Aires De Gameiro
“FOMO” 22.09.23 – 29.10.23 If you want to be with someone you love, aren't you already there? R. Bach In ′′There's No Such Place As Far Away′′ author Richard Bach writes: Can miles really separate you from friends... If you want to be with someone you love, aren't you already there? It is no coincidence that the artist Aires De Gameiro (Lisbon, 1989) chose this expression as the leitmotif of the exhibition and used the English acronym FOMO (Fear Of Missing Out) to visually translate an agitated moment, due to a major move from his hometown of Lisbon to Berlin: two cities at the antipodes, running the risk of losing contact with loved ones. A question arises: how much do the most authentic relationships matter with respect to a profession, that of the artist, for which one must get used to or at least be prepared for nomadic living? The art system is never stable but changeable whether you look at it from the point of view of the markets, or whether you refer to fashions, trends and no less the possibilities that the cities themselves have to offer, in terms of financial support, costs and quality of life. Nomadism, bohemianism, egocentrism have always accompanied the agitated profession of creation like black beasts. Indeed, the most romantic aspect, still valid today, despite the proliferation of means available to promote any artistic research, is that in the end an artist is nothing more than a solitary demiurge who somewhere continues his struggle with the world. A struggle that is truly unequal where physical limits become the border field between an inner and an outer world, becoming increasingly complex and dangerously unfamiliar. The risk of anomie is translated by the artist into the scenographic system that acts as an immersive backdrop to the exhibition. A forest of signs welcomes us, sensual and sinister. A tangle of natural forms and continuous strokes from Matisse's memory, where the artist seems to bring order to chaos through gradual subtractions until cancellation. The exhibition itinerary is transformed and contextualized by a series of seamless wall paintings, albeit in a discreet manner. Gameiro treats the walls as large sheets and intervenes with confident black traces that agilely move. The path continues clockwise to come to an end in what we can recognize as a large hand, closed to indicate that this is the exact point of an unspecified where. On the massive work, light and scenographic, some works created during the period of residence insist almost by contrast. We begin to rediscover the colours that are typical of the artist's practice and create new forms that aim to represent but remain suspended between figuration and synthesis. The colours are in Gameiro's practice a clear reference to the Atlantic-Mediterranean light and play with the decoration of the backdrops, attempting acrobatic balances by the juxtaposition of levels, to understand a tension made of clear contrasts and show the coexistence of a precarious whole. Each work is a representation of memory, a formal reduction, a fragment. The artist balances full and empty spaces in a fascinating way. So here is a hug, a fruit bowl, a portrait, made understandable if you also look at the missing, subtracted part. It almost seems as if these colourful works, whose shapes only vaguely resemble paintings, are hanging directly from the black tangles, like juicy fruits to be reaped from a barren nature. Once again, the comparison must be made with the artist's now acquired practice of contextualizing the environment in which the works exist, to the point that it is often difficult to understand where the scene ends and the iconic narrative begins. Gameiro must act in the foggy area where painting, decoration, and sculpture intersect to create the Gesamtkunstwerk. In this exhibition, for the first time, the environment and the works show us a clear friction with a New Wave taste, the same that we can appreciate, for example, by observing the clear lines on the wall in relation to the forms in the works. These latter are made plastic for the first time through gradual passages of shade. For extremes like night and day, spring and autumn, life and death, the need to go and return. The circular development that we witness in the first gallery, in which the theme of the embrace is visually conceived by the decorations around and certainly at least in a couple of works, is contrasted by the second and smaller room. With a clear break and a reversal of meaning, the exhibition itinerary ends at the threshold. If in the main room we immerse ourselves in a messy Eden, it is in the second that we discover the light. Light that becomes a co-protagonist, irradiating the emptiness of the room with natural white and accompanying us in the vision of a small wall sculpture. Floor, walls and lights frame the only work installed: a "nativity". Gameiro worked on the bas-relief by hand carving the wood and gradually reducing to the absolute the probable photograph that portrays him holding his niece. And this sense of family is made even more intense if we think of the figure of his father, a carpenter who always helped him in woodworking, until Gameiro moved to Germany. This show takes the title of FOMO, which by assonance could remind us of "Fado", the traditional Portuguese song that recounts themes of emigration, distance, pain and separation. We are now at the most profound meaning of this exhibition. Although it is not the artist's intention to give a univocal explanation, we still want to venture that everything can be summed up in a "hug", which when you think about it is that universal gesture of affection towards the other. Of course, the modes of expression, the distance, the perspective, the scales of size change, but if you look closely, both rooms subtend the circular shape of an embrace, and it is precisely in that gesture that each of us is free to reconcile. Maurizio Vicerè Daily Lazy The Italian Art Guide ƎMERGE Project Space Via Tiburtina Valeria, 75 - Pescara, ITALY emergeprojectspace@gmail.com www.emergeprojectspace.com SUPEROMÀNTICO
CIVICO 16
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OUTRAGEOUS WAYS OF SEEING, BEING, THINKING
- A tribute to John Berger’s work -
Atto Primo: On Simulation
Reproduced works of artists: Josef Albers, Carl Andre, Dan Flavin, Donald Judd, Sol LeWitt, Agnes Martin, Robert Morris, Robert Ryman, Frank Stella.Fake copyright 2021 ƎMERGE Project Space.
