SANTIAGO REYES VILLAVECES (Bogotà, 1986) IS THE WINNER OF THE 41ST EDITION OF PREMIO MATTEO OLIVERO
Santiago Reyes Villaveces (Bogotá, Colombia 1986) is the winner of the 41st edition of Premio Matteo Olivero, organized by the City of Saluzzo and Fondazione Amleto Bertoni with the aim of promoting the territory through art. Premio Matteo Olivero is placed within START / history and art in Saluzzo, the festival dedicated to all forms of art that takes place in the capital of the Marquisate from April 26th to May 26th.
The artistic direction has been entrusted to Soluzioni Turistiche Integrate, which relies on the collaboration of Stefano Raimondi for the curatorship of the Prize; Raimondi, formerly curator at GAMeC – Galleria di Arte Moderna e Contemporanea in Bergamo, is director of The Blank Contemporary Art, the main Italian network for promotion and valorisation of contemporary art.
Origin, intended as something at the beginning of something else, the fundamental cause, the matrix, the inspiring element of an event, is the theme chosen for the 41st edition of the Prize, which communicates with the theme chosen for START, i.e. Character, of which the Prize interprets the origin.
The international jury composed by Chrissie Iles, Curator at the Whitney Museum of American Art in New York, Nicola Ricciardi, Artistic Director at OGR, Turin, Arturo Demaria, Counselor at Fondazione Amleto Bertoni, Roberto Giordana, deputy manager at Cassa di Risparmio di Cuneo and Stefano Raimondi, curator of the Prize, has unanimously decided to reward Harp project by Santiago Reyes Villaveces, created by the artist in collaboration with the composer Nicolás Jaramillo and the musicologist Daniel Villegas Velez: “for having been able to interpret in an innovative and poetic manner the Sacristy of Ex-Sant’Ignazio Church, presenting a work that has its roots in the Jesuits’ history and capable of dealing with a complex issue, such as colonialism, in a lyrical and original way. At the same time Harp interacts with Saluzzo’s traditions, such as music and craftsmanship, and presents itself in its monumentality as a body capable of interacting with the viewer “.
Forty-one artists of sixteen different nationalities took part in the Prize, invited by prestigious international advisors: Americans, Azeris, Brazilians, Britons, Colombians, Koreans, Cypriots, Filipinos, French, Iranians, Israelis, Italians, Netherlanders, Polish, Russians and Swiss challenged themselves by presenting original and innovative projects to value a suggestive location rich in history, such as the Sacristy of Ex-Sant’Ignazio Church, which has now become a room in the Town Hall of Saluzzo.
The idea takes shape in the form of a solo exhibition at the Sacristy of the Ex-Sant’Ignazio Church, open from April 26th, the opening day of START festival. The current shape of the hall – part of the architectural complex including the College, now Palazzo Comunale – dates to 1725, but since 1831 has served as an archive, without changing its structure. Inside, it is still possible to admire two frescos representing Sant’Ignazio on both doors and the coat of arms of the Jesuits, who inaugurated the Sacristy at the beginning of the 18th century. Harp project consists in building an expanded copy of the Tópaga harp (1680), that is meant to occupy the architectural space of the Sacristy. The instrument’s design is deformed using an elliptical structure with two focal points. Using the Sacristy’s open drawers, windows, and physical structure as resonance boxes, Harp creates a polyarchic harp, a historical and architectural flow, aiming to destabilize the original history. In 1725, the Order of the Jesuits inaugurated the Sacristy of Sant’Ignazio Church in Saluzzo. The same year, the Jesuit Father José Gumilla was directing one of the most ambitious territorial expansions in the conquest of the Americas in the Orinoquía region of the New Kingdom of Granada—a contiguous region shared today by Colombia and Venezuela. The practice of polyphonic European music was one of the main tools used to convey the system of European values during this period of Jesuit expansion and evangelization in the Americas. Among the instruments used to organize processes of territorial, cultural, and sensory colonization, the harp stood out for its portability and structural simplicity.
Using the harp as a symbol of its ancient Greek and Roman origins, Italian Humanism strategically deployed art’s mimetic capacity to (re)form communities in the “New World.” For the Jesuits, the Renaissance harp worked as a synecdoche capable to make the classical universe of European cosmology present and audible.
