Solo Show - Renata Fabbri Arte Contemporanea
May 27th - 20th July 2019
Curated by Bianca Baroni
Photography: Bruno Bani
For this project the artist develops a new series of paintings which explore the idea of “undressing” as a metaphor of the creation and the experience of images.
The artist plays with the suggestive and imaginative cliché of the strip-tease, a practice that shifts the core of the erotic experience from full nudity to the moment of expectation and projection that anticipates it. The timeframes that mark respectively desire and pleasure merge in one dimension dominated by evocation and imagination, a territory in which reality and fantasy are blurred into one another.
In line with such sensitivity Martinucci’s artworks seem to allude to the encounter of different bodies. Each image crystallizes a subject suspended between its sensual revelation and the prudish dissimulation of its own physicality. The artist sets the viewer in the position of a voyeur, an observer that is both discrete and curious, and who is only given a taste, a partial vision of the subject.
At the core of every painting we find images selected from those visual fluxes in which we navigate everyday through social media. Images that are often reconfigured and concealed with diverse motives and colour blocks. The intersection of imaginaries and gestures produces layered compositions revealing the initial figure.
A subject that maliciously denies itself to the viewer, just like an entity caught in the middle of an “undressing” ritual.
The seductive disclosure of each figure retraces the suggestion of various bodies. Elusive fragments of limbs and faces alternate soft surfaces and objects that allude to the sinuosity of the flesh. The exhibited works seem to be conceived as the visualization of a feeling, images giving body to the fantasy of a tactile experience.
Will Aliens Believe in Me?
Solo Show - Banca Sistema, Milano
28th May — 20th December 2019
Organized by: Patrizia Sferrazza,
Communication, Media Relations and Marketing
Logistics, set up: Arianna Borroni,
Open Care - Servizi per l’Arte
Curator: Alessandro Azzoni,
Open Care - Servizi per l’Arte
For the exhibition sponsored by Banca Sistema, Will Aliens Believe in Me?, Andrea Martinucci exhibits work that traces the many years of experimentation behind the jpeg series, as well as never-before-seen works and new pieces that complete a concept show designed specifically for the futuristic building of Palazzo Largo Augusto. Turning the question, “do you believe in aliens?” on its head, the work highlights a focus on the future, a vision that is not afraid to explore the boldest of theories. The themes of good fortune, the challenges posed by future projects, and new visions show Banca Sistema’s commitment to supporting business and development, as well as supporting new forms of art.
Do aliens believe in us? Are we inferior to “them” or are we already somehow superior in how we rush towards new challenges? The narrative development of the works spans the floors of Palazzo Largo Augusto, the new headquarters of Banca Sistema, bringing together a common narrative thread in which the figurative images featured across the many canvases are hidden by layers of colour, creating “another” world waiting to be discovered by the viewer.
Human figures and animal forms inhabit the canvases, sometimes covered by a palimpsest of backgrounds similar to tears on surfaces, which hide and reveal symbols that are open to interpretation. Entities and objects seem to chase one another up from the large canvases on floor -2, to the ground floor, and then finally to the 7th floor, where the rooms bear the names of classical deities or planets: for example, Jupiter, symbol of wealth and success, and Mercury, emblematic of communication, ingenuity, invention. There is also Diana - the Moon - representing sentiment and femininity, while Ceres is Demeter, symbol of growth, fertility and abundance.
The title of the exhibition, Will Aliens Believe in Me?, highlights the irony the theme of the discovery of new worlds, the courage to embark on new paths, and the leap towards new visions and the future. The golden wrapper of
the fortune cookie becomes emblematic in the piece on display in the Jupiter Room. Above the cookie is a dragon, a Chinese symbol of success and good fortune, while the message found inside is white, giving way to endless possibilities.
A pigeon peeps out, looking out towards the Milan Duomo that stands out in the windows not far from the view of Torre Velasca: the past, present and future united by the human drive to always go upwards, towards new ambitions and worlds waiting to be conquered. The theme of “the challenge” becomes the common thread between the artist’s work and Banca Sistema’s daily operations.
A Glass Is Not A Reference for An Amount
Group Show - In De Ruimte Fransevaart 28, 9050 Gent, België
March 1st - April 28th 2019
Artists: Andrea Martinucci (IT) Baron Lanteigne (CAN) Benny Van den Meulengracht-Vrancx (BE) Bora Akinciturk (TUR/UK) Botond Keresztesi (ROM Gregory Blunt (CAN/GR) Core.Pan (FR) DYAD ENGINE (BE) Fred Cosci (IT) Eva L'Hoest (BE) Marian Luft (GER Michele Gabriele (IT) Naomi Gilon (BE) Ruby Gloom (CHIN) x Roga (MEX) Stine Deja (UK) Thomas Hamen (SE) Van der Borght Bjornus (BE)
Curated by Van der Borght Bjornus
The title refers to the expression “the glass is half full/half empty” but has a very unpolarizing connotation. It instead sheds light on what causes a certain situation in stead of just naming its existence and thus provoking alternative progressive thinking and situation related problem solving.
The artists have been carefully selected and find their foothold in Post-Internet art but definitely are recontemplating its purpose and esthetics. With this show you will find contemporary and prominent young and established artists of which some shown for the first time in Belgium.
“A Glass Is Not A Reference For An Amount” is a concept exhibition with a very contemporary feel including modern techniques like painting, video and installations revisited in a contemporary context together with new media like 3d generative art and industrial assemblages.
