CRIPTA747, Torino, Italia
T: +39 3485498512 _
tuesday-saturday / 16-19.30 or by appointment

about                                            archivio                                           t-a-x-i


11th September 2015, Torino

+ tba



we are are proud to announce first issue of T-A-X-I








29 JAN -  22 FEB
CRIPTA747, Torino

HOMEWORK, Gianni Ferrero Merlino feat. Mario Cresci, 2015
installation view, Cripta747, Torino

Cripta747 ha il piacere di presentare Homework una mostra di di Gianni Ferrero Merlino in collaborazione con Mario Cresci.

In mostra una parte del lavoro campo riflesso e trasparente effettuato da Mario Cresci in occasione di una sua personale presso lo Studio Trisorio a Napoli (1979). La collaborazione con Cresci scaturisce proprio da una riflessione su “rotazione”, “avvicinamento” e “traslazione”; considerando il suo lavoro capace di costituire una grammatica per l’osservazione e per la ricerca sul mezzo fotografico. 
Homework, di Gianni Ferrero Merlino è una seria inedita di 9 fotografie realizzate alla torre Ghirlandina di Modena. Per Merlino il processo di stampa in camera oscura è il luogo di costruzione dove, attraverso la luce dell’ingranditore, l’autore ridisegna sopra il soggetto registrato in ripresa. La stampa è affiancata concettualmente al disegno come processo di apparizione, guidata dalle nuove architetture rivelate. 

Momento in comune tra le ricerche dei due autori è quello di non servirsi della fotografia esclusivamente come strumento di ripresa, ma piuttosto come mezzo di ricerca, come veicolo per creare e per ragionare intorno all’immagine.

Gianni Ferrero Merlino, HOMEWORK, 2015
installation view, Cripta747, Torino

Gianni Ferrero Merlino, HOMEWORK, 2015
stampa ai sali d'argento, 36 x 45 cm

Gianni Ferrero Merlino, HOMEWORK, 2015
stampa ai sali d'argento, 36 x 45 cm

Gianni Ferrero Merlino, HOMEWORK, 2015
stampa ai sali d'argento, 36 x 45 cm

Mario Cresci, "campo riflesso e trasparente", 1979

 Mario Cresci, "campo riflesso e trasparente", 1979

 Mario Cresci, "campo riflesso e trasparente", 1979

Mario Cresci, "campo riflesso e trasparente", 1979

Mario Cresci, "avvicinamento", 1972

HOMEWORK Gianni Ferrero Merlino feat. Mario Cresci, 2015
installation view, Cripta747, Torino


Mario Cresci "campo riflesso e trasparente", 1979

Mario Cresci, "sequenza del quadrato", 1972
archivio, courtesy l'artista



portraits and drawings SEBASTIANO IMPELLIZZERI
arduino and technical GIACOMO LEONZI
sculptures FRANCESCO MESSINA courtesy Studio Copernico
display setting PIERGIORGIO ROBINO
and with the collaboration of LORENZO SCOTTO DI LUZIO

08 NOV -  15 JAN
CRIPTA747, Torino

Renato Leotta, "Museo (Cavalli e Cavalle, Cavalli Cavalli), 2014
installation view, Cripta747, Torino

Europe has finally overcome the year 1000, the end of the world anxiety is gone for everyone, at least for now. The weather is bizarrely warm, the crop is abundant and the natality rate spikes. Economy is flowering, universities are being created and cities exude colours: red, green and yellow buildings, polychromatic houses and cathedrals, it feels like watching the world through a kaleidoscope. 
This world, previously covered in rust, is now - after a few centuries - re- discovering movement; squares are crowded with characters moving from town to town, seeking fortune: hawkers, jokers, all types of barkers; pilgrim routes to Rome or Santiago de Compostela are getting more and more crowded; universities welcome foreign students every day; artists and wandering poets seeking success and fame are invited as guests in foreign courts. Economic relationships among distant countries, between East and West, are being regulated by merchants - who are revitalised by this new, broadened geography. 
It’s a constant contact between social bodies, a system of encounters and relationships that enriches culture and diffuses styles and trends and beyond geopolitical borders. Steadiness isn’t trendy anymore. Some people change their food habits, the taste in clothes becomes more sophisticated, elegant and expensive objects become more and more attractive. 

In the cities, the seeds of future bourgeoisie are being planted. 
The world has not become a living heaven, clearly. Society is still torn between those who pray, those who fight and those who work - the last ones paying for all - but it’s now easier to find merchants who are wealthier than nobles. 
The new born bourgeoisie - owning the tools but not the titles - aspires to be something more; they buy big homes, beautiful fabrics, and start to read more and more books. 
Time goes by and this bourgeoisie becomes more educated, increasing the demand for culture. Their favourite stories are - guess what - about kind and valorous knights who fight all around the world and bring back victories, honour and fame. This class has a taste for travels, a hunger for adventure being satisfied by the protagonists of their favourite bestsellers. 
Since not long ago, becoming a knight meant creating occasions for a life change by modifying your destiny with a sword. In a noble family, inheritance lied with the first born, while the second born was meant to become an ecclesiastic. All the other siblings had no other choice than giving their life away to become servants of a rich feudatory or an emperor, hoping to get back - before or after - a piece of land to build their fortune. Social climbing was typical of many knights, some of them being nothing else but legitimate killers riding a horse. 