Harp uses the numerous drawers and lockers of Sacristy’s furniture, opening them and making the archive’s structure open, visible and resounding. The instrument will use a set of diverse resonance boxes: the building itself, the drawers and the windows. Created in collaboration with the composer Nicolás Jaramillo, a musical piece will be performed during the exhibition’s opening by a local choir, from the province of Saluzzo. Singing with their heads inside the open drawers, the performers will not directly play the harp, but will use the vibration of their voices to make the strings resonate through the space. The entire structure of Harp parasites the space it inhabits to sustain itself amidst a network of physical and discursive tensions to build a temporal and embodied experience connecting two dissonant spaces and historical experiences. This project renews and gives new meaning to the harp through an erratic process of sensorial counter-conquest.
One of the main innovations of the 41st edition of the Prize is a change in the mode of participation. Artists have been selected and invited to take part in the Prize by twenty-four major international advisors, curators and directors from international institutions including: Solomon R. Guggenheim Museum in New York, MAMbo in Bologna, Whitechapel Gallery in London, Castello di Rivoli, Mambo of Bogotà, Heart in Herning, Mart in Trento and Rovereto.
Specifically, the advisors are: Lorenzo Balbi (Artistic Director at MAMbo, Bologna), Michael Bank Christoffersen (Head of exhibitions and External Curator at HEART, Herning), Andrew Berardini (writer, Curator), Ginevra Bria (co-founder of FutureDome, Milan), Andrea Bruciati (Director at Villa Adriana and Villa d’Este, Tivoli), Emily Butler (Mahera and Mohammad Abu Ghazaleh Curator at the Whitechapel Gallery, London), Domenico De Chirico (independent curator), Julia Draganovic (Director at Kunsthalle Osnabrück), Fredi Fischli (Co-director of the exhibitions gta, ETH Zurich), Sara Fumagalli (Curator at GAMeC, Bergamo), Giorgia Horn (Curator), Denis Isaia (Curator at MART, Trento and Rovereto), Ellen Kapanadze (Curator and Co-founder of Why Not Gallery, Tbilisi) Lara Khaldi, (Curator and Director at the department of Media Studies al Alquds Bard College, Jerusalem), Sam Korman, (independent writer and Curator), Luca Lo Pinto, (Curator at Kunsthalle Wien, Vienna), Simone Menegoi (Artistic Director at Arte Fiera Bologna), Bernardo Mosqueira (Curator, writer and researcher), Alberta Romano, (independent curator), Sona Sepanyan, (independent curator), Marianna Vecellio (Curator at Castello di Rivoli), Saverio Verini (writer and Art Curator, coordinator of the exhibitions at Fondazione Memmo, Rome), Eugenio Viola (Head Curator at Mambo, Bogotà), Xiaoyu Weng, (Curator at Solomon R. Guggenheim Museum, New York).
15 febbraio 2019, ore 18.00
via Quarenghi 50 – Bergamo
The Blank is happy to announce the Open Studio of Simona Andrioletti and Filippo Marzocchi, winners of the HIGHLIGHTS residency program 2nd edition.
On 15th February at 6pm, on the occasion of the award ceremony and the final Open Studio, the artists will present their artistic project, realized during their stay on the territory, at Spazio QUARENGHICINQUANTA.
Simona Andrioletti will present the project Google IT!, realized in collaboration with Giacomo and Pio Manzù high school students. This work is born by some reflections about Moravia’s oration at Pasolini’s funeral, by a YouTube video and by an Umberto Eco’s letter to his adolescent nephew, where he explains the importance of keeping the memory exercised and of knowledge. The artist invited the students to ask questions about topics that, in their opinion, is important to know. Questions linked to studied subjects, which are fundamental and should be passed on.
Filippo Marzocchi, during the residency stay, focused on his pictorial production, specifically in the “Icon” series, where he analyzes the relation between painting and technological devices through the iconic structure of the picture, highlighting the relationship between man and these objects. There are some fundamental features in this production: the construction of rounded-angle frames, a defined use of a precise color palette and research for signs and road signs as pictorial support.
HIGHLIGHTS residency program is realized in partnership with FARE, with the support of MIBAC and SIAE, in the initiative “Sillumina – Copia private per I giovani, per la cultura”, aimed at under35 Italian artists. Projects were selected by the international jury composed by Domenico De Chirico (independent curator and artistic director at DAMA), Stefano Raimondi (curator and critic) and Driant Zeneli (artist and artistic director at Mediterranea18).
