prints, made in collaboration with Sharebot Monza, have confirmed that my future consists of entrances and exits just like any building in which everyone can find shelter. All this without any social distinction: I dream of a world accessible to all and I am sure that my “home” will become “home for all”.

 

On display at Interface HUB/ART an unpublished work entitled Land Time. 18 merged architectures give life to what you call your “ideal city”. In it you will find symbols such as Christ the Redeemer, who from the bay of Rio de Janeiro reaches the Statue of Liberty in New York or the Basilica of Santa Sofia in Istanbul, with its majestic profile blends with the fluid geometry of the Harbin Opera House in China. Have you ever thought of your work as an invitation to cross cultural boundaries and play with you, the author, in the search for hidden combinations in the work?

This question suggests a well-known game that has passed through the hands of several generations: the Rubik’s cube, not by chance, already described in the past as a 3D puzzle and invented by a Hungarian professor of architecture. Through the attempts to find the final solution, Rubik’s cube and the work you mentioned under the title Land-Time, synthesize in a single element the concept of achieving perfection passing from an initial state of disruption. Plato himself referred to the concept explained above, with the definition of the PRIMORDIAL CAOS from which the Demiurge draws for the formation of an ordered world: THE COSMOS.

 

In addition to Land Time and the series of sketches and drawings, the exhibition includes three works 3D printed. We are talking about the fusion between the Arena of Verona and the Tietgenkollegiet of Copenhagen, the monumental Makedonium of Kruševo that merges with the Fiore di Pietra of Mario Botta and Interface HUB (building that houses architAMORfosi), created by Attilio Terragni in 2012, which meets the Novocomum of Como, designed by Giuseppe Terragni in the late 20s of ‘900. Could you tell us more about the genesis of these projects?

The 3D project was born from my strong desire to create a work capable of being caressed to the point of offering the opportunity to dive into it in order to live it all around. The idea was born between several speeches treated with the curator Roberta Macchia, my collaborator and life partner. Every day we mature ideas to believe in, we store them and we keep them in mind to go to the constant search for the right place and time to be able to realize them. At Interface HUB/ART in Milan we managed to plant the first seed for a harvest that we hope will be flourishing, thanks to the commitment of the team that has supported us until now. The hope is to see it grow in other cities in Italy and abroad.

 

A work that is at once an invitation to travel.

A process that crosses the entire history of architecture and looks at it as a living organism in continuous transformation, a three-dimensional puzzle that acts as a backdrop to our lives and welcomes us every day, incessantly, in every city in the world.


Ai Nati Oggi — Alberto Garutti in Rome

Ai Nati Oggi. The installation of Alberto Garutti opens in Rome

The public art project “Ai nati oggi ↗︎” (To the ones born today) created by Alberto Garutti ↗︎ has been unveiled in Piazza del Popolo in Rome on July 2nd, with the presence of the mayor Virginia Raggi and Giovanna Melandri, President of the MAXXI Foundation.

As reported by ISTAT ↗︎, Italy has registered its “demographic decline” for the first time in the last 90 years, in the meantime “Ai nati oggi” celebrate the universal event of birth, moving a sudden and sincere emotion.

The ambitious project curated by Hou Hanru ↗︎ e Monia Trombetta ↗︎ and made possible thanks to Foundation Policlinico Universitario Agostino Gemelli IRCCS, the project connects the square’s lampposts with the Policlinico Agostino Gemelli IRCCS’ maternity ward. Every time the light pulses it means a baby is born: the installation is dedicated to him (or her) and all the newly born that day in the city.

Garutti, a significant public art’s representative, develops his research starting from works that leave the museum’s spaces to enter the urban landscape and create total engagement and sharing from the audience.

Pushing a button on every birth’s occasion – by the Policlinico Agostino Gemelli IRCCS’ ward staff – the lampposts light intensity will increase a bit for approximately thirty seconds before returning to its regular power. At every pedestrian entrance/exit route of the Piazza an iron plate is positioned with the caption’s high-relief:

The streetlights of Piazza del Popolo are connected to the maternity ward of Policlinico Agostino Gemelli.
Every time the light blinks, it means a child is born.
The work is dedicated to that child and all the children born today in this city.

Greta Zuccali


Details

When
from 02/07/2019 to 01/12/2019

Vernissage
02/07/2019 at 21:00

Authors
Alberto Garutti

Curated by
Monia Trombetta, Hou Hanru

Genre
Public Art, Contemporary Art


Matteo Galvano

Matteo Galvano was born in Como on January 3rd, 1983, where he currently lives and works.

He graduated at the Art Institute in Cantù, where he dedicated his studies on the artistic techniques deepen the interest in the use of a new tool: the ballpoint pen created by László József Bíró in 1938. An interesting fact is this year has the same digits in his date of birth.

From 2002, his artistic research has evolved with his ability to use the ballpoint pen: a technique with a high level of difficulty that requires extreme precision in tracing signs and strokes, now more intense, now lighter, knowing how to masterfully tame the ink that slips fast on white cotton paper, only after carefully studied the design idea.

 

In 2010 he went to New York. This trip can be considered the turning point of his artistic research architectures minded: witnesses of one of the highest forms of human intelligence, inspiring unlimited freedom of imagination.

 

The artist has received interesting reviews from art critics, newspapers and magazines journalists.