During these years, however, the Church steps in: an army is needed, now more than ever. It’s the time of Crusades, of fighting in the name of God. Ecclesiastics name the knights “Christ’s soldiers”, giving them the custody of the poor and the oppressed and the evangelisation - through a “necessary” death - of all non believers. Literature, the unaware complicit of this process of dignification, plays its part. 
In northern France, tales are being told about the heroic adventures of Charlemagne’s paladins, as well as the magic and sentimental tales of the characters reunited under King Arthur’s court. Very soon myth and reality blend with each other, and knights become the owner sof values which never really existed, but were certainly longed for. 
The chivalric ideal is being forged: women, knights, arms and loves are the subjects of the first, rough experiments of our future modern romance. 
These literary attempts, born in France, will spread rapidly across Europe, finding fertile ground in Italy. Italian culture will begin to own and master the chivalric epic and in 1532 - in the middle of Renaissance and in a society which is radically different from France in the year 1000 - will produce the most complex and charming romance ever written in this genre: Orlando Furioso (the Frenzy of Orlando).

Francesco Messina, "Giovane Stallone"bronzo, 55x76x22,3 cm, 1991 - courtesy Studio Copernico


What’s the audience of a piece of work that re-proposes stories, reasons and characters of a consolidated tradition? Throughout the whole Middle Age and up until Renaissance, the epic-chivalric genre is broadly diffused and loved by both uneducated and educated audiences. The first category would listen to such stories in the streets, the second category would rather read them in the books. The over-production of such texts (actual spin-offs of the ancient world) causes a rapid decrease in quality. The new chivalric stories start resembling the old ones, the genre soon becomes repetitive and it looks like there’s nothing new to say anymore. 
The point is now: how much can we care about a dull historical recovery that does not talk to (and about) us, in the contemporary world? 
Most of these stories written between the year 1000 and the year 1500 did not survive because once the interest of their very first readers started to decrease, they were not able to communicate anything to the following ages. 
The value of a piece of work like the Orlando furioso is that being a classic, meant as the historical produce of a specific culture that goes through - and beyond - the concept of time, it is always able to speak to contemporary audiences. 

The credit of re-vitalising the epic-chivalric genre belongs to Ludovico Ariosto, who dragged it out of its stagnant condition. How did he do that? 
Ariosto did not just describe and represent a world in which no-one - in full Renaissance - believed in. The society he represented, despite being populated by outdated characters, is extremely contemporary. 
Behind the canonic masks of the main characters we recognise all typical behaviours of a contemporary society portrayed as arriviste, mean and sometimes even ridiculous. The description is always up-to-date: by combining past and present, Ariosto creates an ironic shot circuit that unveils, in the blink of an eye, characters who were first presented as stereotypes of the tradition. 
On the chivalric scenery, made of battles and extraordinary loves, the constantly sneering eye of the author highlights the most authentic and sometimes even grotesque traits of its characters: we see ungrateful women who are just not worth the pain, dumb knights who are easily mislead, and characters who enjoy corruption when in fact they should be examples of morality. 
Orlando, the main character, is a renown and respected warrior who suddenly loses his mind for love and - all naked in a wood - starts uprooting oaks and pines like crazy. 
Ariosto does not want to diminish or ridicule the antique chivalric virtues. 

Francesco Messina, "Giovane Stallone" - bronzo, 55x76x22,3 cm, 1991 - courtesy Studio Copernico
Francesco Messina, "Stallone" - bronzo, 42x74x42 cm, 1969 - courtesy Studio Copernico
Renato Leotta, "Ritratto di donna in movimento (Giacinta)", 
studio sul ritratto e disegno di Sebastiano Impellizzeri
carboncino su carta, telaio motorizzato, 150x180 cm, 2014

