via Giuseppe Regaldi 00. Torino, Italy
T: +39 3485498512 / cripta747@gmail.com
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www.t-a-x-i.it
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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
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.
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
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
Richard Sides, The Breakfast Killer, 2014 - 210x100cm, mixed media
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off site @BARRIERA, via Crescentino 25
Glaucocamaleo
a film by Luca Trevisani
introduced Luca Trevisani and Gianluigi Ricuperati
book launch Water Ikebana, Humboldt Book
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21 - 25 May 2014
Wilson Project at Kunstvlaai, Amsterdam
Renato Leotta
Parcheggio.
Wilson Project at Kunstvlaai, Amsterdam
Renato Leotta
Parcheggio.
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
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Lupo Borgonovo
Mandolino
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.
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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.
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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
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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
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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 .
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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.
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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.
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Cripta747 is pleased to present "La Vie En Rose", a sculture by Lorenzo Scotto Di Luzio.
L'altro, Noi e (l'arte)
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
4 febbraio, Torino
Lorenzo Scotto Di Luzio. La vie en rose. Cripta747, Torino.
Courtesy Krome, Berlin - Fonti, Napoli
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We are pleased to present the first shipment of Groupage,
Lorenzo Scotto Di Luzio, "La vie en Rose".
Lorenzo Scotto Di Luzio, "La vie en Rose".
On thursday 27 february 2014, h 7 PM
h 6 PM, in conversation with Marianna Vecellio
h 6 PM, in conversation with Marianna Vecellio
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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
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NAV : 11 February 2014, Torino
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NAV : Saturday 4 January 2014, h 3.30 pm
Dress Code Forcone
Lorenzo Scotto Di Luzio
Meeting Point at Antica Tettoia dell'orologio
Lorenzo Scotto Di Luzio
Meeting Point at Antica Tettoia dell'orologio
Porta Palazzo, Torino
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Si ringraziano tutti i partecipanti per aver picchiato l'artista.
We thank all the participants for having beaten the artist.
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AROMA
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.
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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.
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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 : http://cripta747-aroma.tumblr.com