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    Artist of the month
    ANTON GIULIO ONOFRI
    [=== ANTON === GIULIO === ONOFRI =]
    NEWSLETTER JULY 2024
        [== LINK ==]

    Anton Giulio Onofri
    Lido di Pesaro
    23 giugno 2024
    iPhone 15 Pro
    Photo credit Anton Giulio Onofri


    THE BLANK CONTEMPORARY ART
    99 WORDS WITH ANTON GIULIO ONOFRI

    Summer has arrived. In the photo, you can see the beach of a seaside resort in Pesaro, taken two days after the solstice. The sea is the Adriatic, so this photo captures a sunrise. I took it with my iPhone after an all-nighter spent chatting about the past and future with some friends from the International New Cinema Festival, which had wrapped up a few hours earlier with a big party on the rooftop terrace of the hotel where I was staying. The sunrise convinced us all that it was time to go to bed. As of now, this is my most recent photo.

    CLAUDIA LOSI
    [= CLAUDIA = LOSI ===]
    NEWSLETTER JUNE 2024
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    Claudia Losi
    Amuleti, 2020
    Argilla, pigmenti e mani amiche
    Courtesy l’artista e collezione privata
    Photo credit Andrea Rossetti


    THE BLANK CONTEMPORARY ART
    99 WORDS WITH CLAUDIA LOSI

    So many words fit in a hand
    A hand that grips to a choke

    So many words gather in the wind
    Wind that moves to emptiness

    So many words die on the lips
    Lips that kiss to whiteness

    So many words flow through the teeth
    Teeth that bite to rend

    So many words we would like to repeat
    Ever so slowly, a blow to the death

    So many words we could repeat
    Ever so slowly, a blow to the death

    ELISA MONTESSORI
    [== ELISA ==== MONTESSORI ==]
    NEWSLETTER MAY 2024
        [== LINK ==]

    Elisa Montessori
    Senza titolo
    2022/2023
    Tecnica mista su carta catramata
    449 x 100 cm
    Prospekt, 2023, a cura di Cecilia Canziani e Marta Roberti
    Istituto Italiano di Cultura, Cracovia e Varsavia


    THE BLANK CONTEMPORARY ART
    99 WORDS WITH ELISA MONTESSORI

    “…Venturing into the forest,
    or rather getting lost.
    Knows it from every side
    and has winged flight,
    unfolding while migrating
    slowing down while returning.
    Feels free on the hook of the branch
    among its shadows and half-lights
    the green twisted arches
    in the enveloping descending silence
    and shatters at every moment…”

    STEVE PICCOLO
    [=== STEVE == PICCOLO =]
    NEWSLETTER APRIL 2024
        [== LINK ==]

    Steve Piccolo
    Order
    2024
    Spontaneous assemblage of miscellaneous waste produced by squatters of a building in Milan, photo and graphic intervention by artist
    Photo Credit and Courtesy the Artist


    THE BLANK CONTEMPORARY ART
    99 WORDS WITH STEVE PICCOLO

    In this world of noses
    to the ground
    sky unseen

    In this world
    grinding to a halt
    crawling on all fours
    now makes more sense

    In this world of
    substitutes for love
    how can I make decisions?

    In this world of
    artificial brains
    nothing will change
    the chains remain

    Can this world of
    bold assertive style
    raise a smile?

    In this world of
    systems within systems
    how do I know where I stand?

    And in a world of
    self-fulfilling lies
    why should I tell the truth?

    How will I know what you mean
    if you won’t define your terms?

    JANIS RAFA
    [= JANIS === RAFA =]
    NEWSLETTER MARCH 2024
        [== LINK ==]

    Janis Rafa
    The Space Between Your Tongue & Teeth
    2023
    3-channel video, 9 min
    Courtesy the Artist


    THE BLANK CONTEMPORARY ART
    99 WORDS WITH JANIS RAFA

    In a horse’s mouth there is an area where no teeth grow.
    A vacuity of space exists along with the interdental space.
    And in this break,
    within the gap left in between the incisors and premolars,
    there’s an artificial portal,
    allowing tame,
    imposing control,
    forcing discipline.

    The bit, this irresistible jewel,
    is now hosted by the horse’s mouth,
    beholding a system of expansion.

    Your back left teeth grew like mountains.
    Opened holes in the gums.
    You couldn’t eat.
    Your body wouldn’t listen.

    Your teeth a sign of torture.
    Your mouth a proof of resistance.

    I betrayed your mouth endlessly.