his purpose is rather to examine them critically in a new society that now perceives the world as more complex, fragmented and unpredictable than it was during Middle Age. In other words, Orlando furioso witnesses the irreversible end of a historical era (the Middle Age), therefore announcing the start of the modern age. 
This historical transition is sustained by the very structure of the romance. Rather than a linear narration of episodes who start and end, one after the other, Ariosto prefers to use a more tangled construction, which he believes is more able to represent simultaneous events: just like in a series of cinematographic sequences, synchronic stories and adventures of the main characters are constantly started and interrupted. 
Ariosto indeed recalls themes and characters of the past, but to include them in a wider perspective that includes contemporaneity. Still unanswered is the initial question: what is, in fact, the audience of Orlando furioso
The stories of these ancient knights and ladies are told by a man who wishes to talk to the living people of each era. Such an operation of historical recovery has no reactionary origins: looking at the past, at tradition, is nothing like complaining about the good old times, or just showing off academic abilities. It is all about discovering - and recovering - the historical and cultural substratum of our civilisation with the eyes of those who come after, of those who live the present, of those who want to safeguard it - and pass it on. 
Orlando furioso is a museum-work, a container of values and ideals belonging to different periods coming together, stratified, in our contemporary age. Every historical recovery - unless empty or nostalgic - is a recovery of one’s own conscience. 
The already-said can be repeated forever, waste must be searched in the modalities in which it is expressed: it is right here that an old story can suddenly reveal itself with the power of an unexpected epiphany.

Francesco Messina, "Stallone"
bronzo, 42x74x42 cm, 1969 - courtesy Studio Copernico


Of loves and ladies, knights and arms, I sing, 
Of courtesies, and many a daring feat; 

Starting is as important as ending. In these two verses at the beginning of his work, Ludovico Ariosto synthesises the whole plot of his romance. The topics are the typical ones: Love (women, loves, courtesies) and Death (knights, arms, daring feats). But the way these terms wedge in each other suggests something: 

Of loves, ladies, 
knights and arms I sing, 
Of courtesies 
and many a daring feat; 

This is movement: reading is a zig zag experience of galloping between the semantic areas of love, fight and death. Loves-ladies, knights-arms, courtesies-daring feats. 
The text - the horse - gallops between one image and the other to suddenly stop: I sing. Subject and verb crash and fall, together, to the end of the sentence to interrupt - at least for now - the frenetic race. 
It only takes two verses, the first two verses, to create a quintessential image valid for the whole romance. In Orlando furioso Love and Death run after each other from the start to the end, love and military adventures concatenate making us lose the sense of direction. 
The connection is not only thematic and historical, but also textual and grammatical, involving the structure of the sentence and of the whole work. Orlando furioso is the romance of movement, a never ending race generated by a specific cause: women (it is not by chance that this is the first word of the romance). 
Women make the romantic plot possible. 
The progress of the historical background - the war between Christians and Saracens - is constantly interrupted by love hunts and other adventures dominated by the presence of women. 
The escape of a specific woman, in the first chapter, starts the narration: princess Angelica escapes in a wood close by Paris, followed by a crowd of admirers she does not care of. 
Orlando, paladin of Charlemagne and main character, decides to leave the war to find her. All adventures in the romance start from these pursuits. 
Angelica, who should be the main female character, is in fact only a rapid draft of a character who escapes even the overall look of the reader. She only says a few words, her appearances in the romance are rare and very short. She is constantly on the move, someone on which one’s attention cannot stop. When she escapes, she exists because she is wanted, but as soon as her image becomes steady (when she marries a common soldier and goes back to Catai) she fades away, forgotten by everyone, as if she died. 
This happens because Angelica is not the exclusive main character of Orlando furioso, just as all the other women within the romance. The main character of the is not a woman, but the woman, conceived as a heterogeneous product of different personalities who, one by one, take the name of Angelica, Bradamante, Marfisa, Fiordiligi, Olimpia, Isabella, Origille, Gabrina, Doralice... Good or bad, faithful or unfaithful, women in Orlando furioso represent the start and the end of every adventure.

Dario Giovanni Alì

Renato Leotta, "Museo (Cavalli e Cavalle, Cavalli Cavalli), 2014
installation view, Cripta747, Torino - flat display setting by Piergiorgio Robino

Renato Leotta, "Museo (Cavalli e Cavalle, Cavalli Cavalli), 2014
installation view, Cripta747, Torino - flat display setting by Piergiorgio Robino

When suddenly Johnny gets the feeling he’s being surrounded by horses, horses, horses, horses 
coming in in all directions white shining silver studs with their nose in flames, He saw horses, horses, horses, horses, horses, horses, horses, horses 
(Patti Smith) 

