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    What’s On
    [= THE ===== BLANK = AT === BAF ====== BERGAMO == ARTE = FIERA ===== 2019 =]
    01.12.19 - 01.14.19

    12 – 13 gennaio: 10.00 – 20.00
    14 gennaio: 10.00 – 12.30

    Fiera di Bergamo, via Lunga – Bergamo
    Ingresso: 10 euro – Parcheggio: 3 euro

        [== LINK ==]

    THE BLANK AT BAF – Bergamo Arte Fiera
    12th – 14th January 2018

    From Saturday 12 to Monday 14 January, the fair centre hosts the 15th BAF – Bergamo Arte Fiera edition.

    The fair, promoted by Ente Fiera Promoberg, is consolidated as an important art event, under the artistic direction of Sergio Radici.

    The protagonist of the 15th edition of Bergamo Arte Fiera will be Modern and Contemporary Art with an extraordinary selection of works by historical galleries and numerous proposals concerning new artistic currents and emerging painters.

    The Blank takes part in BAF – Bergamo Arte Fiera in the Press section.

    The stand will be dedicated to Andrea Mastrovito and Vincenzo Simone and to the presentation to The Blank Agenda 2019.

    15th edition BAF – Bergamo Arte Fiera

    12th – 13th January: 10.00 am – 8.00 pm
    14th January: 10.00 am – 12.30 pm

    Fiera di Bergamo, via Lunga – Bergamo
    Entrance: 10 euro – Parking: 3 euro

    [=== HANNE = LIPPARD === SYZYGY =]

    Sunday 16 December, 2018
    h. 6:30 pm
    The performance will start punctually at the indicated time.
    San Giovanni XXIII Church, ASST Papa Giovanni XXIII
    OMS Square, 1 – Bergamo


        [== LINK ==]

    curated by Claudia Santeroni

    Papa Giovanni XXIII Hospital in Bergamo continues to enrich its cultural offer hosting SYZYGY performance by Hanne Lippard in the church of San Giovanni XXIII on Sunday 16 December at 6.30 pm, curated by Claudia Santeroni.

    The initiative, born from the collaboration between two local excellences, such as Papa Giovanni XXIII Hospital and The Blank Contemporary Art, is supported by Cropelli s.r.l. – Unipersonale, and stands as a fruitful combination of health and art within a virtuous path that the hospital has undertaken for some time.

    On the occasion of SYZYGY, the Church of San Giovanni XXIII becomes an exceptional element of the work itself: a performance through which the artist sculpts the space with the sole aid of her own voice and her own stage presence. Church, artist and word thus make up that special configuration to which the title of the work refers, namely the syzygy: an astral alignment, understood as a harmonious order necessary for something to be created.
    SYZYGY is dedicated to Maria Teresa and Tarcisio Cropelli.

    Hanne Lippard (Milton Keynes, UK, 1984; lives and works in Berlin) is a Norwegian artist who focuses her research on the use of voice as an artistic practice. Graphic designer by education, her interest has always been focused on the power of words. Whatever the chosen medium is, her practice uses the voice to transmit the discrepancies between form and content: although sometimes speaking of inconvenient or annoying truths, the texts are read by Lippard herself with a compound, liquid and conciliatory tone. This detachment between meaning and signifier, between words and their vocal ornamentation is what distinguishes the work of the artist, which has been exhibited in numerous exhibitions, personal and collective.

    Papa Giovanni XXIII Hospital is among the biggest Italian hospitals and hosts every clinic specialty: active by December 2012, it is a modern and highly technological hospital, realized in order to maximize patients and operators’ wellbeing. The artistic heritage of the Hospital is prestigious and is composed of important artworks by contemporary artists, who chose Papa Giovanni Hospital to display their works.

    The Cropelli s.r.l. – Unipersonale company, founded by Tarcisio Cropelli in 1980, works successfully thanks to the strong will to keep up with innovation, guaranteeing high quality molds and constantly taking care of the relationship with the customer. The desire to evolve and the constant attention to technological development push the company towards renewal, gradually moving from direct copying to the insertion of high speed machines, CAD CAM systems and drilling machines.

