via Quittengo 41 Bis, 10153 - Torino
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current show

Anne-James Chaton

curated by Bruno Barsanti and Alessandro Carrer

31.05.2016 – 9.07.2016

Cripta747, Torino

Anne-James Chaton, Portraits. Installation view, CRIPTA747, Torino 
photo: Sebastiano Pellion Di Persano

Anne-James Chaton, Portraits. Installation view, CRIPTA747, Torino 
photo: Sebastiano Pellion Di Persano

Anne-James Chaton, Portraits. Installation view, CRIPTA747, Torino 
photo: Sebastiano Pellion Di Persano

Cripta747 is pleased to present “Portraits”, first solo show in Italy of French artist and writer Anne-James Chaton.

The exhibition includes two series of works that the artist has been carrying on for years, enriching them from time to time with new elements. Assuming that we are defined by the writings we spread, Anne-James Chaton realizes portraits compose by all the textual matrices that the subject carries with him during the meeting with the artist. Chaton’s Portraits are based on the literal transcription of the conten of everyday life documents defined by the artist “poor literature” such as ban statements, subway tickets, restaurant and shopping receipts. Portrayed subject are chosen according to their craft or profession. The information are collected an assembled so as to build a long sequence of data resembling a written litany in whic meaning and identities dissolve and re-form over and over again.

Conceptually symmetrical to the Portraits, the Muséographies shift the focus to the circulation of “poor images” as well as on the accessibility and fruition of art. The series originates from Chaton’s interest about photo reproductions of modern paintings - mainly portraits - that appear on admission tickets to museums. Each of the final images follows the original size of the reference painting and retains the signs and information originally printed on the back (or front) side of the ticket, such as bar codes, dates, names, prices and typology. The artist starts from a transitory and ephemeral support bringing on the same level the symbolic dimension of the artwork and the material conditions of its accessibility.


Se in un isola c'è un gran sasso nero.

Judith Hopf, Julius Koller
Rasmus Nilausen, Lorenzo Scotto Di Luzio

curated by Elisa Troiano

05.05.2016 – 28.05.2016

Cripta747, Torino

Judith Hopf, "Cracking nuts”, installation view Cripta747
courtesy of the artist and kaufmann repetto, Milan/New York 


Via Quittengo 41/b

5 maggio, h 18.30

6 - 28 maggio 2016

CRIPTA747 is pleased to invite you to the opening of Se in un'isola c'è un gran sasso nero,
first exhibition hosted in the new venue at via Quittengo 41/b, Torino.

In the exhibition irony is intended as a filter through which watching reality, indispensable
medium of understanding and aesthetic production. At the same time social context, in its
dual aspects, are questioned, transforming the opening of an exhibition space into a sort of
witty artifice that presents reality as sharp as futile nonsense.

Curatorial practice and dry wit are here used as a rhetoric means to interpret and rethink the
experience, encouraging the viewer to reflect, with sense of humor, about what the narrative
leaves as a failed connection, dissembling the critique behind the complicity established in
the sharing of an ironic subtext.

The illusory narrative simplicity plays a liberating role, without moral judgment, that defines
both the attitude of the artists involved in the exhibition and the tragicomic aspect of
everyday life. The final result is a dialectical expedient, a collective landscape of citations,
autobiographical and documentary notes, a social analysis in which the system of relations
is precisely revealed through the artist's practice.



Ugo Alessio, Giulio Delvè, Jason Dodge, Daniel Faust, Gianni Ferrero Merlino, Birgit Megerle, Bruce Nauman, Kirsten Pieroth, Man Ray, Patrick Tuttofuoco, Lawrence Weiner, Italo Zuffi.

curated by CRIPTA747

Circolo Sottufficiali dei Carabinieri Caserma Ettore De Sonnaz, Torino

5.11.2015 – 8.11.2015

We have thought about the changes that have affected the city in the last 20 years,
how they have been conceived as a vector of progress and improvement.
The reclamation of abandoned areas, the transformation of neighborhoods, squares
and of all the places we live in, change the relationship with the city and our perception of it.