Simona Andrioletti, born in Bergamo in 1990, lives and works in Munich. She graduated at Accademia di Belle Arti di Brera, studying with Gianni Caravaggio. She studied visual arts at Academie der Bildende Kunst in Munich with professors Gregor Schneider, Simon Starling and Olaf Nicolai. Simona has been selected among the finalists of the Talent Prize for two years and has participated in the related exhibitions at MACRO in Rome, in October 2016 and December 2017. She presented her work at Fabbrica del Vapore in Milan, at Nir Altman Galerie, Stiftung Federkiel and at Kunstverein München in Munich, at Réfectoire des nonnes and at Palais Bondy in Lyon, at Waterworks Falkenstein in Hamburg. Her first solo show “And there was evening and there was morning” was hosted in 2016 at Twenty14 Gallery in Milan. She is among the founders of Residenza d’artista Carloforte, an artistic residency on San Pietro isle in Sardegna.
Filippo Marzocchi was born in 1989 in Forlì. His practice is based on images and sounds, developd and deepened through painting, performance and site-specific projects. His work investigates human perception, developing research about reality’s structure and about how people perceive time and space as a continuous movement. His work has been shown in institutions, galleries and independent spaces such as: Zabludowicz Collection, London; PAV Parco Arte Vivente, Turin; Istituto italiano di cultura a Parigi, Paris; UCA, Canterbury; Piramidon Centre d’Arte Contemporani, Barcelona; MAMbo, Bologna; LOCALEDUE, Bologna; CAR DRDE, Bologna; Sale Docks, Venice; Gaffdabasso, Milan; Galeria Fran Reus, Palma de Mallorca. He participated in residencies such as: Cripta747, Turin; Progetto Borca, Dolomiti Contemporanee; ManufattoinSitu, Viaindustriae; Esecuzione di Santa Caterina, Viaindustriae. In 2016 he co-founded with Mattia Pajè the space Gelateria Sogni di Ghiaccio in Bologna. He has been represented by Galeria Fran Reus since 2016.
Special thanks to:
Prof. Enrico De Pascale
The Blank Contemporary Art
Via G. Quarenghi 50 – 24122 Bergamo, Italy
PH +39 035 19903477
Infos and contacts
Info: Fondazione Amleto Bertoni, The Blank Contemporary Art
Web: www.fondazionebertoni.it, www.theblank.it
Premio Matteo Olivero
The Prize is dedicated to Matteo Olivero, divisionist italian painter born in Portorotondo di Ac- ceglio, a small town in the Cuneo province which he portrays in many of his paintings. he par- ticipated in the Divisionism’s main events, exhibiting his artworks in Paris, Venice Biennial and Bruxelles. The Prize defines itself as a relevant event in the context of start/saluzzo (organized by Fondazione Amleto Bertoni and Municipality of Saluzzo), which goal is to enhance the territory through art and artists. The artistic direction of Start is entrusted to STI – Jobonobo, which makes use of the collaboration of The Blank Contemporary Art for curating and the artistic direction of the Matteo Olivero Award.
Mark Barrow and Sarah Parke won the 40th edition of the Premio Matteo Olivero. The project has been chosen by an international jury formed by Stefano Raimondi, curator of the project, Eva Fabbris (writer, art historian and curator at Fondazione Prada), and Leah Pires (curator, writer and Fellow at the Whitney Independent Study Program).
41th edition of Premio Matteo Olivero
Fondazione Amleto Bertoni, together with The Blank Contemporary Art and the coordinators of the project Paolo Infossi and Roberto Giordana, presents the 41th edition of Premio Matteo Olivero.
The Prize is exclusively on an invitation basis: artists are selected by international advisors cho- sen by the organizers. The best entry will be selected by the Jury, lead by Stefano Raimondi, cura- tor of the project and consisting of Chrissie Iles, Anne and Joel Ehrenkranz Curator of the Whitney Museum of American Art, New York, Nicola Ricciardi, artistic Director of the OGR, Turin and of members from the Fondazio- ne Amleto Bertoni and the city council of Saluzzo.
Selected artists are invited to design an exhibition on the topic of the Origin.