The project of the exhibition Museo (cavalli e cavalle, cavalli cavalli) by Renato Leotta rises from the willingness to give life again to those themes that have always been part of the history of art and that have survived to new artistic trends through the centuries, since they have a deep and intimate relationship with both the culture and the human history. 
These themes are represented in paintings and sculptures, but they emerge often only superficially. 
For this reason, it is hard to capture their essence, their intimate content, their poetics and the imaginative power that they are able to inspire. 
The exhibition deals with the way of making art in the contemporary age with a critical approach. 
This happens when the figurative art seems to have given the way to a new kind of realism which denies the representation in favor of the description of the world as it appears. 
Is it possible that themes and traditional genres talk us about the present? 
Is it possible to actualize the traditional representation? 
The exhibition develops these reflections, focusing on the drawing and the sculpture, in relation to the concept of display. In fact, the way in which the works, belonging to traditional artistic genres, are outfitted may expand their potentiality, thanks to the manipulation of the relationship between the works and the space in which they are displayed. The display is of considerable importance because it reveals the poetical choices of the age to which a work belongs: the presence or the absence of the frame for a painting or the type of the base for a sculpture are decisive almost as the represented subject. The history of art is full of similar examples that have changed the way of making art. The display is not to be considered only from a formal perspective, but it should be conceived as an essential part of the work, since it is involved in the process of creating new narrative strategies. It is realized beginning from the way in which the work occupies the space, by giving it a meaning. The works of the exhibition change the essence of space and the way in which we perceive it: their presence becomes almost immanence. 
Museo (cavalli e cavalle, cavalli cavalli) is focused on two different series of works: one series is constituted of female portraits, committed by Renato Leotta to Sebastiano Impellizzeri, and the other one is constituted of sculpture realized by Francesco Messina. As it often happens during the ages of intense linguistic experimentation, the protagonists of the exhibition are traditional subjects, two classics of the history of art: on one hand, we have portraits of female nudes, and, on the other hand, we have sculptures of horses. The unifying principle of the exhibition is the movement: the works act directly on the space, creating an immersive feeling, thanks to their dynamism. 

Renato Leotta, "Ritratto di donna in movimento (Giacinta)"
studio sul ritratto e disegno di Sebastiano Impellizzeri
carboncino su carta, telaio motorizzato, 150x180 cm, 2014

The portraits are placed on a movable structure that makes the space dynamic, like in a theatrical scene. Following a principle akin to that that guided Robert Breer in realizing his well-known Floating sculptures, the drawings run along the wall of the space slowly and moving horizontally, thanks to a small engine, astonishing and hypnotizing the viewer with their unexpected dynamism. 
The external change creates a semantic slippage, that blurs the boundaries between the space of the representation and the real space, albeit the drawings renounce to mimicry and hyperrealism. 
The drawings are realized with charcoal, the concise lines fray so as to evoke the contortion of the bodies and to echo into the space the vibrations of a body in motion. The works are astonishing thanks to their new kinetic action and create a magic and enchanted dimension. Their elementary and intuitive mechanical translation of the desire to reproduce the real world reminds the optical experiments typical of the early ages of cinema. 
The framed and shifting drawings are strictly connected to the fascinating and sinister literary tradition that speaks about moving paintings and painted women, who create a tricky game with a reciprocity of gazes. 
This happens for example in Nabokov’s short story La Veneziana, in which the real life is compared to the inaccessible dimension of art and beauty. 

Besides the portraits, the equestrian sculptures by Francesco Messina give a perception of movement, thanks to both their shapes and the reflections of the bronze. 
Francesco Messina was a realist artist and loved the sensual side of the life. 
Thus, he was able to reveal the alive essence of the world and to evoke the impetus lying underneath the appearance, by showing the visible beauty. 
Thanks to the realism, Messina links the elegance of the ancient and mediterranean art - that reminds Sicily (where he was born) - with the modernity. 
This happens thanks to the passionate commitment of those who “capture, in the reality, the symbols of the rhythm of life and of the harmonic order of spiritual energy that animates the physical world” (F. Russoli). This will is achieved thanks to the equestrian sculptures. When Messina dealt with the horse theme, he had already faced the question about the display. 
As it happened with Degas’ sculptures - artist loved by Messina -, the base of the sculpture narrows, becomes a diaphragm, overstepped by the horses, and leaves behind the pose and the solemn walk of the horses of the equestrian monument and enters into the life, in the real world. This stirs up its wild and instinctual energy. The price of freedom is paid with the fallibility: the horse runs, but it also falls down, it’s dying, as the famous horse of the RAI, here reproduced thanks to Lorenzo Scotto Di Luzio, giving a metaphysical and surreal atmosphere to the space. 
In the modern age many artists have used the horse as subject to reproduce the essence of the movement. 
In fact, in 1878, Muybridge used the horse for his experiments of chronophotography. In particular, he was capable to show the real gait of the horse, after studying its gallop. Some years later, Muybridge invented the zoopraxiscop, which is a primitive motion picture device, through which he reproduced the horse in motion. 

Francesco Messina, "Cavallo al galoppo" - bronzo, 47x93x18 cm, 1971
Francesco Messina, "Giovane Stallone" - bronzo, 55x76x22,3 cm, 1991
"Ritratto di donna", studio sul ritratto e disegno di Sebastiano Impellizzeri
carboncino su carta, 150x180 cm, 2014