16.10.2021 – 16.01.2022
MANIFESTO
Act of making art does not only belong to artists. Act of curating does not only belong to curators. Act of collecting does not only belong to collectors. Act of criticizing does not only belong to critics. Act of talking does not only belong to speakers. Act of hearing does not only belong to listeners. Act of seeing does not only belong to viewers. Act of feeling does not only belong to human beings.
ƎMERGE is proud to present its first three-act program “OUTRAGEOUS WAYS OF SEEING, BEING, THINKING”. The programming sees the development of three exhibition experiments, the result of a reflection on the documentary work of John Berger Ways of seeing, broadcast in 1972 by the BBC in four episodes and published in the same year as an essay with the same title. Starting from some key themes, explored by Berger on the strength of advertising messages in connection with the exploitation of the dominant visual culture, updated to current trends and social dynamics, a program has been articulated in three acts in which moments of encounter will be experienced, far from the logic of exhibition in the classical sense. This first experiment will develop around the theme of simulation. The public will be called upon to deal with a perception of sudden historical-geographical estrangement to the point of perceiving a sensation of Anglo-American déjà-vu with dreamlike contours. Accompanying the OUTRAGEOUS WAYS OF SEEING exhibition there will be two side projects, respectively named OUTRAGEOUS WAYS OF BEING and OUTRAGEOUS WAYS OF THINKING. The three projects together, although not directly connected to each other, intend to address to some extent the theme of simulation in the contemporary through border expressive modes.
ƎMERGE is a project space for research in contemporary art founded in Pescara (IT) in 2021 and curated by Cristiano De Medio, Pierluigi Fabrizio, Giorgio Liddo, Maurizio Vicerè.
ƎMERGE Project Space
Via Tiburtina Valeria, 75 - Pescara, ITALY
emergeprojectspace@gmail.com
www.emergeprojectspace.com
- A tribute to John Berger’s work -
Atto Primo: On Simulation
Reproduced works of artists: Josef Albers, Carl Andre, Dan Flavin, Donald Judd, Sol LeWitt, Agnes Martin, Robert Morris, Robert Ryman, Frank Stella.Fake copyright 2021 ƎMERGE Project Space.
16.10.2021 – 16.01.2022
MANIFESTO
Act of making art does not only belong to artists. Act of curating does not only belong to curators. Act of collecting does not only belong to collectors. Act of criticizing does not only belong to critics. Act of talking does not only belong to speakers. Act of hearing does not only belong to listeners. Act of seeing does not only belong to viewers. Act of feeling does not only belong to human beings.
ƎMERGE is proud to present its first three-act program “OUTRAGEOUS WAYS OF SEEING, BEING, THINKING”. The programming sees the development of three exhibition experiments, the result of a reflection on the documentary work of John Berger Ways of seeing, broadcast in 1972 by the BBC in four episodes and published in the same year as an essay with the same title. Starting from some key themes, explored by Berger on the strength of advertising messages in connection with the exploitation of the dominant visual culture, updated to current trends and social dynamics, a program has been articulated in three acts in which moments of encounter will be experienced, far from the logic of exhibition in the classical sense. This first experiment will develop around the theme of simulation. The public will be called upon to deal with a perception of sudden historical-geographical estrangement to the point of perceiving a sensation of Anglo-American déjà-vu with dreamlike contours. Accompanying the OUTRAGEOUS WAYS OF SEEING exhibition there will be two side projects, respectively named OUTRAGEOUS WAYS OF BEING and OUTRAGEOUS WAYS OF THINKING. The three projects together, although not directly connected to each other, intend to address to some extent the theme of simulation in the contemporary through border expressive modes.
ƎMERGE is a project space for research in contemporary art founded in Pescara (IT) in 2021 and curated by Cristiano De Medio, Pierluigi Fabrizio, Giorgio Liddo, Maurizio Vicerè.
ƎMERGE Project Space
Via Tiburtina Valeria, 75 - Pescara, ITALY
emergeprojectspace@gmail.com
www.emergeprojectspace.com
26/06/2021 - 16/10/2021
SPAZIO InSitu
Via San Biagio Platani 7
00133 Roma
Curated by Porter Ducrist
Bertille Bak / Simone Cametti / Giovanni De Cataldo / Luca Grimaldi / Pierluigi Fabrizio / Martin Jakob / Daniel Ruggiero / Thomas Wattebled
Juliet Art
Forme Uniche
Segno On Line
Arrived at the ending of this season that we could define as eventful, Spazio In Situ decides to make the artists from the Italian and roman scene and artists of the international scene, dialogue each other.
