The Air is Subtle, Yet it Moves
The Air is Subtle, Yet it Moves “The Air Is Subtle, Yet It Moves” brings together paintings, sculptures, installations, videos, and performances by acclaimed Greek and international artists. The exhibition is held in a new space that revamps an early 20th-century building at Kypriadou Garden City in central Athens.“The Air Is Subtle, Yet It […]
Statt’ Chiù Sciolto
Statt’ Chiù Sciolto Flip Project is pleased to present Statt’ Chiù Sciolto, a solo exhibition by Argentine artistSantiago Cucullu.The title draws from a recurring attitude in Cucullu’s practice—a kind of visual mantra that here takes form through a boldly rendered wall painting in red, black, and white. Somewhere between exclamation and resignation, OH NO […]
IN DISSOLVENZA
IN DISSOLVENZA I GIARDINI DELLA PITTURAFra le possibili vie dell’evocazione di immagini, ce n’è una, che accomuna le ricerche di Debora Fella e Mariangela Zabatino, che punta tutto sulla sedimentazione di tracce: frammenti di realtà che vanno a depositarsi nella memoria per essere restituiti trasfigurati nella pittura, e la cui possibile esistenza è tutta esclusivamente […]
“LAVA” di Bosoletti
“LAVA” di Bosoletti Gallerie Riunite è lieta di ospitare la nuova personale di Bosoletti, in mostra fino al 18 Luglio 2025. In occasione di questa nuova mostra a Napoli, l’artista argentino presenterà 33 nuove opere dipinte con tecnica mista su tela. Di seguito riportiamo il suo testo: “C’è qualcosa di romantico nella scoperta delle […]
Love
Love, a solo exhibition of Andréa Spartà at Kaiserwache, Freiburg Im Breisgau, with a text by Ilja Zaharov, photo by Stefan Lux
A partir daqui só há dragões
A partir daqui só há dragões Matèria is proud to present “A partir daqui só há dragões”, Francisca Valador’s debut solo show at the gallery. Opening on April 29, the exhibition, part of the program celebrating the gallery’s 10th anniversary, offers a comprehensive view of the artist’s evolving practice, where the boundaries between painting, sculpture, […]
Look deeper and eventually you’ll find nothing
It would come at first glance, in order to gather the diversity of materials displayed, to distinguish between visual works, installations and works of a more conspicuously speculative mark, if this were not the very gesture that defaults what is shown here. Already the title, direct and at the same time mocking, exhorts through the gaze to reflect the relation of meaning, going beyond an attribution of it by familiarity (screens with screens, images with images, objects with objects), but above all beyond the definition of what in each of the objects is specific, beyond any of their singularity. To put it better, this singularity is given, but it is given by multiplication, by repetition and difference: whether we consider the works one by one as much as, I would say, if we force ourselves to think of them together as emanations of a conflict each time specific. In other words: the repetition of the gaze precedes, and it is it that makes possible, the conceptual formulation of the meaning of, say, a broken glass or the marks imprinted by the weather or by the vehicles of urban cleaning. Likewise, in an even more pronounced way, of the mound of cups or the casting of engraved beads, in the irony of the phrase (read in both senses, as the giving or dissipating of the true) they compose. Repetition as a matrix of meaning is, however, above all in the echoes that reach from one work to another: the narrative linearity (here abnormal) of the photonovel, already in itself questioned by the specificity of its medium, is even more so if the unfolding of its reel is superimposed on the frozen, interdicted continuity of the sentences on the teleprompter; equally could be said of the mimetic illusion constructed by the story on which one can only pronounce oneself by taking into account the hypotheses on linguistic and temporal truth formulated elsewhere. The non-dialectical, then, but cumulative, additional juxtaposition in and between works is a very speculative hypothesis, as if even before self-referentiality each medium first of all refers back to its relation to discourse, to language. And therefore makes it impossible – eventually – to sink into it, since it is only and always surface.
Kate Groobey – Angry, but calmer than before
Angry, but calmer than before RIBOT is pleased to present Angry, but calmer than before, the second solo exhibition in Italy by British multidisciplinary artist Kate Groobey (Leeds, 1979, lives and works between Yorkshire and the South of France). The title Angry, but calmer than before is taken from a group of small-scale watercolours […]
Sublimi
La mostra si compone di due altre serie di lavori, distribuiti al piano inferiore e superiore, che riprendono l’idea della processualità del mondo naturale. La serie Deposizione, nell’ex fontana, è una tela bidimensionale che ha assunto una dimensione scultorea tridimensionale per effetto di una particolare acqua vulcanica. Poste sotto una cascata di Saint-Nectaire, piccolo villaggio della Francia centrale, per sei mesi, le tele si sono pietrificate. Scorrendo sulla juta, l’acqua deposita di cristalli di calcite, ma mentre nel caso delle stalattiti, queste impiegano centinaia di anni, lì la natura accelera tale processo, mostrando il risultato di un metaforico viaggio nel tempo. L’opera Limes, sospesa invece sotto la cupola del presbiterio, si ispira al concetto di limite e di frontiera. Quando viene trovato il corpo di un lupo, in accordo con la legge italiana, questo deve essere cremato in centri specializzati. In Limes, le ceneri di un lupo sono state sparse all’interno di cristallo fuso, successivamente colato in stampi dalle forme dell’opera. Gli antichi romani, che temevano e ammiravano il lupo che li accudì, sono stati i primi a fare delle finestre di vetro per proteggere le loro abitazioni e chiamavano limes il confine, della casa come dell’impero. Una finestra di vetro che di solito separa il mondo animale da quello umano, in questo caso, li riunisce, com-portandosi come una barriera trasparente fra due universi. Dove l’altare rimanda al punto in cui il divino incontra l’umano, l’opera costituisce un punto di incontro. Tutte le opere in mostra si muovono sul confine tra ciò che è propriamente umano e ciò che tende a superarlo: il sacro, la natura, l’animale, mostrando come queste dimensioni, che la società occidentale tende a separare, si compenetrano inevitabilmente. La capacità trasformativa della materia, i processi fisici e chimici della natura e della tecnica sono gli elementi che Namsal Siedlecki usa nella sua ricerca per cambiare il piano di lettura e di interpretazione della realtà.
Io sono Io. Io sono Me
Galleria Tiziana Di Caro presents Io sono Io. Io sono Me, the fourth solo exhibition by Tomaso Binga (alias Bianca Pucciarelli Menna, Salerno, 1931) held at the gallery, opening on Friday, May 23, 2025, at 11:00 AM until 12, September, 2025 The project spans the artist’s entire creative time frame, following the thread of writing as a sign or narrative element which, throughout a practice now spanning over fifty years, unfolds in various forms, insisting on a principle the artist has always proclaimed and warded: writing must carry a subliminal intent, it must operate independently of the meanings it expresses or the sounds produced by each word. In this sense, writing becomes “silent writing.” The title of the exhibition is borrowed from a 1977 work, a photographic diptych in which handwriting is embedded in the image and frames the body through what Binga defines as “living writing.” Io sono Io. Io sono Me is a work where the repeated use of the personal pronoun indicates a reclaiming of subjective identity, autonomy, and independence. It is precisely this autonomy and independence that Tomaso Binga has embodied throughout her career, never succumbing to trends, but instead advancing with determination and coherence, both artistically and personally.
