About Time is an exhibition of contemporary fine art photography that will inaugurate on the 3rd of June at Jim Kempner Fine Art, New York. The show will include work by Eduardo del Valle & Mirta Gòmez, Gianfranco Gorgoni, Steve Giovinco, Tanja Alexia Hollander and Chris Becker. Besides the many interesting projects, such as Gianfranco Gorgoni’s documentation of the construction of Smithson’s Spiral Jetty, or Eduardo del Valle & Mirta Gòmez’s Sections of Time (Hoctun)—a series of photographs which shows the subtle permutations of a manmade indigenous home in Yucatan, the show will also present Steve Giovinco’s new series of autobiographical images, On the Edge of Somewhere. In these photographs, the artist partially re-enacts candid, intimate everyday moment in a couple’s life. Striving to capture moments of mystery, lyricism and longing, Giovinco’s portrays intimate, emotional relations using diaristic images based on his personal life.

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Until June 26, Bernd Ribbeck’s paintings will be displayed at Norma Mangione gallery in Turin.
Ribbeck works with a timeless language that seems new, yet familiar. He draws inspiration from visionary individuals operating on the fringes of art history whose work often orientates towards spiritual ideas. The German artist references architectural history, the structures of both modern and Gothic churches, particularly interior spaces that have great height and volume and are meant to convey wonder and awe. The small format of Ribbeck’s paintings, in fact, is in noticeable contrast with the color, heat, and light they produce.

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Grammar See is an intriguin exhibition that will be visible until June 26 at Rod Barton Gallery in London. The show includes four artists who construct their own rules of language across painting and sculpture. Steve Bishop, Mauro Bonacina, Oliver Rafferty and Ed Saye unlocked the boundaries of these two mediums and challenge the perceptions of their traditional structure. With the consequent creation of singular visual systems, each of which have its own distinguishing alphabets rich in investigation.

On the first of June, to celebrate the openings of “Snakes Know it’s Yoga” by Nathalie Djurberg at Giò Marconi and “I Will Be With You Shortly” by Mario Garcia Torres at Peep-Hole, as well as Massimo Grimaldi’s performance at Zero…, Mousse is proud to invite you to FAST FOOD. Come see us at the kiosk in L.go Benedetto Marcello, Milan, relax, have a beer and listen to some good music. See you there.

Dj set – Xanax Party
lamarcabilly

June 1, 2010
from 10 pm
L.go Benedetto Marcello, Milano

The project that Christian Frosi is currently exhibiting at Galleria Francesco Pantaleone for his first solo show in Palermo, began in the days when the ashes of the Eyjafjallajökull volcano (best volcano name ever) stopped all of Europe. The artist, as many of us, couldn’t leave Milan, arriving in Palermo three days after the scheduled start of his Sicilian residence. This was the starting point of www.oooooooblackcloud.net. Besides the website, during his residence in Palermo—part of Domani a Palermo, a series of residencies organized by Francesco Pantaleone—Frosi realized three works that will be visible until July 1 at the Palermitan gallery (and after the jump).

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Sinta Werner is one of the five protagonist of showreelproject.com, a project curated by Paola Caravati with the aim to present for the first time in Italy the work of five young artists. After Sinta Werner, showreelproject will present the research of and Emily Speed (september 2010).

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Located in the heart of Milan, Villa Necchi Campiglio was built between in 1932 by the Milanese architect Piero Portaluppi, and is one of the most beautiful example of rationalist architecture in the city. Until May 13, this stunning residential complex will house the exhibition Low Decò, a show curated by Alessandro Rabottini, featuring site specific works by some of the most talented young Italian artists. The show is part of the wider project Gemine Muse, and features Meris Angioletti, Riccardo Beretta, Patrizio Di Massimo, Matteo Rubbi and Santo Tolone.

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This evening, at 5 pm, the exhibition The Historical Archive: Four Interpretations, will be opening at the UniCredit branch in piazza Cordusio, Milan. The show, curated by our former news editor Francesca Pagliuca, features four young Italian artists – Riccardo Beretta, Ludovica Carbotta, Mirko Smerdel and Cosimo Veneziano – and is the first of the Carte Blanche series, a network of exhibitions conceived by Unicredit Group with the aim of promoting young artists, giving them a free hand to research and experiment. This time they were invited to confront themselves with the historical archive of the group: through the graphic evolution of the logo, the technological development of banking, and the recurrent images of the financial press, the four artists reread the past of the Italian bank with a new eye.