This new perception seems to be fundamental legacy of the transformation process,
a characteristic likely connected with architecture but definitely immaterial.
We have imagined a landscape of moments in which the presence - absence of
human being, the main protagonist of this change, is highlighted.

The space between the works and the contents are organized to as to return an
unresolved and smoky picture, a corollary of clues that are not yet able to make a proof.
An ongoing investigation.

Intimately torn between progress and preservation, we face a feeling of loss and
inadequacy, sometimes even of anger, while the things around us change, and
sometimes we happily welcome the news.

In this impasse, and in this desire to deal with a doubt, we are thinking of physical
and immaterial, reality and fiction, logic, poetry and so forth, pulled first on one
side and then on the other.

Giulio Delvè, Acquaitances friends and relatives, 2013. Courtesy l'artista. 
Ugo Alessio, Torino, 1950. Collezione privata.
ALT a cura di Cripta747,  Caserma Ettore De Sonnaz, Circolo sottufciali Carabinieri, 2015, Torino
photo Sebastiano Pellion Di Persano

Birgitte Megerle, Altglas, 2012

courtesy Galleria Fonti, Napoli
ALT a cura di Cripta747, Caserma Ettore De Sonnaz, Circolo sottufciali Carabinieri, 2015, Torino
photo Sebastiano Pellion Di Persano

Jason Dodge, The contents of different peoples pockets kept a body temperature, 2014
courtesy Galleria Franco Noero, Torino 
ALT a cura di Cripta747,  Caserma Ettore De Sonnaz, Circolo sottufciali Carabinieri, 2015, Torino
photo Sebastiano Pellion Di Persano

 Patrick Tuttofuoco, Untitled, 2014 and Charles, 2008, courtesy l'artista
ALT a cura di Cripta747,  Caserma Ettore De Sonnaz, Circolo sottufciali Carabinieri, 2015, Torino
photo Sebastiano Pellion Di Persano

Bruce Nauman, Violent Incident, 1986, collezione privata
ALT a cura di Cripta747,  Caserma Ettore De Sonnaz, Circolo sottufciali Carabinieri, 2015, Torino
photo Sebastiano Pellion Di Persano

 Daniel Faust, Musei Vaticani (Roma), 1998
 Daniel Faust, Musee Valentin Hauy (Paris), 1991
 Daniel Faust, Arizona Mining and Mineral Museum (Phoenix), 1992
 courtesy Galleria Norma Mangione, Torino
ALT a cura di Cripta747,  Caserma Ettore De Sonnaz, Circolo sottufciali Carabinieri, 2015, Torino
photo Sebastiano Pellion Di Persano

 Kirsten Pieroth, Untitled (Essences), 2014 
courtesy Galleria Franco Noero, Torino
 Gianni Ferrero Merlino, DOM f10, 2010, courtesy l'artista 
ALT a cura di Cripta747,  Caserma Ettore De Sonnaz, Circolo sottufciali Carabinieri, 2015, Torino
photo Sebastiano Pellion Di Persano

 Lawrence Weiner, Passed Over. Over Passed. 1971, collezione privata
ALT a cura di Cripta747,  Caserma Ettore De Sonnaz, Circolo sottufciali Carabinieri, 2015, Torino
photo Sebastiano Pellion Di Persano

 Italo Zuffi, Gli Ignari, 2013, courtesy l'artista
ALT a cura di Cripta747,  Caserma Ettore De Sonnaz, Circolo sottufciali Carabinieri, 2015, Torino
photo Sebastiano Pellion Di Persano

Man Ray, Saint Sulpice, 1935-1937, collezione privata
Gianni Ferrero Merlino, DOM f10, 2010, courtesy l'artista 
ALT a cura di Cripta747,  Caserma Ettore De Sonnaz, Circolo sottufciali Carabinieri, 2015, Torino
photo Sebastiano Pellion Di Persano




11 SEP,  22.00 - 6.00
CRIPTA747 & Co. presents CLUB TUCANO #12
Bunker, Torino

11 SETTEMBRE,  2015 - auto tuning show feat. Club Maestro - Cripta747, Torino
photo Alice Guarini


CRIPTA747 & Co
announcement 1


2015 - 2016


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