The winner will realize his/her project at the Sacristy of the Church of Sant’Ignazio, in Saluzzo (Piedmont, Italy). The opening is April 26, 2019.
The theme of the 41th edition of the Prize is “Origin”.
Origin intended as something at the beginning of something else, matrix, mould, opposite of copy, etc. The theme is inspired by the general theme of start/saluzzo, which this year is “Character”, a common but distinctive trait, which refers to an uniqueness in constant evolution, but respecting tradition.
Organization and curatorship
Stefano Raimondi curates the 41th edition of the Premio Matteo Olivero. The organization has been entrusted to The Blank Contemporary Art by Fondazione Amleto Bertoni.
12 – 13 gennaio: 10.00 – 20.00
14 gennaio: 10.00 – 12.30
Fiera di Bergamo, via Lunga – Bergamo
Ingresso: 10 euro – Parcheggio: 3 euro
THE BLANK AT BAF – Bergamo Arte Fiera
12th – 14th January 2018
From Saturday 12 to Monday 14 January, the fair centre hosts the 15th BAF – Bergamo Arte Fiera edition.
The fair, promoted by Ente Fiera Promoberg, is consolidated as an important art event, under the artistic direction of Sergio Radici.
The protagonist of the 15th edition of Bergamo Arte Fiera will be Modern and Contemporary Art with an extraordinary selection of works by historical galleries and numerous proposals concerning new artistic currents and emerging painters.
The Blank takes part in BAF – Bergamo Arte Fiera in the Press section.
The stand will be dedicated to Andrea Mastrovito and Vincenzo Simone and to the presentation to The Blank Agenda 2019.
15th edition BAF – Bergamo Arte Fiera
12th – 13th January: 10.00 am – 8.00 pm
14th January: 10.00 am – 12.30 pm
Fiera di Bergamo, via Lunga – Bergamo
Entrance: 10 euro – Parking: 3 euro
Sunday 16 December, 2018
h. 6:30 pm
The performance will start punctually at the indicated time.
San Giovanni XXIII Church, ASST Papa Giovanni XXIII
OMS Square, 1 – Bergamo
READING FOR THE CHURCH OF BERGAMO HOSPITAL
curated by Claudia Santeroni
Papa Giovanni XXIII Hospital in Bergamo continues to enrich its cultural offer hosting SYZYGY performance by Hanne Lippard in the church of San Giovanni XXIII on Sunday 16 December at 6.30 pm, curated by Claudia Santeroni.
The initiative, born from the collaboration between two local excellences, such as Papa Giovanni XXIII Hospital and The Blank Contemporary Art, is supported by Cropelli s.r.l. – Unipersonale, and stands as a fruitful combination of health and art within a virtuous path that the hospital has undertaken for some time.
On the occasion of SYZYGY, the Church of San Giovanni XXIII becomes an exceptional element of the work itself: a performance through which the artist sculpts the space with the sole aid of her own voice and her own stage presence. Church, artist and word thus make up that special configuration to which the title of the work refers, namely the syzygy: an astral alignment, understood as a harmonious order necessary for something to be created.
SYZYGY is dedicated to Maria Teresa and Tarcisio Cropelli.
Hanne Lippard (Milton Keynes, UK, 1984; lives and works in Berlin) is a Norwegian artist who focuses her research on the use of voice as an artistic practice. Graphic designer by education, her interest has always been focused on the power of words. Whatever the chosen medium is, her practice uses the voice to transmit the discrepancies between form and content: although sometimes speaking of inconvenient or annoying truths, the texts are read by Lippard herself with a compound, liquid and conciliatory tone. This detachment between meaning and signifier, between words and their vocal ornamentation is what distinguishes the work of the artist, which has been exhibited in numerous exhibitions, personal and collective.
Papa Giovanni XXIII Hospital is among the biggest Italian hospitals and hosts every clinic specialty: active by December 2012, it is a modern and highly technological hospital, realized in order to maximize patients and operators’ wellbeing. The artistic heritage of the Hospital is prestigious and is composed of important artworks by contemporary artists, who chose Papa Giovanni Hospital to display their works.