Nachleben is art historian and anthropologist Aby Warburg’s major contribution to critical thinking: a term meaning both afterlife and survival, it relates to the perseverance of images, associative thoughts and forms of seeing across differing cultural, social, cronological and intellectual weltanschauungs. Nachleben is also a current exhibition, curated by Fionn Meade and Lucy Raven, at the Goethe-Insitut Wyoming Building in New York, which will be visitable from the 7th to the 29th of May. Approaching the resurgence of the archive in the contemporary landscape—the phenomenon of granting an afterlife to documents, photographs and films, and evaluating how these fare in present times—Nachleben presents different art works and programs by Peggy Ahwesh, Clifford Borress, Matthew Buckingham, Patricia Esquivias, William E. Jones, Harun Farocki, Rachel Harrison, John Miller, Lucy Raven, James Welling, Christopher Wool, and Akram Zaatari, with additional works and archival documentation from Zora Neale Hurston, W. Eugene Smith, and Stan VanDerBeek. Project Projects also produced a newsprint publication (above) featuring essays and images related to the show’s effort to come to grips with the new conception of the archive and its value.

During his three-month stay in Italy, artist and architect Asim Waqif took advantage from the Global Art Program Waiting for Expo 2015, a project which allows, between 2010 and 2014, twenty Italian artists and twenty foreigners to take part in a series of share programs between Italy and other countries participating in Milano Expo 2015. The Indian artist, who is the first participant, produced a site-specific project that will be exhibited, from tomorrow, at FARE / OPEN CARE, Milan. The project is part of Artists in Residence (AiR), a program that aims at supporting dialogues between italian residencies through the creation of an international residencies network.

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If you are in Paris, we recommend a trip to Sèvres to see In Which the Wind is also a Protagonist, an exhibition curated by Chris Sharp, conceived with Joanna Fiduccia, which is visitable until May 27 at La Générale en Manufacture. The show – featuring Nina Beier & Marie Lund, Nina Canell, Simon Dybbroe Møller, Flavio Favelli, Fernanda Gomes, André Guedes, Laresa Kosloff, Kate Owens, Kirsten Pieroth, Patrick Pound and Mandla Reuter – imitates the chapter headings typically found in 19th century novels. Taking his point of departure from hidden stories, told through adumbration, dissimulation and subterfuge, this exhibition aims to conceal itself by withdrawing into its surroundings.

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An interview with Tom Gidley realized on the occasion of his solo show at Log, Bergamo

I want to start by saying there is clearly always a lot more going on in your work that what we see – a psychological aspect. Looking at your work can feel like analysis to me.
That depends on your personal disposition, how much you are looking for when looking at something but yes I would hope the individual things are a starting point for the viewer. I’m interested in the mental connections we make that make up the shape of whowe think we are, and how we see ourselves in relation to others. Who am I, what part of me is the fundamental essence of ‘me’ – or am I simply an idea. Those are the questions that keep coming back.  The work may take different physical forms, but that’s partly the point. It takes very little to shift for our concepts of self to be completely fragmented.

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Ronald Cornelissen, Study for Il Ventre di Napoli, 2009

Deborah Ligorio presents a series of objects, a video and a sound work that set up a poetical and critical exploration of the world of things, gestures and images, all informed through fieldwork. Poi non così diverso, an exhibition that will be opening this evening at Francesca Minini, Milan, starts from a trip that the artist took to underdeveloped areas of the world. As progress arrives together with the invasion of goods, the artist chose to analyze the Western imagery of the people who live in those areas through the common object which, through the globalization of the mass market, changes behavior, culture and subjectivity.

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After his first show with Sprüth Magers, in 2002 in Cologne, the London branch of the gallery presents a new set of photographs by Jean-Luc Mylayne. During the last 30 years, the French artist travelled for months in search of ordinary birds—his favorite subject—like the American Bluebirds. The more or less 150 photographs he took during his life explore temporality and the relationship of mankind to nature and the environment. Mylayne is not a wildlife photographer and doesn’t pursue his prey with an intrusive telephoto lens. What he captures is often hidden or only partially visible, and his images symbolize the paradoxical nature of time and our experience of it.

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In his second solo show at Bortolami gallery, Eric Wesley opens up a debate by contrasting “cogito ergo sum” with “sentio ergo sum.” The artist has translated the Cartesian coordinates of X, Y and Z into the three primary colors, which he associates with three basic instincts: yellow is fear, red is aggression, and blue is sadness. Just as the three primary colors are essential for creating all other colors, and the Cartesian coordinates are necessary for identifying all points in space, Wesley’s work emerges from basic devices with the potential for infinite combinations.

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