No Curves

NO CURVES is the pseudonym behind which is hidden one of the most famous tape-artists around the world. This technique, the same one used by the artist now on display Zino, consist in drawing using tape: a product (tape) which is mainly used as a work-tool, in the hands of this artist becomes an extraordinary artistic element, and an instrument to investigate the man of the third millennium. Thanks to the unquestioned technical ability in using tape, NO CURVES is considered one of the major representatives of tape art at an international level.

He is known for its unique and geometric style, characterized by the total absence of curves and roundness.
NO CURVES draws on every type of surface, from urban and architectural context to art galleries and museum spaces. Since his debut he has collaborated with prestigious institutions such as the Museo della Permanente, Museo delle Scienza e Tecnologia and the Barbican Center in London, and with top brands such as Adidas, Bmw, Marvel, Microsoft, Nike, Red Bull and many others.
Those who find themselves in front of one of his works are almost always surprised: not only for his technical ability, but also for the contrast that arises between the final effect and what originates it. The poetics of No Curves, in fact, seems to consist of pixels, digital technology and cyborg visions, but it is the result of great craftsmanship.

© No Curves — nocurves.ws ↗︎


Mike Dargas

Mike Dargas forces us to stop in front of his works. And he doesn’t do it with subjects in striking poses or with scenes that upset, but by asking us to question our perception: his hyperealistic works are so finely made that they look beautiful photographs. It is only at a careful glance that the subjects are actually painted with a disarming accuracy.

Studying his subjects with an intensity that rivals Caravaggio and Dali, each piece is an intimate study that evokes the intricacies of thought, emotion and feeling. —Maddox Gallery

Mike was born in Germany in the early 80s where he reproduced the great classics of art with colored chalks in the pavement in front of the Cologne Cathedral since he was a child. Immediately recognized for his prodigious talent, he was accepted into one of the most prestigious schools in the city – the only child in an adult class.

It is the desire to tell the soul of people that pushes Mike towards hyperrealism: his oil paintings are the mirror of the soul, and in this sense his subjects are open books. To reinforce this communicative transparency, Mike covers his subjects with honey veils (always oil painting!): Honey is healing and beautiful. It’s Mike’s favorite material to work with. When the liquid covers the model, an authentic expression is revealed. It’s as though the honey humbles and creates a vulnerability that allows for true and genuine emotion to surface. There is no hiding with this process, and discovering the truth, is what Mike strives for through his creations. To get below the surface of things. He tries to capture that magic and preserve the sacredness of the moment. There is much more to everything that exists and that is especially true with his art. You have to feel into it.”


© Mike Dagras — mikedragas.net ↗︎


Redtrump, Zino, 100x100cm

Interview with Zino

A dialogue with Zino, in between history and contemporaneity with adhesive tapes.

Luigi Franchi, aka Zino, is the protagonist of the exhibition People and Things that opens the HUB/ART’s 2020 year. The artist was born in Teramo and currently based in Rimini. Zino made his first solo show in 2015 at the historic gallery Cesare Manzo in Pescara, a space devoted to explosive ideas and contemporary artistic language.

The works selected for the exhibition People and Things are divided into two sections. In the first one we find icons of the past such as the Delphic Sibyl, the Venus Callipigia or the Riace Bronzes, works of art read through the filter of the television screen. Can you explain why did you choose to deform the “original one” through the screen?

Today we live in the Society of Entertainment. Everything turns into an image in an unstoppable process of cultural impoverishment of the contents to the advantage of a hypertrophic enrichment of the containers.

Filter and facilities to feed this system of “creatio vacui” (empty creation) is the media (usually a screen), an appendix of the homo sapiens of XXI century and a tool capable of distorting in a hedonistic sense the subjects framed, giving the mass-conscious the shadows of a cultural past become incomprehensible in its depth but certainly sparkling and pervasive in showing its smooth surface. It’s easy to enter a museum and see people approaching the experience of Renaissance paintings or classical statues through the screens of their devices, as if art, to be internalized, had first to be dematerialized, simplified, refined and finally, after being reduced to a comfortable media icon, enjoyed. Here, the series of screens was created to tell this new way of viewing in which effigies of the famous masterpieces of the past are deformed through a hypothetical video that blurs the correct artistic reading, giving us only the simplest optical result and adapted to the modern television alphabet.

In the second section we meet some characters of the past, placed side by side with objects out of context, with the aim of surprising or making people smile, in order to create an intimate communication between the spectator and the proposed image. On the basis of these images, do you consider your work as a criticism of contemporary society or a bitter awareness of what surrounds us?