    [= JONATHAN === MONK ===]
        [== LINK ==]

    Jonathan Monk, Monk, 2002, Polished stainless steel, Edition 3, 439,5 x 132 x 38cm, (173 x 52 x 15 in.)


    Quite often I see the works of other artists and think… I like that… how can I use it and make it mine?
    How can I shift the context and create something new, something Jonathan Monk.
    I’m quite sure a lot of artists secretively feel the same…
    Some years ago I was looking through a catalogue of sculptures by George Condo and was pleasantly surprised by the contents – I actually like his paintings and he seems to be a really interestingly obsessed artist. But the sculptures I encountered on the printed page were wildly different to my expectations – I saw large polished stainless steel three dimensional cutout letters spelling out the names of Jazz greats – MILES DAVIES, BIRD (Charlie Parker) and MONK as in Thelonious – I think the rest you can work out for yourself…

    [=== THEOGONY === ACCORDING === TO == RON = GORCHOV ===]
    12.15.18 - 01.26.19

    15/12/2018 – 26/01/2019
    Opening: Saturday 15 December, h. 6.30 pm
    Opening Hours: Tuesday – Saturday, h. 2.00-7.00 pm
    Via Casalino, 23/25 24121 Bergamo
    tel. +39 035 247418

        [== LINK ==]

    Solo Show – Theogony according to Ron Gorchov
    15/12/2018 – 26/01/2019
    Opening: December 15th, 6:30 pm.
    Opening hours: Tue – Sat, 2:00 – 7:00 pm.

    Thomas Brambilla Gallery is proud to present “Theogony according to Ron Gorchov”, the second solo show of Ron Gorchov at the gallery. The exhibition presents a series of brand new paintings inspired by Hesiod’s Theogony, the first known Greek poem discribing the origins and genealogies of Greek gods and the rise of Zeus.
    Throughout the 20th and 21st centuries, artists have consistently refered to ancient myths; from Picasso’s Minotaur to Louise Bourgeois’ sculpture of the Oedipus myth, constructed in 2003 from scraps of pink fabric, to conceptual artist Chris Burden’s 1973 performance of the Icarus myth, to the recent exhibition of myth-suffused works by Damien Hirst in 2017. Ancient mythology is therefore a lively presence in Contemporary Art. But myth is, and perhaps always was, more than a visual storybook, a trove of tales to be illustrated over and over. The stories of passion, ambition, greed, and human suffering in ancient mythologies represent Humankind’s attempts to understand the curious and the inexplicable, from astronomy to man’s humanity and the meaning of life and death.
    Gorchov has always been inspired and fascinated by Greek mythology and philosophy, so much that we find an innumerable series of references in his poetics and practice, starting from the artworks’ titles to the biomorphic shapes of the paintings. Moved by Protagoras’ philosophy, according to which the Man is the measure of everything, Gorchov replaced the traditional canvas to a saddle-like surface resembling a living organism, on which the twofold brush strokes remind us of a human bust.
    As the Greeks conceived stories of Gods created in the image of human beings in order to understand Mankind and life, Gorchov reworks the classical myths, taking inspiration from the struggles of heroes -both triumphant and tragic- gods, monsters and fate, and reinterpreting them according to present-day ideas or anxieties.
    Each of the paintings included in the show Theogony according to Ron Gorchov is dedicated to the main gods of Hesiod’s poem and, as a star map, it allows us to retrace the full gods’ entire genealogies and legends. The colossal Zeus stands alone and victorious after overthrowing Cronus and his fellow Titans, here represented as a myriad of small paintings, finally becoming the ruler of the cosmos.
    Theogony according to Ron Gorchov is also a symbol of his long and historic artistic career: as gods enclose the concept of infinity within themselves, his artistic practice will surely remain in the History of Art.

    [== 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


    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

    ©THE BLANK 2019
    TB TRANSIT MESSAGE | The Blank TR - Transit Message Pavilion | 09.02.18 - 09.04.18