Through a selection of artworks that focus on travel, the curator P. Ducrist has built an exhibition path to tell his concept of contemporary art aesthetics, where emerge concretely, the wrecks of concepts developed by the romantic movement. Thus, there's no better place than Rome, the leading city of the Grand Tour, as the destination to receive and catalyze this thought.
In this context, the chosen place adds to Voyage/Voyage a primordial interpretation, that obliges the public to think about the contemporary transposition of turism, with its massification and, in the actual circumstances, with its complete nullification.
Travel is the starting point of thought that the curator proposes to the public of the artist-run space of Tor Bella Monaca, to focus on the several problems of contemporary art. From the action of traveling to the one of moving, bringing back the spectator to his everyday life, scattering and redundant fragments of the treated theme, and finding a winking to the classical subject of the history of art. Ultimately, the exhibition doesn't aim to take a specific and univocal position, contrariwise it tries to open new tracks that are referred to the concept and its shapes, putting on the foreground the complexity of this theme, to show to the roman public a broad and heteroclite vision. When one starts a journey, there is always a departure and an arrival point, but it is in the middle that we write a tale, with the important stops, chance encounters, not to mention the importance of the means of transport. When we decide to leave, consequently we embark on a journey, a story that Voyage/ Voyage decides to tell you.
Arrivati alla conclusione di questa stagione, che possiamo definire movimentata, Spazio In Situ ha deciso di far dialogare artisti della scena romana e italiana, con artisti provenienti dall’estero. Attraverso una selezione di opere d’arte che affrontano il tema del viaggio, il curatore P. Ducrist, ha costruito un percorso espositivo per raccontare il suo concetto di estetica artistica contemporanea, dove emergono in modo concreto, i relitti dei concetti sviluppati dal movimento romantico.
Nessun luogo migliore di Roma quindi, città centrale del Grand Tour ottocentesco, come destinazione per accogliere e catalizzare tale pensiero. In questo contesto, il luogo scelto, aggiunge a Voyage / Voyage una lettura primordiale, che obbliga lo spettatore a riflettere sulla trasposizione contemporanea del turismo, sulla sua massificazione e, viste le attuali circostanze, sul suo completo annullamento.
Il viaggio è sicuramente il punto di partenza di una riflessione che il curatore propone al pubblico dell’artistrun space di Tor Bella Monaca, cercando da lì, di porre l’attenzione sulle numerose problematiche dell’arte odierna. Dall’azione di viaggiare, a quella di trasportare, la mostra si sviluppa nello spazio espositivo, riportando lo spettatore nella sua quotidianità, riprendendo qua e là frammenti ridondanti della tematica trattata, e trovando sempre un ammiccamento ai soggetti classici della storia dell’arte.
In definitiva la mostra non vuole prendere una posizione specifica e univoca, bensì cerca di aprire piste che rimandino al concetto nelle sue forme, mettendo in primo piano la complessità di questa questione, con lo scopo di offrirne al pubblico romano una visione ampia ed eteroclita.
Quando si intraprende un viaggio, c’è sempre un punto di partenza e un punto di arrivo, ma è nel mezzo che si scrive il racconto, con le tappe importanti, con le soste necessarie, con gli incontri fortuiti, senza dimenticare il mezzo di trasporto. Quando si decide di partire, si decide di intraprende un percorso, una storia che, Voyage / Voyage, ha deciso di raccontarvi.
SOYUZ present LOWBAKE by Dominic Samsworth
22/06/2021 > 30/06/2021
opening 22nd May from 15:00 to 20:00
Tzvetnik
Art Viewer
MAX POWER
it wasn't the weather
for walking on egg shells
or for going soft
sooner
for turning sunny side up
on the hood of a Hot rod
body hotter than a Scotch bonnet
wonder of wonders
still
underdone
hell for leather
convertible craft through time
then
screeching
young chicks
Great tits
monogamous breeders
egg all over their faces
clutch was stinking
braked so hard
a boulder was formed
black and white
but non binary
with silvery tints
Arron Sands
Ǝ M E R G E is a project by Cristiano De Medio, Giorgio Liddo, Maurizio Vicerè and Pierluigi Fabrizio.
Via Tiburtina Valeria n.75
65128 Pescara
ITALY
emergeprojectspace@gmail.com
ARTRIBUNE
Via Tiburtina Valeria n.75
65128 Pescara
ITALY
emergeprojectspace@gmail.com
ARTRIBUNE