NERO
16/10/2012.
Seventh edition of Cantieri d'Arte. [Viterbo] Italy
metalocus, INÉS LALUETA
metalocus, INÉS LALUETA
NERO is the title of the seventh edition of Cantieri d'Arte, a public art project based in Viterbo (Italy). An issue that aims to tell, through variations and different instruments - exhibitions, debates, installations - themes dedicated to political and social issues. This edition of the project, complex and articulated in its proposal, took place in different venues: the Arci's space Biancovolta, the courtyard of Donna Olimpia Pamphili - who had already hosted the previous editions - and public spaces of the city.
Columnas negras. 1000 carteles negros.
Detail poster / afiche. 1000 carteles negros.
Detail poster / afiche. 1000 carteles negros.
Detail. 1000 carteles negros.
Cinema nero. 1000 carteles negros.
1000 carteles negros.
Juan Pablo Macias.
Juan Pablo Macias. Sequenza. A text (Text inscribed on wall), The reason that men are unemployed is because they are shut out from the land. So long as land is to be had by all who want it there will be no one out of employement. No man has a right to hold a part of the earth he is not using himself. Albert K. Owen The Sun NY Feb 24th 1885 2012.
Juan Pablo Macias. A text (Text inscribed on wall), The reason that men are unemployed is because they are shut out from the land. So long as land is to be had by all who want it there will be no one out of employement. No man has a right to hold a part of the earth he is not using himself. Albert K. Owen The Sun NY Feb 24th 1885 2012.
Massimo Mazzone. Cupola gigante.
Cupola gigante realizzato con filo.
Cupola gigante. Whorkshop Brera Students.
Germinal, detail. Nicoletta Braga. Multimedia, dimensione ambientale, 2012.
HA of oranges Anarchia. Nicoletta Braga. Multimedia, dimensione ambientale, 2012.
Urrutia piensero Goya. Alain Urrutia piensero Goya. Black Block, Bilbao, 2012. 33x49 Pittura acrilica nera su stampe offset della serie "tauromaquia" di Goya.
Democracia Macias + ELISA FRANZOI E MASSIMO MAZZONE Bandiera nera 2012.
Germinal, un ettaro di cielo, frame da, A. Amadio. Nicoletta Braga. Multimedia, dimensione ambientale, 2012.
La Traca Final. Karmelo Bermejo. I fuochi d'artificio finali Credito di banca concesso ad una galleria d'arte utilizzato per lanciare fuochi d'artificio alla chiusura di Art Basel Miami Beach 2009. HD trasferito a DVD 2 min, colore, suono.
This edition wanted to involve not only the experts but all citizens in a reflection on the relationship between art, politics and territory.
The first stage of this year was the exhibition Syrian Anonymous Exhibition, a special project curated by the french curator Delphine Leccas and presented for the first time in Italy.
The project aims to reflect the status of the Syrian's young art scene: activist, anonymous and collective that spreads virally online and in social networks which helps to give the younger generation a platform of extraordinary creative freedom in which the selected artists will present their work in order to illustrate and comment the current political and social Syrian's situation.
La Ville Ouverte, this year at its second edition, is a multidisciplinary project that aims to re-read the public space and the dynamics associated with it.
The issue faced by La Ville Ouverte, through conferences and lectures that will run in a self-built space in collaboration with Escuela Moderna / Ateneo libertario, concerns the structural lack of public spaces related to art and culture, and the critic role of art in the contemporary city. Starting from the starting point of the Santiago Sierra's project 1000 Carteles Negros posted in the city of Viterbo, the workshop aims to reflect on the reappropriation of public space through art platforms in terms of interaction and contamination with and among citizens. The passive role of the viewer is therefore canceled to trigger circuits of civic activism and aesthetic within the city. In this sense, also the places of marginalization and difficulty of the city can play a major role in reversing the destiny and the meaning of living space.
Relational temporary space will be built with the participation of students and citizens, with Off Grid elements of social ecology.
