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    [= LORENZO ===== SENNI ==]
        [== LINK ==]

    ‘Echoes (Oracle Version)’, by Lorenzo Senni, 2017, Tate Modern, London. Courtesy of Tate Photography


    All my X’s live with hexes.
    This is why I hang
    Myself with jealousy upon a fencepost half mast.
    Fashion: war between
    The guilty and the guilty and the guilty and the guilty
    And the teen.
    Not throwing stones at you anymore.
    Your name’s in lights and I don’t wonder
    Anymore… anymore

    taken from Glassjaw’s song “Tip Your Bartender” (2002)

    [=== GROUP == SHOW ========= COPPER == MARBLE ==== COTTON =]
    10.20.18 - 12.01.18

     20/10/2018 – 01/12/2018
    Opening: Saturday 20th October 2018, 2.30 p.m.
    Opening hours: Tuesday – Saturday, 2.00 -7.00 p.m. 

        [== LINK ==]

    Thomas Brambilla Gallery is pleased to present “Copper, Marble, Cotton”, a curated group show with works by three American fellow-artists; Lynda Benglis, David Novros and Joe Zucker. The exhibition examines the choice, by each of the above-mentioned artists, of specific traditional materials for both their cultural associations and formal properties, enlightening also the significance role of traditional and concrete materials in the currently contemporary art.

    Starting from the Sixties, the importance of materials has been re-evaluated by the critics, leading also to an expansion of the concept of Art itself. For the first time, material gained ascendancy over form. Only during the Seventies, the attention has been directed increasingly towards text written and pictorial documents as means of expression, while in the Eighties, artists went back to the balance of material and form. From the Nineties, however, the possibilities of digital technology led to a reduction in the importance of traditional and concrete materials. Nowadays the trend seems to have changed and the critics praise the generation of artists, such as Benglis, Novros and Zucker –and many more-, to whom the aspect of materiality has always been a key concept in their poetics, although each of them has dealt with it and integrated in their practices differently.

    Benglis, Novros and Zucker tried to overcome the Minimalism’s break with unconventional formats of paintings and sculptures, investigating new limits and re-elaborating the classical tradition in the making of art. They believed that the chosen material should govern the character of the artwork and they thought in a more expanded sense of “technique”, which could encompassed the processes’ of the artist himself. The artists invited to participate at “Copper, Marble, Cotton” focus on the characteristics and the evocative power of such diverse materials as marble, copper and cotton.

    Departing from the non-traditional art material which dominate contemporary art, the brand new series of marble sculptures by Lynda Benglis is a continuation of her ongoing embrace of the natural qualities of her various media. The sculptures’ surfaces recall the fitful undulations and the theatricality of the ancient Greek statues’ draperies but also her ongoing projects on Baroque fountains. This effect is amplified by Benglis’ specific choice and use of different colored marbles.

    David Novros began his series of Coppers when he lived in the desert of New Mexico in the Eighties. Novros focused his artistic research on Medieval and Native American art, searching for peculiar primordial shapes and natures and absorbing the fascination for how the materials and colors could affect his practice. To create the Coppers’ works, Novros used line charge explosive; firstly, he taped it down to the surface, following the roughly drawing, and then detonated it. The result is a controlled explosion of shapes and swellings, to whom he after soldered some old gold-mining pans and finally painted in gold and enamel paint.

    Joe Zucker, one of America’s most innovative artists, has always experimented with what has become his signature technique: gluing cotton balls to canvas in a gridded arrangement and painting over them. Resulting in a highly textured surface reminiscent of antique Mosaics in Ravenna, this technique radically transforms the surface of the canvas and challenges the “flatness”. His imagery is often related, in some way, to the materials and processes, for example the series’ with cotton plantation imagery executed in cotton balls rolled in paint.