Similarly, Reynaud invented the praxinoscop, in which twelve drawings of knights, drawn in different stages of the gallop, reflected on some mirrors offering the perception of movement. 
On his route to the abstraction, Kupka was inspired by these optical instruments when, at the beginning of the twentieth century, he realized the ink drawing Knights, that summarizes his research on movement. 
Boccioni was a futurist artist and an advocate of the modernity and of the power of machines. He represented the development of the civilization by using the energy of the horses in his well-known painting La città che sale. The horse is the protagonist of another series of works, known as Dinamismi, which include paintings, drawings and sculptures, in which the animal overwhelms the environment, arousing plastic emotions: “Indeed, all things move, all things run, all things are rapidly changing. A profile is never motionless before our eyes, but it constantly appears and disappears […]. Thus a running horse has not four legs, but twenty, and their movements are triangular”. (Technical Manifesto of Futurist Painting). 
Moreover, in 1969 Kounellis displayed in Rome twelve alive horses in the gallery L’Attico
It is well known how Messina ended up to pay close attention to the horse as subject of his works. It happened for the first time in 1973 in occasion of the commission of the new monument “Regisole”, erected at Pavia. In fact, Messina brought a horse in his atelier, straight from the stable, in order to study the its anatomy. In 1947, during a travel in Argentina in occasion of a retrospective, Messina was impressed by a herd of wild horses running through the pampas. 
In 1958, this fascination incited him to create over the years an amazing series of little bronze horse sculptures, in different poses and sizes. The vibration of the material of these sculptures, that seem still to be in a fluid state, contains the potential energy of life and shows their incredible force. The horses, with their smoldering bodies, are crossed by opposing forces. Their tails and manes rise up in the air like torches. And it is possible to perceive in each sculpture the previous action to the one that follows, like a film still. The sequence of the poses of the horses is an ideal series of movements. The hearth of the research is the movement and its essence. The deformity of the lines of the horses, distorted and grotesque, causes a dramatic increase of the emotions. The horse is the symbol of the power together with the beauty and the elegance “but in the horse, power, beauty and elegance are glorified and to some extent overwhelmed by its wild nature” (A. Paolucci), that belongs to human being as well, and that survive in the instinct, in the impetus and the doubled nature of the centaurs.

The desire to become an indian 
If one were only an indian, instantly alert, and on a racing horse eaning against the wind, kept on quivering jerkily over the quivering ground, until one shed one’s spurs, for there needed no spurs, threw away the reins, for there needed no reins, and hardly saw that the land before one was smoothly shorn heath when horse’s neck and head would be already gone. (Franz Kafka)

Sara De Chiara

Renato Leotta, "Museo (Cavalli e Cavalle, Cavalli Cavalli), 2014
installation view, Cripta747, Torino

Lorenzo Scotto di Luzio and Cripta747, "Cavallo morente della RAI"
cartapesta, 300, 200x302 cm, 2014

Lorenzo Scotto di Luzio and Cripta747
"Cavallo morente della RAI"cartapesta, 300, 200x302 cm, 2014

"Aria di testa (Elisa, Antonella, Giacinta)"
studio sul ritratto e disegno di Sebastiano Impellizzeri - carboncino su carta, 140x170 cm, 2014
Francesco Messina, "Stallone"
bronzo, 42x74x42 cm, 1969 - courtesy Studio Copernico

Foto: Sebastiano Pellion Di Persano




06 - 09 NOV 2014

Moonwalk by Gianandrea Poletta is a work included in the CRIPTA747’s project MUSEO EUROPA, presented on the occasion of the forthcoming exhibition programme and addressed to the emergent generation of European artist.
The artist defines Moonwalk in two ways: as a sculpture and as an event taking place between two objects: sneakers and electric vibrators. Through a small but fundamental acceleration, Moonwalk creates an almost metaphysical atmosphere in which the human being is completely absent, replaced by machines.
Within a research field that studies proximity – defined as the material and immaterial space that surrounds us – Poletta interrupts the links that exist between objects, revealing them in a new, intriguing way and taking them beyond their essence and utility.
The work’s innovation is carried out exactly on this decision that unties objects from their obsolescence and usability patterns and returns them outside the edges of Market, Philosophy and Aesthetics.
The work of Poletta brings the viewers in front of an emotionless seduction, giving them that feeling of alienation perceived during a not fully explicable event.

In mostra Moonwalk di Gianandrea Poletta, opera inserita nel progetto MUSEO EUROPA di CRIPTA747 presentato nel corso del prossimo programma espositivo e rivolto alla generazione emergente di artisti europei. L’installazione Moonwalk è definita dall’artista tanto una scultura quanto un evento che si verifica tra due oggetti, le sneaker e i vibratori elettrici. Attraverso una minima ma fondamentale accelerazione,Moonwalk rende un’atmosfera quasi metafisica in cui l’uomo è completamente assente, sostituito dalla macchina.
All’interno di un campo di ricerca che studia la prossimità, intesa come spazio materiale e immateriale che ci circonda, Poletta ferma quei link che esistono tra gli oggetti, svelando questi ultimi allo spettatore in una nuova veste intrigante, portandoli oltre la loro essenza e utilità.
La componente rivoluzionaria del lavoro si attua proprio su questa decisione, che slega gli oggetti dalla loro sorte di consumo e obsolescenza e li riconsegna a un luogo fuori dai bordi previsti dal mercato, dalla filosofia e dall’estetica.
L’opera di Poletta porta lo spettatore davanti alla seduzione indifferente dell’opera, restituendo quello straniamento che si avverte per un avvenimento non completamente spiegabile.