Neither of them actually. At the heart of this work is the concept of “play”, which is an essential element of my artistic research. As contemporary man, play is a primary and fundamental need to me. It is a vital function contained within the two limits of the classical tradition: the Ludus on the one hand and the Otium on the other. Combining common objects with politics or entertainment icons with evocative titles is nothing more than an operation to create a sort of rebus. I ask the user to solve the enigma within all the possible connections. Occasionally it is possible to find the correct key of interpretation, some other time instead one can only let getting lost to the simple Dadaist pleasure of nonsense.

People and Things is the title of the exhibition. In your artistic research, you used to spectacularize the objects, the real protagonists of the contemporary society of “consumption”. In this case, too, does the combination of man and object indicate this current tendency to put objects in the foreground, understood as goods that represent and qualify us?

Today we can consider the objects as the human extensions that define and circumscribe us.

In an age of compulsive accumulation, it is the objects that qualify us to speak about ourselves and for us. Every need we have is told by an object we own. A branded dress to be accepted, an enamel for our self-esteem, the latest smartphone to be at the top. We live in the show society and, paraphrasing Guy Debord’s writing, I would say that this “show in which we live is not a set of images, but a social relationship between individuals, mediated by objects”. Nothing bad, it is our lifestyle which needs to be analyzed, understood and finally, if you want, chosen.

People and Things is the second exhibition—after Bad Dream, inaugurated last summer at the Zamagni gallery in Rimini—characterized by the technique of Tape Art, a riot of colors and fantasy made out of colored tape strips. Can you explain to us your arrival to this new technique and the passage from the use of LEGO bricks?

In my personal artistic research, I have always worked on the concept of stratification and assembly, a concept that leans itself on the social and cultural context in which I live, made up of various overlapping levels.

In order to make sure that the medium also reflects the world I want to represent, I started from a deconstruction of the image using cut and recomposed forex panels, then resins up to the use of Lego bricks to “pixelized” part of reality.

To date, my research has led me to experiment with the expressive potential of tape art, a technique well connected with my path.

In fact, the idea of the image that is created in layers, by overlapping levels that symbolize the complexity of our time remains unchanged.

Luigi, tell us about your “artistic” background and what do you consider to be the turning point of your career?

Since 1991, during my study at DAMS, I was attracted around the art planet. In 1998, however, I began to take a real interest in contemporary art. At the time, I was in Rome and I attended the former Cerere pasta factory in San Lorenzo, collaborating with some artists.

After, I worked in Abruzzo with Cesare Manzo Gallery where I was an assistant for installations and events. Then, from 2003 I took a completely different path that led me to work as a restorer of works of ancient art for fifteen years.

In 2013, almost by chance, I moved my workshop in the headquarters of the contemporary art magazine Segno and I returned to devote myself to the realization of artistic projects, deciding to try to exhibit something mine. From that time, I began 6 frenetic years full of meetings, exhibitions, travel, friendships and satisfactions.

Before concluding, can you tell us what does Zino mean?

It’s an old nickname from the time of the university in Bologna, which crippled Luigi’s gi in zeta.  It seemed to me to be the best Tag to use because it was easy to remember and then, starting with Z, it usually ends up at the bottom of the lists of participants in group shows, thus becoming more easily identifiable.

 

November 2019

Zino

Artist


Greta Zuccali

Curator


Articoli correlati


Carlo Stanga

Carlo has always been passionate about drawing: this is why, after his graduation in architecture at Politecnico of Milan, he chose to deepen his art and design studies. After collaborating with Bruno Munari, he started a career as editorial and advertising illustrator, working with major italian magazines and newspapers and with international clients such as La Repubblica, L’Espresso, Il Sole 24ore, Lufthansa, Illy, Bompiani, Rizzoli, Wall Street Journal and with Moleskine, with whom he created the series of books “I am Milan”, “I am London” and “I am New York”.

His distinctive style features rich, both colorful and black and white, and nearly dreamy landscapes, views on cities and everyday happenings. It’s amazing how his double-sided soul is visibile in his art: while the Illustrator tells stories about the people and their lives through public spaces, homes and buildings, the Architect notes and sketches an incredible amout of details, moldings, structures, ornaments of these places—the effect is vivid, almost-moving and unique.