    [Ioanna Gerakidi and Janis Rafa]

    NABUURS&VANDOORN
    [=== NABUURS == VANDOORN ==]
    NEWSLETTER FEBRUARY 2024
        [== LINK ==]

    Nabuurs&VanDoorn
    Revelation 03
    2022
    Fine Art Print on baryta cotton rag paper mounted on dibond
    120 cm x 180 cm


    THE BLANK CONTEMPORARY ART
    99 WORDS WITH NABUURS&VANDOORN

    Exactly at the moment we participated in the residency dedicated to Vincent van Gogh, climate activists from “Just Stop Oil” attacked his work Sunflowers at the National Gallery, London UK. In response, we performed 10 Geoseances in the natural environment around Van Gogh’s birthplace. The landscape where Vincent walked and about which he wrote beautiful letters on nature. In GeoSeances (2022), we present a comprehensive exploration of the significance of Vincent van Gogh’s signature. Through digital appropriation, we projected his signature from the painting Sunflowers (1888) onto the landscape, reviving a seemingly forgotten connection between his signature and nature.

    EFFE MINELLI
    [=== EFFE ==== MINELLI ==]
    NEWSLETTER JANUARY 2024
        [== LINK ==]

    Effe MinelliThese butterflies came back from hell to see you2023Mixed media Photo credit: Paolo Biava


    THE BLANK CONTEMPORARY ART99 WORDS WITH EFFE MINELLIThings that scares me and things that scares me not.I’m scared of admitting my fears.I’m scared of getting rejected after sharing my feelings for someone.I’m scared when all the love disappears or it mutates into hate and bitterness.I’m scared of gossiping, of banal peoples and their sharp tongues.I’m scared of misunderstanding, judgement, stigmatization and discrimination.I’m scared of loneliness.I’m not scared to embrace my fragilities.I’m not scared of telling the true and always follow my hearth.I’m not scared to receive and to give love.I’m not scared of standing up for human and animal rights.I’m not scared of change of mutation and regeneration.I’m not scared of crying.

    RENÉE VAN TRIER
    [=== REN ===== E ==== VAN == TRIER ===]
    NEWSLETTER DECEMBER 2023
        [== LINK ==]

    Renée van Trier
    Drawing: Apparently it is about land
    Charchoal, paper
    23,7 x 32 cm
    Courtesy the artist
    Photo credit: Sofie Boon

    THE BLANK CONTEMPORARY ART
    99 WORDS WITH RENÉE VAN TRIER

    “THIS AIN’T DISNEYLAND
    NO CARTOON CHARACTERS HERE
    NO PRINCESSES WHO SAVE THE DAY
    JUST STRUGGLES AND LONELINESS IN OUR WAY
    BEING EXCLUDED IS THE WORST THING TO HAPPEN
    EMPATHY IS HARD WORK
    EMPATHY IS PAINFULL
    LESS AND LESS ROOM FOR ANIMALS TO CHASE
    LESS AND LESS ROOM TO CALL HOME
    WE FELL ON DEAF EARS
    WE TAKE MORE THAN WHAT WE NEED
    NATURE HAS THE LAST LAUGH
    YOU WON’T BE ABLE TO RETURN TO YOUR ORIGINAL STATE”

    “I WANT THE BEST FOR MY CHILDREN”

    ALESSANDRO PESSOLI
    [= ALESSANDRO === PESSOLI =]
    NEWSLETTER OCTOBER 2023
        [== LINK ==]

    Alessandro PessoliThe Valley, 2021Oil, acrylic, spray paint, oil stick, oil pastels, and colored pencil on canvas88 5/8 x 169 1/4 inches (225 x 430 cm)Courtesy Anton Kern Gallery New York

    THE BLANK CONTEMPORARY ART99 WORDS WITH ALESSANDRO PESSOLIA world fades within one that begins, the sun is a gearwheel that extinguishes itself, dragging a headless body, an old hero from whom flowers are born.Two creatures, a little boy on the back of an invented tiger and my hands, not much more than a small blue tree to lean on.In the future my face is like a flaming skull with a burning smile on which a cartoon worm walks and a little flower sprouts.

    FABRIZIO PREVEDELLO
    [= FABRIZIO ===== PREVEDELLO ==]
    NEWSLETTER SEPTEMBER 2023
        [== LINK ==]

    Fabrizio Prevedello
    Prove di volo (35)
    2009
    Steel
    14,5×44,5×42 cm
    Courtesy Cardelli & Fontana

    THE BLANK CONTEMPORARY ART
    99 WORDS WITH FABRIZIO PREVEDELLO

    The studio is an old abandoned house.

    In the seventies it was also used as an elementary school in the small village where I live.

    It has a terracotta floor supported by chestnut beams. The floor is very elastic, maybe too much… I reinforce it with a beam. My colleague downstairs, a painter, is grateful to me.

    To distribute the weights, the materials for the sculptures are placed around the perimeter of the walls. I also started building the sculptures on the walls.

    The climate is mild, for almost the whole year I leave the windows open, the swallows come in, they make their nests between the beams in the ceiling… and their physical needs, too.

    I cover the finished sculptures with sheets, I protect them from being looked at and from coexistence with the swallows.

    A sculpture in the making is positioned very high up, just below the ceiling. Some newborn swallows begin to use it as a springboard.

    © THE BLANK 2024
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