The Cropelli s.r.l. – Unipersonale company, founded by Tarcisio Cropelli in 1980, works successfully thanks to the strong will to keep up with innovation, guaranteeing high quality molds and constantly taking care of the relationship with the customer. The desire to evolve and the constant attention to technological development push the company towards renewal, gradually moving from direct copying to the insertion of high speed machines, CAD CAM systems and drilling machines.
15/12/2018 – 26/01/2019
Opening: Saturday 15 December, h. 6.30 pm
Opening Hours: Tuesday – Saturday, h. 2.00-7.00 pm
Via Casalino, 23/25 24121 Bergamo
tel. +39 035 247418
Solo Show – Theogony according to Ron Gorchov
15/12/2018 – 26/01/2019
Opening: December 15th, 6:30 pm.
Opening hours: Tue – Sat, 2:00 – 7:00 pm.
Thomas Brambilla Gallery is proud to present “Theogony according to Ron Gorchov”, the second solo show of Ron Gorchov at the gallery. The exhibition presents a series of brand new paintings inspired by Hesiod’s Theogony, the first known Greek poem discribing the origins and genealogies of Greek gods and the rise of Zeus.
Throughout the 20th and 21st centuries, artists have consistently refered to ancient myths; from Picasso’s Minotaur to Louise Bourgeois’ sculpture of the Oedipus myth, constructed in 2003 from scraps of pink fabric, to conceptual artist Chris Burden’s 1973 performance of the Icarus myth, to the recent exhibition of myth-suffused works by Damien Hirst in 2017. Ancient mythology is therefore a lively presence in Contemporary Art. But myth is, and perhaps always was, more than a visual storybook, a trove of tales to be illustrated over and over. The stories of passion, ambition, greed, and human suffering in ancient mythologies represent Humankind’s attempts to understand the curious and the inexplicable, from astronomy to man’s humanity and the meaning of life and death.
Gorchov has always been inspired and fascinated by Greek mythology and philosophy, so much that we find an innumerable series of references in his poetics and practice, starting from the artworks’ titles to the biomorphic shapes of the paintings. Moved by Protagoras’ philosophy, according to which the Man is the measure of everything, Gorchov replaced the traditional canvas to a saddle-like surface resembling a living organism, on which the twofold brush strokes remind us of a human bust.
As the Greeks conceived stories of Gods created in the image of human beings in order to understand Mankind and life, Gorchov reworks the classical myths, taking inspiration from the struggles of heroes -both triumphant and tragic- gods, monsters and fate, and reinterpreting them according to present-day ideas or anxieties.
Each of the paintings included in the show Theogony according to Ron Gorchov is dedicated to the main gods of Hesiod’s poem and, as a star map, it allows us to retrace the full gods’ entire genealogies and legends. The colossal Zeus stands alone and victorious after overthrowing Cronus and his fellow Titans, here represented as a myriad of small paintings, finally becoming the ruler of the cosmos.
Theogony according to Ron Gorchov is also a symbol of his long and historic artistic career: as gods enclose the concept of infinity within themselves, his artistic practice will surely remain in the History of Art.
20/10/2018 – 01/12/2018
Opening: Saturday 20th October 2018, 2.30 p.m.
Opening hours: Tuesday – Saturday, 2.00 -7.00 p.m.
Thomas Brambilla Gallery is pleased to present “Copper, Marble, Cotton”, a curated group show with works by three American fellow-artists; Lynda Benglis, David Novros and Joe Zucker. The exhibition examines the choice, by each of the above-mentioned artists, of specific traditional materials for both their cultural associations and formal properties, enlightening also the significance role of traditional and concrete materials in the currently contemporary art.
Starting from the Sixties, the importance of materials has been re-evaluated by the critics, leading also to an expansion of the concept of Art itself. For the first time, material gained ascendancy over form. Only during the Seventies, the attention has been directed increasingly towards text written and pictorial documents as means of expression, while in the Eighties, artists went back to the balance of material and form. From the Nineties, however, the possibilities of digital technology led to a reduction in the importance of traditional and concrete materials. Nowadays the trend seems to have changed and the critics praise the generation of artists, such as Benglis, Novros and Zucker –and many more-, to whom the aspect of materiality has always been a key concept in their poetics, although each of them has dealt with it and integrated in their practices differently.