Today he is Testimonial of the company PaperMate with which he has collaborated on several projects including, in 2013, his first solo exhibition: “When Reason meets the Biro” and in 2015 the participation in EXPO at the Italian Pavilion.

In Italy, one of his works is in the permanent collection of the Bernasconi Museum in Cernobbio (CO).

 


Sito web personale


Intro "architAMORfosi"

The project architAMORfosi was born from the need of the artist to represent corners of the city in a way of their own, or rather corners of different cities as we have never seen them.

Looking at the works on display, we can notice a strong reference to the scripts of a film, to the shots capable of highlighting environment and character in a passage of images that flow and evolve between a frame and the other to create the film.

In detail, it is the medium field that has the greatest affinity with what has just been mentioned: in each of the works the environment is still very much present, even though the protagonist has a stronger impact. An environment that the artist interprets as a very white beam of light that, at high frequency, radiates out over the entire surface, leaving room for a single and unique protagonist: the architectural element.

Not only affinities but also distinctions between the world of cinema and the works on display. For Matteo Galvano, light is freedom, space where everything can be built, the possibility of making count what could be only considered an imaginary scheme.

Black and white until the early ’30s. Later, the colour projections.

At that moment, the decomposition of the white light visible in this exhibition path, according to Newton’s Theory of the Prism, is transformed into the seven colours of the spectrum within each of us, in the moment of transition between our logical reasoning (conscious mind) and our emotion (unconscious). We are therefore part of the prism that absorbs, decomposes and disperses, considering that every human being memorizes, reinterprets and communicates.

Following the route and observing each work, you will feel as if you are travelling through cities geographically distant from each other, and even more so, the sensation will explode in front of the work “Land-Time”.

The latter is an unpublished work in which the artist has engaged his creative force by multiplying that fusion that until today took its space on one side only. With “Land-Time”, Matteo Galvano wants to underline that the history of architecture is to be written not only in the vision of restored buildings but combining various architectural elements of the past as well as the present and making them an imaginative restoration.

In addition to the conventional works of the architAMORfosi series, the artist has realized “the desire” to hold a creation: exposed for the first time three examples of 3D printing reinterpreted to create a new visual effect and studied differently for each of them.

For the 3D section, the artist was joined by Lorenzo Manzoni, co-designer and eyewear designer, Riccardo Gatti (Master of Industrial Design) who took care of the 3D modelling and Sharebot Monza, who printed the works.

It is the beginning of a path that aims to revolutionize the way of interpreting architecture, proposing new mergers and new dimensions to explore.

Roberta Macchia

Exhibition Co-curator


architAMORfosi / Matteo Galvano

Interface HUB/ART presents architAMORfosi by Matteo Galvano, curated by Roberta Macchia and Greta Zuccali, a project that offers a new interpretation of urban spaces starting from the analysis of architectural elements. The exhibition will be open from June 13th to September 8th.

With the support of Interface Facility Management and Sharebot Monza.

Matteo Galvano is an artist from Como, icastic and rational, known for his ballpoint pen technique that has allowed him to develop the ability to modulate the infinite range of greys to the softest black. His work, characterized by the sharpness and visual clarity, develops the study of architectural elements encountered during his travels. From this study, is born in 2014 the series “architAMORfosi” (officially presented at the Italian Pavilion during EXPO 2015) in which, through drawings made in black and white, Galvano rewrites with the sign of the “ballpoint” his personal vision of urban architecture, suggesting new spatial-temporal coordinates.

Exhibition
Matteo Galvano

Curators
Roberta Macchia e Greta Zuccali

Opening
Thursday, June 13 2019
H. 18:30 – 21:30

Location
Interface HUB/ART
Via Privata Passo Pordoi 7/3 – Milano

Download catalogueBrowse catalogue
Interface HUB / Novocomum / Matteo Galvano

On display, during this exhibition, even three works exhibited for the first time in 3D format.

The building that houses the exhibition – Interface HUB – created by Attilio Terragni in 2012, which meets the Novocomum in Como, designed by Giuseppe Terragni at the end of the 1920s; the monumental Makedomium in Krusevo, which merges with the Fiore di Pietra by Mario Botta; and finally the Arena in Verona, which meets the student residence Tietgen Kollegiet in Copenhagen.

 

The great protagonist is, therefore, the reflection on the architecture, which – understood as the art of giving shape to spaces usable by man- plays on the contrast between the static nature of buildings and the dynamism of the city.

 

The exhibition marks the beginning of a new path of research for the exhibition space Interface HUB/ART. architAMORfosi wants to begin to deepen the issues related to architecture and design, offering visitors different opportunities to discover the themes.

For the 3D section, the artist was joined by Lorenzo Manzoni, co-designer and eyewear designer, and Riccardo Gatti expert in 3D modelling. The projects were printed by Sharebot Monza, a company whose core business is based on 3D service, the sale of Sharebot 3D printers and qualified technical assistance to companies, professionals and individuals.

The exhibition is supported by Interface Facility Management, Sharebot Monza and CR Design Studio and sponsored by the Order of Architects of Milan.


WHERE

Interface HUB/ART
Via Privata Passo Pordoi 7/3
20139, Milano

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When

Vernissage
Thursday, June 13, from 18:30 to 21:30

Opening to the public
From June 13 to September 8, 2019
Monday – Friday 9:30 – 12:30 / 14:00 – 18:00
Saturday – Sunday by appointment only

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