Gianandrea Poletta, "Moonwalk"
sneakers and electric vibrators, 2014
installation view at Artissima, Cripta747, Musei in Mostra.

photo: Sebastiano Pellion Di Persano









04 - 21 OCT / CRIPTA747, Torino


MUSEO is an environmental work produced by CRIPTA747 and presented during Artissima's week in the basement of Franco Noero gallery.

MUSEO is supported by Fondazione CRT and Regione Piemonte



23 - 26 OCTOBER



0 - E-ELT

04 - 21 OCT
CRIPTA747, Torino

E-ELT is an open studio about space and spaces. Our time and works are presented in order to think to a new relation flow with the experience, without pressures on a specific exhibition format. 1. This is the place where we work 2.This first appointment is a laboratory 3.We can work in studio if today it's a rainy day 4.The space of research is not here and the truth is out there 5. Is this a Museum?


E-ELT, 2014
spray on architect paper
88x118 cm

works produced by Cripta747 in occasion of E-ELT
04 - 21 october 2014, photo credit Alice Guarini.


2014 - 2015


via Giuseppe Regaldi 00. Torino, Italy
T: +39 3485498512 /

ABOUT           ARCHIVIO             T-A-X-I



Painful Zombies Quickly Watch A Jinxed Graveyard
Ian Law, Richard Sides
with the collaboration of Lorenzo Senni
curated by Almanac

Until 28 June 2014

Cripta747 is pleased to present “Painful Zombies Quickly Watch A Jinxed Graveyard”
an exhibition by Ian Law and Richard Sides with Lorenzo Senni, curated by Almanac.

Painful Zombies Quiclky Watch A Jinxed Graveyard, installation view at Cripta747, Torino, 2014
photo: Sebastiano Pellion Di Persano

In the basement space, two words are spoken simultaneously, in a double movement that brings about a shift in time.

Jinx: cancelling out what came before in order to open a space for the future.

The two artists respond to the past lives of an agglomerate of spaces, real and imaginary, resurrecting them in an integration of potentials. Like the show’s title, a sentence that includes every letter of the alphabet, the interactions between the practices of Sides and Law take place on a stage measured by the parameters of a code.

Within the space of the exhibition, delimited by a screen of pleated bamboo, images evolve like tropical diseases. Inverting the idea of a reworking that underlies Ian Law’s artistic process, the pieces function as residues of the future. Materials that accumulated in an empty flower shop in Sant'Ilario are transported in order to make room for the possibility of work.

These structural traces and illicit paraphernalia are treated with the same care as other reminders of our mortality, held balanced in a rearrangement of the rules of matter, delayed decay.

Underneath this slowed temporal surface, bathed in green light, performed narratives emerge in confrontation with the practice of Richard Sides. The recycled objects also claim a role as active characters, as the artist surrounds them with the sensationalist vitality of newspaper headlines in a collage of image and text.

Add to this dimensional poetics the screeching, buzzing sounds of the cavernous space, produced and recorded after midnight by Sides and Lorenzo Senni, and the time-space of this triple encounter begins to strain at the seams, containing both the event of a hospitable crisis and that of hallucinatory contemplation.

Works by Ian Law made possible with the collaboration of The View Studio, Sant'Ilario, Genova.

Painful Zombies Quiclky Watch A Jinxed Graveyard, installation view at Cripta747, Torino, 2014

Painful Zombies Quiclky Watch A Jinxed Graveyard, installation view at Cripta747, Torino, 2014

Richard Sides, Britain's 100 years of war, 2014
270x370 cm, mixed miedia

Richard Sides, Lorenzo Senni, Pluto paraphernali 4 am, 2014
audio expert from live concert, monitor

Ian Law, Richard Sides
Painful Zombies Quiclky Watch A Jinxed Graveyard, 2014


Ian Law, There was a body, I was there, was a body, 2014
100x200 cm, weathered corrugated steel, artificial flowers

Ian Law, There was a body, I was there, was a body, 2014
89x100 cm, weathered corrugated steel, artificial candle elettronics


Ian Law, There was a body, I was there, was a body, 2014
254x214 cm, 125x200 cm, weathered corrugated steel, ribbon, homemade potpourri

Ian Law, There was a body, I was there, was a body, 2014
125x200 cm, weathered laminated chipboard, plexiglass, wax, artificial flowers, florist's gauze


Richard Sides, Nipple worship, 2014 - 254x214 cm, mixed media

Richard Sides, The Breakfast Killer, 2014 - 210x100cm, mixed media


screening, on monday 9th june 9.30 pm
off site @BARRIERA, via Crescentino 25

a film by Luca Trevisani

introduced Luca Trevisani and Gianluigi Ricuperati 
book launch Water IkebanaHumboldt Book


21 - 25 May 2014
Wilson Project at Kunstvlaai, Amsterdam

Renato Leotta

Renato Leotta, "immagine di un parcheggio", Installation view at Kunstvlaai, Amsterdam, 2014

Renato Leotta in collaboration with Wilson Project Space presents a performance at Kunstvlaai 2014, Amsterdam. A car is lost in the expansion of time and space as into the plots of the innermost feelings of the man, at the exact moment that he arranges a relationship with its landscape.