    Lynda Benglis (1941, Lake Charles) is an American artist best known for her use of poured sculptural forms made from wax, latex, metal, and foam. In addition to sculpture, Benglis works in video and photography, and has used media interventions (such as a well-known ad placed in Artforum in 1974, showing the artist nude with a dildo between her legs) to explore notions of power and gender relations.
    Benglis’ work is in extensive public collections including: Guggenheim Museum; Los Angeles County Museum of Art; Museum of Modern Art, New York; The National Gallery of Victoria, Melbourne, Australia; San Francisco Museum of Modern Art; Walker Art Center, Minneapolis and the Whitney Museum of American Art, New York. Lynda Benglis lives and works in New York, Santa Fe and Ahmedabad, India.

    An original member of Park Place, the historic New York artist collective, David Novros (1941, Los Angeles) is well known for his large, abstract paintings on irregularly shaped, multipaneled canvases.
    Novros has exhibited in several prominent venues, including: the Solomon R. Guggenheim Museum in New York, the Nelson-Atkins Museum in Kansas City, the Institute of Contemporary Art in Philadelphia, the Museum of Modern Art in New York, the Museum of Contemporary Art in Chicago, the Whitney Museum of American Art in New York, the Los Angeles Museum of Contemporary Art in Los Angeles, the Dallas Museum of Fine Art in Dallas, the Museum of Fine Arts in Houston and the Bremen Museum of Modern Art in Bremen, Germany.

    Joe Zucker (b. 1941, Chicago), throughout his extensive career, has exhibited alongside artists such as Agnes Martin and Brice Marden at the pioneering Bykert Gallery in the 1960s, and later with dealer Holly Solomon, who was well known for her support of new and experimental mediums, including the New Image and Pattern and Decoration movements to which Zucker belonged.
    Zucker’s works is included in extensive public collections: The Museum of Modern Art in New York, The National Gallery of Victoria in Melbourne, The New Museum in New York, The New York Philadelphia Museum of Art in Philadelphia, The Tel Aviv Museum in Israel, The Whitney Museum of American Art in New York, The Brooklyn Museum in Brooklyn, The Metropolitan Museum of Art in New York and many others.

    [= MANUELE === CERUTTI ===]
        [== LINK ==]

    Motus naturalis, 2017-2018, olio su lino, 240 x 325 cm, courtesy l’artista e Guido Costa Projects, Torino


    “Giovanni Giudici, La vita in versi”

    Metti in versi la vita, trascrivi
    fedelmente, senza tacere
    particolare alcuno, l’evidenza dei vivi.

    Ma non dimenticare che vedere non è
    sapere, né potere, bensì ridicolo
    un altro voler essere che te.

    Nel sotto e nel soprammondo s’allacciano
    complicità di visceri, saettano occhiate
    d’accordi. E gli astanti s’affacciano

    al limbo delle intermedie balaustre:
    applaudono, compiangono entrambi i sensi
    del sublime – l’infame, l’illustre.

    Inoltre metti in versi che morire
    è possibile a tutti più che nascere
    e in ogni caso l’essere è più del dire.

    Collezione Lo Specchio, Arnoldo Mondadori Editore, Milano 1965, p. 170-171

    [== LORENZO == SENNI ====== CANONE ==== INFINITO =]

    Canone Infinito
    Sound installation by Lorenzo Senni
    Ospedale Papa Giovanni XXIII (piazza OMS 1), Bergamo
    Opening: Tuesday 20 November 2018, h. 11.30 am – 1.30 pm

        [== LINK ==]
    [== GIULIA === CENCI ==]
        [== LINK ==]

    Giulia Cenci, studio view, halfweg 2018
    photo credit Katherina Heil


    There are pieces of this and pieces of that, but none of it fits together. And yet, very strangely, at the limit of all this chaos, everything begins to fuse again. A pulverized apple and a pulverized orange are finally the same thing, aren’t they? You can’t tell the difference between a good dress and a bad dress if they’re both turn to shreds, can you? At a certain point, things disintegrate into muck, or dust, or scraps, and what you have is something new, some particle or agglomeration of matter that cannot be identified. It is a clump, a mote, a fragment of the world that as no place: a cipher of it-ness.