The project 1000 Carteles Negros, by the Spanish artist Santiago Sierra, as well as invade the spaces of the city, for two weeks will be also a constant presence on advertising billboards usually entrusted to commercial advertising. Signs of radical opposition to ordinary communication, black posters, represent the complaint of a blackout of communication and today's political and social situation.
Prospectus is finally an exhibition that aims to develop a series of reflections on the relationship between art and anarchy concerning the historical, formal and conceptual issues, which more or less explicitly, are based at the thought of the artist.
At Biancovolta, the work of artists will concerns issues related to the history, work, marginalization, property, social and institutional's critic, proposing practices of subversion and imagining libertarian's grammars.
More information
MASSIMO MAZZONE
Massimo Mazzone, (Marino, Rome, 1967) sculptor, numerous exhibitions in Europe and beyond, a member of the group of artists complot s.y.s.tem, and a professor of sculpture at the Brera Academy of Fine Arts in Milan. He has organized several groups to work between art and architecture. Among his recent performances, projects, proposal and publications:
• Ex Polis
• 11. Biennale Venezia
• Edifici concettuali
◦ Post Lauream
◦ Città
• La Penisola degli Agnelli
• 10. Biennale Venezia
• Lezioni di pittura
• Ex Mattatoio
• Piazza Shopping Centre
• Worker Bee Cemetery
• Triennale Milano
• Casa dell'Architettura
• Fass Gallery
• L'altra Roma
• Torretta Valadier
SANTIAGO SIERRA
Santiago Sierrra, (Born in Madrid, 1966). 1989. Degree in Fine Arts, Universidad Complutense, Madrid, Spain. Workshop at Círculo de Bellas Artes, (J. G. Dokoupil), Madrid, Spain. 1989-1991 visiting student at Hochschule für Bildende Künste (FE Walter, BJ Blume and S. Brown), Hamburg, Germany. 1995-1997 Research Fellowship in the School of San Carlos, University of Mexico, Mexico City. His beginnings are linked to alternative art circuits in the capital of Spain—El Ojo Atómico, Espacio P—although he would go on to develop much of his career in Mexico (1995–2006) and Italy (2006–10), and his work has always exerted a great influence on artistic literature and criticism.
Sierra's oeuvre strives to reveal the perverse networks of power that inspire the alienation and exploitation of workers, the injustice of labour relations, the unequal distribution of wealth produced by capitalism, the deviance of work and money, and racial discrimination in a world scored with unidirectional (south–north) migratory flows.
Revisiting and updating certain strategies characterising the Minimalism, Conceptual and Performance Art of the seventies, Sierra interrupts flows of capital and godos (Obstruction of Freeway With a Truck’s Trailer, 1998; Person Obstructing a Line of Containers, 2009); he hires labourers to reveal their precarious circumstances (20 Workers in a Ship’s Hold, 2001); he explores the mechanisms of racial segregation derived from economic inequalities (Hiring and Arrangement of 30 Workers in Relation to Their Skin Color, 2002; Economical Study of The Skin of Caracans, 2006); and refutes the stories that legitimate a democracy based on state violence (Veterans of the Wars of Cambodia, Rwanda, Kosovo, Afghanistan and Irak Facing the Corner, 2010–2; Los encargados, 2012).
ALAIN URRUTIA
Alain Urrutia (Bilbao, 1981). Lives and works in Bilbao.
MA STUDIO Resident Grant. Beijing. (2011)
FIRST PRIZE ERTIBIL, Fine Arts Show, Bilbao (2011)
Diputación Foral de Bizkaia Art Grant (2010)
C. de ingenieros del Pais Vasco ART PRIZE (2009)
ACCESIT in INJUVE ART PRIZE- Circulo BBAA, Madrid (2008)
UNED Bizkaia ART PRIZE (2008)
Rogaland Art Centre Of Stavanger Exchange Grant (Norway) (2008)
Residents Grant_bilbaoarte Fundation (2008)
Ihes Ederra (Ed. Alberdania 2009) / Comic Book with Hedoi Etxarte (2009)
La Bella Huida/ La Bella Fugida (Ed. Alberdania 2010) Spanish & Catalán ed. of “Ihes Ederra”