The conference

The other day I read of a conference held in Mexico City, where the world's scientific community gathered to declare in unison that time is a place to live like space. They were trying to establish conventions in order to understand the parameters within which it is possible habitability of the time. The scientists were debating on what was the nature of this knowledge to define the theoretical paradigms and restore order of the Western language on any possible illusion or deception of the so-called reality.

The discourse was so drawn/elaborated to define the boundaries of what is part of the logic of facts or what needs to remain in the logicof fiction. However both narratives are part of the variegated structure of feelings that composes a geography where a space and its temporality are defined one another. Landscapes, architectures, sea bathing: the succession of images redefines our perception of these in a movement between past and present, taking part in the production of our subjectivity.

This imaginative knowledge rewrites geographies and histories/stories mixing narratives and claiming the membership/belonging of fiction to the realm of empirical reality. This brings to the necessity of an observation that does not consider the space only as a physical conception which presupposes a tangible foundation, but as the result of a sensitive construction loaded of temporality. Is useless to say than an agreement between the honored researchers from all over the world was not fulfilled and a new attempt has been scheduled for next year in a convention center in an International Airport in Dubai.

Renato Leotta, "immagine di un parcheggio", Installation view at Kunstvlaai, Amsterdam, 2014

Renato Leotta, "immagine di un parcheggio", Installation view at Kunstvlaai, Amsterdam, 2014


NAV, 29 April - 17 May 2014

Lupo Borgonovo

Lupo Borgonovo, Mandolino, installation view, Cripta747, Torino - Photo: Andrea Rossetti

Mandolino è un titolo da pronunciare come un cinese pronuncerebbe la parola Mandorino.

La mostra è pensata per lui, l'ideale spettatore cinese di seconda generazione che, parlando della mostra a un'amico italiano, innesca una serie di incomprensioni. L'italiano, in questo caso, passerà alcuni minuti a pensare a cosa possa significare questa parola che non trova nei dizionario e nella propria memoria.


Mandolin is a title to pronounce as a Chinese pronounce the word Mandorino. 

The exhibition is designed to him, the ideal spectator chinese of second generation, talking to a friend of the exhibition Italian, triggers a series of misunderstandings. The Italian, in this case, will spend a few minutes thinking about what it might mean that this word that is not found in the dictionary and in its memory.

Lupo Borgonovo, Elastics Noodles Boogie-woogie, 2014 - Photo: Andrea Rossetti

Lupo Borgonovo, Mandolino, installation view, Cripta747, Torino - Photo: Andrea Rossetti

Lupo Borgonovo, Uovo, 2014 - Photo: Andrea Rossetti


Groupage #1, Opening, 24 march

Diego Perrone
Totò nudo 

We are pleased to present the second shipment of Groupage.
h 6 PM, conversation with Diego Perrone and Barbara Casavecchia

Diego Perrone, Totò nudo, Courtesy Fondazione Sandretto Re Rebaudengo, Torino


I Pensatori di buchi
Barbara Casavecchia

Il testo di Barbara Casavecchia è un tentativo, come scrive l'autore, di ricostruire un decennio a partire da un’opera. Realizzato per essere letto in occasione di "Arte contemporanea, storiografia e sfera pubblica" a cura di Michele Dandini presso il Castello di Rivoli e pubblicato in questa occasione per il secondo board di ricerca di T-A-X-I .



NAV, 27 february - 29 march

Lorenzo Scotto Di Luzio
La vie en Rose

Cripta747 è lieta di presentare "La Vie En Rose", una scultura di Lorenzo Scotto Di Luzio.

Lorenzo Scotto Di Luzio. La vie en rose. Cripta747, Torino. Courtesy Krome, Berlin - Fonti, Napoli

L'altro, Noi e (l'arte)

In mostra La scultura ritrae la famiglia dell'artista, in un pathos estetico che si consuma di fronte ad un bancomat, oggetto archetipo della parabola della crisi e del dramma come copione del nostro tempo. 

Lorenzo Scotto Di Luzio attraverso un linguaggio tipicamente postmoderno utilizza se stesso come veicolo di comunicazione e di rappresentazione collocando il suo lavoro in una posizione radicale nella quale rifiuta di utilizzare l'altro come strumento e di fatto come riduttore, ma agisce in una sorta di apnea in cui non esiste distanza tra Noi, (l'arte) ed il nostro pensiero.