    Paul Auster, In the Country of Last Things.


    The Blank TR - Transit Message Pavilion
    [=== The = Blank = TR ===== Transit = Message === Pavilion =]
    09.02.18 - 09.04.18
        [== LINK ==]

    The Blank TR – Transit Message Pavilion | 2 3 4 September 2018

    THE BLANK TR PAVILION, Beyond Words, ArtSpace Tel Aviv | 2 3 4 September 2018
    three days of talks, workshops, performances about art and the meaning of communication.
    Curated by Olga Vanoncini, Claudia Santeroni

    [= DRIANT ===== ZENELI ==]
        [== LINK ==]

    Driant Zeneli
    And Then I Found some Meteorites in My Room
    video installation, 22’00” min, live streaming of ISS and sound performance by DJ Sulejmani
    Photo credit Andis Rado, Courtesy The Artist and Bazament Art Space Tirane – 2018


    “Why are you interested in the space?” Flora asked me.
    “I am curious of those who observe it. I would like to know what there is in the space between your father Bujar, 158 height at Metallurgjik, and the maximum height of the International Space Station (ISS), located 400.00 km far from the terrestrial surface…”
    “What is the ISS?”
    “The International Space Station functions as a laboratory where experiments are made in condition of microgravity in the law terrestrial orbit. Dedicated to scientific research and managed as a joint project between five different space stations.”
    And then Flora’s father, Bujar, asked me with a low voice:
    “So what it the sense of all this?”
    “The attempt is to create a space in which the work can share with the public a physical as well as a mental dimension. The interview about your perception of space that you gave to Fatmira Nikolli at Metallurgjik, will resonate with the transmission of the streamed images from the International Space Station (ISS), 400.00 km away from the earth surface. Everything will then be catalyzed by the sounds mixed by your daughter Flora (DJ Sulejmani) during the opening of the exhibition. In this way, the public will not only participate, but it will be an integral part of the artwork, as we are all part of the solar system”.

    January – Mealurgjik Elbsan – 2018
    And Then I Found Some Meteorites in my Room
    from the diary of Driant Zeneli

    [= JONAS === MEKAS ==]
        [== LINK ==]

    Jonas Mekas, The Internet Saga curated by Francesco Urbano Ragazzi, installation view, Venice, 2015
    photo credit: Giulio Favotto


    The first word that comes to our mind when we think about Jonas Mekas is “inexhaustible”.
    Inexhaustible as his work. Like the narrations of it that can be made.
    Like the invention of Film Culture, the New American Cinema, the Anthology Film Archives, the film diaries.
    Like shooting, editing and publishing online a movie a day every day in 2007. Like jonasmekas.com.
    Like painting flowers on large white papers the night before an opening. Like telling us “It’s challenging enough to say yes” and to reaffirm it again and again.
    Inexhaustible, even more than eternal.

    Francesco Urbano Ragazzi, curatorial duo

    [=== JONAS === MEKAS ====== PERSONALE ==]
    03.10.18 - 04.15.18

    Palazzo della Ragione, Città Alta – Bergamo
    Opening: Friday 9th March 2018, h. 6.30pm
    10 March – 15 April 2018


    March 9: 6.30 pm – 9.00 pm
    March 10 – April 15: 11.00 am – 7.00 pm

    March 19, 20, 26, 27 – April 3, 9, 10

    Cinema San Marco
    Piazzale della Repubblica 2, Bergamo
    Saturday 10 March, h. 3.30 pm

        [== LINK ==]

    On the occasion of the 36th edition of the Festival, The Blank and Bergamo Film Meeting dedicate the section “Incontri: Cinema e Arte Contemporanea” to Jonas Mekas (Lithuania, 1922), poet, artist and director, founder of the New American Cinema Group and creator of the Anthology Film Archive.
    The artist will be the protagonist of “Jonas Mekas – Personale“, promoted by the City of Bergamo and organized by The Blank and Bergamo Film Meeting.
    Sebastian Mekas, son of Jonas, will meet the audience of the Festival at Cinema San Marco on Saturday 10th March at 3.30 pm after the projection of “Outtakes” (2012) and the documentary film “The Internet Saga, Jonas Mekas” (2015) and will bring a special message from Jonas.