 


© Carlo Stanga — carlostanga.com↗︎


XMas Party

HUB/ART and Interface are pleased to invite you to a party evening with toasts, panettone and live music!
Family, friends and relatives are all invited to celebrate with us the holidays and the end of this year full of new experiences, knowledge and moments of sharing. To brighten up the evening then there will be the live performance of Fabio Bello, our HR manager and guitarist who will play songs from his project "Crossing", with rock, blues and soul sounds.

On this occasion it will also be possible to visit the "Interface" exhibition by Giorgio Tentolini, which will remain on display until January 5th.

When
Wednesday 18 December 2019
H. 18:30 – 21:00

Where
HUB/ART Gallery
Via Privata Passo Pordoi 7/3 – Milano

Live music
Fabio Bello

Fabio bello

Emerging artist, he was born in Naples breathing the influences of blues, Folk, Funk and Neapolitan Soul of the 70s and 80s. During his career as a musician he studied first as a drummer and then as a guitarist.

His project, “Crossing”, leads the listener through the river of an experience of personal change, in which any imposed cultural model is challenged, in favor of a psychological independence based on “what I really am”. An introspective artist, he tries to look at things from his own point of view. His style is based precisely on the instinct and passion of the music and Rock, Blues and Soul sounds merge into it.

Among the musicians it inspires include artists such as Jonny Lang, Eddie Vedder, Pino Daniele, George Benson, Ray Lamontagne, Ani DiFranco, Susan Tedeschi, Markus King and many others …


Salventius

Salventius

Niels Kiené, also known as Salventius, is a Dutch artist who creates one-line portraits using techniques such as light painting, photography, sculpting, and 3D printing. 

His works are characterized by a striking consciousness of the drawing gesture: one single line joins emotions, eyebrows, societies, and personalities in a neverending vibrating creative effort. No guidelines, no sketches, just a direct and incredible quick connection between mind and paper, emotions and hand: he calls it momentalism.

His Instagram account ↗︎ features dozens (if not hundreds) of timelapses and videos showing his artistic process, unfiltered and uncut: we can witness the raw simplicity and continuous flow characterizing his production, while intriguing captions give a glimpse of his creative thoughts and technique.

 


© Works and video by Salventius — salventius.com↗︎

Salventius, "Flickering facts" 70x100cm, acryl on 200 gsm paper.

Giorgio Tentolini Portrait

Giorgio Tentolini

Giorgio Tentolini, born in Casalmaggiore (Cremona) in 1978, studied Graphic Arts at the Art Institute “Toschi” in Parma, and graduated in Design and Communication in “Università del Progetto” in Reggio Emilia. After internships with artists like Marco Nereo Rotelli, he began a personal research with photographic installations, obtaining significant art prizes.

Each of his works stems from a specic research on Time as memory and identity, in a careful and slow reconstruction that takes place with the study of light and etching of layers of different materials as fabric, paper, PVC. Tulle and masking tape are the current medium of his research for the meditative levity that they put into the image, a metaphor of places and memories, dreams and visions. A pictorial work which crosses the frontier of reality of sculpture. Tentolini lives and works in Casalmaggiore, Reggio Emilia and Milan.


Instagram @giorgiotentolini

Personal website


Interface / Giorgio Tentolini

HUB/ART presents "Interface" by Giorgio Tentolini ↗︎, an exhibition that investigates the conception of the image for the artist. His refined and intense research has obtained several awards, including the Rigamonti Award, the San Fedele Visual Arts Award and the Nocivelli Award. Curated by Greta Zuccali and realized thanks to the technical support of Interface Facility Management ↗︎, it will be open from October 24, 2019 to January 5, 2020.

HUB/ART opens the autumn season with an exhibition dedicated to the work of the artist Giorgio Tentolini.

Interface, the title of the exhibition, is a collection of works in which it is possible to find the distinctive signs of the artist’s research, neutrality and time.

Neutrality in colours and neutrality in the use of instruments. Carvings, engravings and manual superimpositions make the language of the artist metaphysical, projecting it into a beyond that contains within itself the immutable and eternal.

 

Interface tells us about a journey into the past and the present, between the faces, or the details of the faces, portrayed by the artist. Here we find the third neutrality, in the spaces and human relations. The faces seem to be interchangeable, both in classical statuary and in our contemporaneity, between mannequins and places on the Net called Social Networks.

Exhibition
Giorgio Tentolini

Curator
Greta Zuccali

Opening
Thursday, October 24 2019
H. 18:30 – 21:30

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

download the catalogue

From the studied overlapping of the carvings made with meticulous technical skill, on layers of a material with an impalpable consistency, finally emerge rarefied silhouettes of men, women, landscape visions, statuesque bodies and archaic heads, captured by the artist’s photographic shot, taken away from the noise of the contemporary society and from the endless passing of time.