Benglis, Novros and Zucker tried to overcome the Minimalism’s break with unconventional formats of paintings and sculptures, investigating new limits and re-elaborating the classical tradition in the making of art. They believed that the chosen material should govern the character of the artwork and they thought in a more expanded sense of “technique”, which could encompassed the processes’ of the artist himself. The artists invited to participate at “Copper, Marble, Cotton” focus on the characteristics and the evocative power of such diverse materials as marble, copper and cotton.
Departing from the non-traditional art material which dominate contemporary art, the brand new series of marble sculptures by Lynda Benglis is a continuation of her ongoing embrace of the natural qualities of her various media. The sculptures’ surfaces recall the fitful undulations and the theatricality of the ancient Greek statues’ draperies but also her ongoing projects on Baroque fountains. This effect is amplified by Benglis’ specific choice and use of different colored marbles.
David Novros began his series of Coppers when he lived in the desert of New Mexico in the Eighties. Novros focused his artistic research on Medieval and Native American art, searching for peculiar primordial shapes and natures and absorbing the fascination for how the materials and colors could affect his practice. To create the Coppers’ works, Novros used line charge explosive; firstly, he taped it down to the surface, following the roughly drawing, and then detonated it. The result is a controlled explosion of shapes and swellings, to whom he after soldered some old gold-mining pans and finally painted in gold and enamel paint.
Joe Zucker, one of America’s most innovative artists, has always experimented with what has become his signature technique: gluing cotton balls to canvas in a gridded arrangement and painting over them. Resulting in a highly textured surface reminiscent of antique Mosaics in Ravenna, this technique radically transforms the surface of the canvas and challenges the “flatness”. His imagery is often related, in some way, to the materials and processes, for example the series’ with cotton plantation imagery executed in cotton balls rolled in paint.
Lynda Benglis (1941, Lake Charles) is an American artist best known for her use of poured sculptural forms made from wax, latex, metal, and foam. In addition to sculpture, Benglis works in video and photography, and has used media interventions (such as a well-known ad placed in Artforum in 1974, showing the artist nude with a dildo between her legs) to explore notions of power and gender relations.
Benglis’ work is in extensive public collections including: Guggenheim Museum; Los Angeles County Museum of Art; Museum of Modern Art, New York; The National Gallery of Victoria, Melbourne, Australia; San Francisco Museum of Modern Art; Walker Art Center, Minneapolis and the Whitney Museum of American Art, New York. Lynda Benglis lives and works in New York, Santa Fe and Ahmedabad, India.
An original member of Park Place, the historic New York artist collective, David Novros (1941, Los Angeles) is well known for his large, abstract paintings on irregularly shaped, multipaneled canvases.
Novros has exhibited in several prominent venues, including: the Solomon R. Guggenheim Museum in New York, the Nelson-Atkins Museum in Kansas City, the Institute of Contemporary Art in Philadelphia, the Museum of Modern Art in New York, the Museum of Contemporary Art in Chicago, the Whitney Museum of American Art in New York, the Los Angeles Museum of Contemporary Art in Los Angeles, the Dallas Museum of Fine Art in Dallas, the Museum of Fine Arts in Houston and the Bremen Museum of Modern Art in Bremen, Germany.
Joe Zucker (b. 1941, Chicago), throughout his extensive career, has exhibited alongside artists such as Agnes Martin and Brice Marden at the pioneering Bykert Gallery in the 1960s, and later with dealer Holly Solomon, who was well known for her support of new and experimental mediums, including the New Image and Pattern and Decoration movements to which Zucker belonged.
Zucker’s works is included in extensive public collections: The Museum of Modern Art in New York, The National Gallery of Victoria in Melbourne, The New Museum in New York, The New York Philadelphia Museum of Art in Philadelphia, The Tel Aviv Museum in Israel, The Whitney Museum of American Art in New York, The Brooklyn Museum in Brooklyn, The Metropolitan Museum of Art in New York and many others.
Sound installation by Lorenzo Senni
Ospedale Papa Giovanni XXIII (piazza OMS 1), Bergamo
Opening: Tuesday 20 November 2018, h. 11.30 am – 1.30 pm
The Blank TR – Transit Message Pavilion | 2 3 4 September 2018
THE BLANK TR PAVILION, Beyond Words, ArtSpace Tel Aviv | 2 3 4 September 2018
three days of talks, workshops, performances about art and the meaning of communication.
Curated by Olga Vanoncini, Claudia Santeroni