    The exhibition “Jonas Mekas – Personale”, curated by Stefano Raimondi and Claudia Santeroni, sees the transformation of the exhibition environment into a place where, thanks to an engaging set-up, some of the artist’s most significant films coexist with images of a more cinematic nature.

    “Jonas Mekas – Personale” is realized in the renovated venue of Palazzo della Ragione: the exhibition compares itself with the historical building and exploits its new exhibition possibilities, specially designed for this place.

    The exhibition aims to present the complexity of the means of expression chosen by Jonas Mekas, a versatile artist with eclectic interests. The double screening of the video “Seasons” (2017) dominates the room: a video composed of fragments of his entire cinematographic production.
    The frames taken from the artist’s video works, impressed on the glass plates, belong to the series “In an Instant It All Came Back to me”, while the photographs of “Birth of a Nation” are extracts from his famous 1997 film of the same name. The photographic section is completed by “To New York with Love”, the series of images dedicated to the city that has been the stage of Mekas’ work.

    “Jonas Mekas – Personale” is permeated by a track composed by the artist, which acts as a background to the entire exhibition: the musical aspect has been maintained in relation to the artist’s history, that reminds how the singing has always been part of his life since his childhood. To conclude the exhibition, an island dedicated to the publications by Mekas, freely available to the public to offer a unique opportunity to enter the artist’s collection, including “My Night Life” where the artist, faithful to his biographical style, narrates his dreams made between 1978 and 1979, asking his friend Auguste to illustrate them.

    “Jonas Mekas – Personale” is promoted by the City of BergamoBergamo Film Meeting and The Blank and it is made possible thanks to the indispensable support of A Palazzo Gallery (Brescia), Francesco Urbano Ragazzi and Studio Luca Bombassei.

    [= OPEN == CALL === PREMIO ==== MATTEO ==== OLIVERO ==]

    Premio Matteo Olivero
    40th edition
    Remembering memory
    Competition notice 

    The Blank Contemporary Art has been assigned by Fondazione Amleto Bertoni, in collaboration with the project coordinators Paolo Infossi and Roberto Giordana, to organise the 40th edition of Premio Matteo Olivero.

    The 40th edition of Premio Matteo Olivero, hosted by Comune di Saluzzo (CN), invites Italian and international artists through an open call, without any limits of age and expressive means, to present released or unreleased artworks in order to design a solo show on the main theme of memory. The winner will hold an exhibition at the prestigious Cavassa Chapel, a Renaissance hall in the cloister of St. Giovanni monastery, renowned for its great historical and artistic value.

    The curator of the 40th edition of Premio Matteo Olivero is Stefano Raimondi, Director of The Blank and curator of GAMeC – Galleria d’Arte Moderna e Contemporanea di Bergamo, who succeed the previous curators Anna Daneri and Ettore Favini.

    The jury committee is composed by internationally renowned curators, whose names will be announced after the deadline for the submission of applications, and by members of the Fondazione Amleto Bertoni and the city council of Saluzzo.

    The jury committee will choose the best project at its own discretion and it will award a prize of Euro 5.000,00, for the realization the exhibition, to the artist or the artistic collective who presented it.


    20 March 2018 Application sending deadline
    27 April 2018 Exhibition opening
    Participation in the call is free of charge.
    Interested parties can join the contest by sending their applications (artist CV, project, portfolio and application form) at premiomatteoolivero@gmail. com.

    Please view the full announcement and all the attachments (historical description, planimetry and photos).

    Info: Fondazione Amleto Bertoni, The Blank Contemporary Art
    Phone: 017543527, 035 19903477
    Email: eventi@fondazionebertoni.it, premiomatteoolivero@gmail.com
    Web: www.fondazionebertoni.it, www.theblank.it

    ©THE BLANK 2018