The second element, the time, emerges from Tentolini’s conceptual practice,
in the artist’s practice becomes kairòs, that means the occasion, the right moment to be seized in its fast instantaneousness.
The artist reconstructs reality only after having filtered, decomposed and analyzed it and asks for the observer’s time so that he can carry out the inverse process, a cycle in reverse, that is to say, go beyond the first impression, penetrating, in this way, even in the deepest folds of the image, the same plots of which even the ancient Greeks spoke explaining the circularity of the story.


WHERE

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

Get directions
WHEN

Vernissage
Thursday 24 October 2019, from 18:30 to 21:30

Opening to the public
From 25 October 2019 to 5 January 2020
Monday–Friday 9:30–12:30 / 14:00–18:00
Saturday–Sunday by appointment only

Book your visit during the week-end
SPONSOR

IN COLLABORATION WITH

Art & Fashion Facility night in Barcelona

Art & Fashion Facility / Barcelona

The Art & Fashion Facility Event was held in the prestigious Villa Del Arte in Barcelona on Thursday, June 20, 2019, organized by Interface Facility Management Iberica in collaboration with HUB/ART.

Interface FM Iberica launches its activities in the Hispanic peninsula and for the occasion has chosen the soul and heart of the Catalan capital, the Gothic Quarter, focal point of the political and religious life of medieval Barcelona.

The aim of the Art & Fashion Facility event is to grow professional relationships between leading luxury brands and providers of real estate services and retail maintenance. In a single occasion, art and fashion were combined, an indissoluble and ever-changing combination where the figure of the contemporary patron is now embodied by the most famous fashion houses.

HUB/ART organized an exhibition of Coral Hernandez and Daniela Adamez, South American artists who live and work in Barcelona.

For the occasion, they have created works contaminated by fashion for shapes, colours and geometries, displayed in the central hall of Villa Del Arte.

As main sponsor of the event, Service Channel, a Cloud platform designed in 1999 to support relations between companies and organizations operating worldwide in the retail sector, and Connex (formerly PRSM), an American association with more than 900 members, which aims to strengthen professional relationships and share good practices in facility management.

Exhibition
Coral Hernandez ↗︎ e Daniela Adamez ↗︎

Curator
Greta Zuccali

Opening
Thursday, June 20 2019
H 19:30 – 24:00

Location
Villa Del Arte Barcelona
Carrer de la Palla 10, Barcelona


WHERE

Villa Del Arte Barcelona
Carrer de la Palla 10
Barrio Gotico, Barcelona

Ottieni indicazioni
WHEN

Event
Thursday, June 20 19:30 – 24:00

SPONSOR

SHOUT / Alessandro Gottardo

Known under the stage name SHOUT, Alesandro Gottardo – namesake of the Vicenza cartoonist – was born in Pordenone in 1977. He studied art in Venice and illustration at the IED, European Institute of Design in Milan, then started his own career as an illustrator based in the Italian capital of design and fashion.

Gottardo’s work is clean, almost sharp in the simplicity of shapes, colors and subjects, all reduced to the minimum necessary to express concepts sometimes satirical, other times more conceptual and reflective. The profound reflection on the concept of the message and on the most synthetic and refined way of expressing it is so disruptive as to render each of its illustrations immediately clear and resonant — a shout in the silence of the superficial scroll between Instagram posts and clickbait titles.

“SHOUT manages to investigate human behavior with ironic intimacy and sociological detachment at the same time. Incongruities, discrepancies and involuntary connections that go beyond the simplicity of the images that tell them. Autumn atmospheres, dull colors, minimal elegance.”

—Collater.al

 

 

He collaborates with newspapers such as the New York Times, the New Yorker, the Wall Street Journal, TIME, Esquire, Newsweek, Wired, Le Monde, The Economist and many others — on his website the collaborations cites exceed the hundred.

He has received several international awards (including the 2009 Gold Medal of the Society of Publication Designers for the Animal Spirits illustration, created for the New York Times, three Gold Medals and three Silver Medals by the Society of Illustrators NY) and has exhibited his works in different cities of the world. In 2010 he published with the publisher 27_9 “Mono Shout”, a monograph that collects many of his illustrations made in the last 10 years of work.


© Illustrations by Alessandro Gottardo — alessandrogottardo.com