Questo fatto fisico e appartenente al reale è ridimensionato in "la vie en rose" dalla scala ridotta delle sculture che modificano i tratti dell'esperienza sottolineando l'indebolimento dell'essere, questa riduzione della realtà acquista i tratti di una burla i protagonisti sono simili a pupazzi dai colori vividi, come dei fantocci di marzapane.

Il lavoro di Lorenzo Scotto Di Luzio, attraverso un'immagine poco eclatante ma di grande efficacia ci invita a compiere una riflessione sui mutamenti etici in atto e sulle conseguenti derive estetiche ad essi collegati, introducendo come nuova traccia e suggestione per il nostro lavoro di ricerca il concetto filosofico di pensiero debole.

Il progetto è parte di "Navigazione A Vista", programma 2013/2014 dedicato al paesaggio e al Mediterraneo a cura di Cripta747. "La vie en rose" si colloca come primo appuntamento di Groupage, una mostra collettiva in divenire realizzata attraverso un ciclo dinamico di presentazioni, talk e approfondimenti.


Cripta747 is pleased to present "La Vie En Rose", a sculture by Lorenzo Scotto Di Luzio.

L'altro, Noi e (l'arte)

A sculpture of the artist’s family is exposed in the exhibition. The scene, full of aesthetic pathos, takes place in front of an ATM: that archetype-object, metaphor of the crisis and of the drama, could be considered as the script of our era.

Through a typical postmodern language, Lorenzo Scotto Di Luzio uses his persona as a vehicle of communication and representation. He situates his work in a radical position, in which he refuses to use the other as an instrument or a figurehead: he acts in a state of pseudo-apnea, in which there is no distance between Us, (the art) and our mind. 

This physical aspect belonging to the real is put into perspective in “la vie en rose”: the reduced scale of the sculptures, modifying the ways of experience, underlines the weakening of the being. This reduction of the reality turns into a “joke”, in which the protagonists are similar to vividly colored puppets, similar to marzipan rag dolls. 

The work of Lorenzo Scotto Di Luzio is a vision of his own landscape, a postmodern artwork in which the traditional subject – in this case, the family – is connected to a cold non-literal object, the ATM. The final reflection introduces the philosophical concept of the weak thought as a trace of a path inviting to the reflection on the current ethical changing, along with the consequential aesthetical and linguistics results. 

The project is part of “Navigazione A Vista”, the 2013/2014 program curated by CRIPTA747 and dedicated to the topics of landscape and the Mediterranean. “La vie en rose” is the first appointment of Groupage, a collective show in progress, conceived as a dynamic cycle of presentations, talks and researches. 

4 febbraio, Torino

Lorenzo Scotto Di Luzio. La vie en rose. Cripta747, Torino.
Courtesy Krome, Berlin - Fonti, Napoli


Groupage #1, Opening

We are pleased to present the first shipment of Groupage, 
Lorenzo Scotto Di Luzio, "La vie en Rose".

On thursday 27 february 2014, h 7 PM
h 6 PM, in conversation with Marianna Vecellio


Groupage #1, February 2014

First Shipment,  february 2014 - from Berlin to Torino
2 cases, 150x40x100 cm _ 40 Kg / 70x70x140 cm _  70 kg

Groupage is a group show in progress curated through a series of presentations, talks 
and discussions around works on loan by galleries, museum and private collections


NAV : 11 February 2014, Torino


NAV : Saturday 4 January 2014, h 3.30 pm

Dress Code Forcone
Lorenzo Scotto Di Luzio

Meeting Point at Antica Tettoia dell'orologio
Porta Palazzo, Torino

Lorenzo Scotto di Luzio, performance, 2014. Porta Palazzo, Torino

Si ringraziano tutti i partecipanti per aver picchiato l'artista.
We thank all the participants for having beaten the artist.


NAV : 05 December / 28 February

at Operativa Arte Contemporanea
Via del Consolato 10, Roma

AROMA è il terzo appuntamento di "Navigazione a Vista", un programma di approfondimento e ricerca a cura di CRIPTA747.

Ho pensato ad una condizione di familiarità e allo stesso tempo ad un gusto morbido e rotondo. Spesso utilizziamo la parola aroma in relazione al caffè; la percezione che ne abbiamo combina simultaneamente sapore e odore. Un meccanismo di significazioni, che non intendiamo in questo momento approfondire, ci colloca in una dimensione che sta a ridosso del risveglio e della ragione.

I lavori presenti in mostra sono legati tra loro per ricostruire esattamente questa proiezione di slancio dolce.


Aroma is the third appointment of NAV, a program curated by Cripta747.

Familiarity. Soft and round taste. Often the word "Aroma" is used to describe a coffee: the perception we record is a combination on flavor and smell. A mechanism of signification (that we don't mean to study in deep right now) put us in a dimension that slightly anticipate the awakening and reason.

The relation between the works in Rome, reconstructs exactly this projection of momentum sweet.


more here :