Glory Black Hole
Solo Show - Dimora Artica
November 14th - 15th December 2018
Curated by Dimora Artica
Text by Claudia Contu
In partnership with Renata Fabbri Arte Contemporanea
Project Assistant: Vincent Noir
Photographs: Andrea Cenetiempo
Dimora Artica presents Glory Black Hole, solo show by Andrea Martinucci (Rome, 1991), in collaboration with Renata Fabbri arte contemporanea. With a text by Claudia Contu, a catalogue published in limited edition and a website, the project by Martinucci includes some new paintings from the .jpeg series and an installation whose aim is to transform the exhibition space in a place halfway between real and virtual life.
― Nothing unknown is knowable. Don't you think it's depressing?” ―
Tony Kushner, Millennium Approaches
The year is 2018. From here, I’m able to see the hallmarks of a global epistemological and visual crisis (along with some ecological, economic and political ones as well) that is manifested through a collective refusal for former established meanings or moral inscriptions. The easy stability through which one thing was seemingly good and the other potentially threatening is not given for granted anymore, nor is the general agreement on calling a person a “she” or a “he”, or saying that anthropology is about humans, or that this piece of carrot cake I’m eating exists but doesn’t perceive reality. Actually, if you take AIs, which are technically objects (they don’t breathe) learning from reality, you may agree in saying that they have to perceive and experience reality, if they want (do they?) to learn from it.
On the other hand, this visual crisis partakes in the realm of aesthetics: we face a degree of refusal towards the Western aesthetic paradigms grounded in Kant’s Critique of Taste that involves art and extends to all sorts of creative fields. The coming back of bad taste is a sign of it: pictures from the last Balenciaga campaign might be nothing but ‘beautiful’, but that doesn’t retain the people from liking them. Italian theorist Lea Vergine, in writing about the use of trash in art, stated that “we ourselves have been discarded or rejected by other human beings; more or less on a daily basis, we are forced to recover, scrape together and reassemble fragments of ourselves” (L. Vergine, When Trash Becomes Art. Trash rubbish mongo, 2007: 7). I recognise myself in a shot by Balenciaga more than I would in front of Samothrace’s Nike. Abstract ideals don’t appeal to me anymore: I crave the awkwardness, lameness, and hybridity of reality and fantasy collapsing into each other. That is what affects who I am; what my place in this world is.
This premise means that I can mix things up for the sake of doing it, while creating unexpected forms of meaning and ways of feeling. The work of Andrea Martinucci (*1991, Rome) seems to sit here, in the realm of Speculative Realism, a place where elements of the real are combined with speculation - the same metropolis that is also inhabited, in different neighbourhoods, by artists like Björk, Jesse Darling, Marguerite Humeau, Lawrence Lek, Alessandro Michele, Hardeep Pandhal, and many others. Andrea’s work makes use of pictures found on the Internet and representing moments from other users’ lives. Once layered with colour-field painting, lines and writings, the narration they originally embodied is erased and lost. This raw material, or digital trash, is thus involved in a process of annihilation as the result of the volume in which it comes or is reproduced on the web. Originally meant to tell stories and share memories, those pictures are now unreadable and this gives you, the beholder, a chance to wonder what it all was about, what the need behind sharing those pictures was, what or who was in the background, and so on. Forms, colours, and subjects used by Andrea reflect the contemporary aesthetic of consumption while taking advantage of DIY graphics and crappy futuristic designs inspired by the fast-paced technological development we witness every day.
For Glory Black Hole, the artist has created a setting that stays in between ordinary life and virtual reality. The canvasses from the .jpeg series inhabit Dimora Artica’s groud floor with a curtain displaying “Bliss” (Windows XP’s most famous wallpaper), chosen by Microsoft among a number of stock images probably because of its inviting qualities, which would hopefully produce a sense of wellbeing in desk-based employees. If this sense of wellbeing seems artificial and perhaps unachievable, on the contrary the veil in Dimora Artica’s space invites you to overcome the hill and reach out for new images, new narratives and new horizons beyond it. Evoking Arthur Schopenhauer’s veil of Maya, the work suggests that only by overcoming an initial state of blindness, which is given by the novelty of the experience you’re gathering, you will be able to enter a world where nobody can say that A equals A alone and is different from B, because everything will be just like a dream. To a certain extent, no hypothesised narration will be satisfying enough to fully understand objects, people, the situations they enable or the universe itself. On the first level of the gallery, the misappropriation of one of the most famous maxims of the Western philosophical tradition plays with this potential of being mistaken and warns about the presumption of assessed narratives that serve to establish knowledge systems and beliefs from arbitrary points of view. An epistemological crisis, as I said at the beginning.
Organised Like a Little Disaster
with Giuseppe Pinto & Paolo Modugno + a dreamtale by Jonny Tanna.
Photographs: Like a Little Disaster
ON – Where does the flame of a candle go when the candle is turned off? Where does the light go? Where does the past go?
Firstly I realized that I am not immobile at the center of the universe. Then that I am not distinguished and different from any other sentient and non-sentient being. That I am far from being entirely transparent to myself. Now, digital light tells me that I’m not a separate agent, but an informatic organism sharing with others a global environment fundamentally made up of information: the luminous Infosphere. I observe myself observing myself in the communicative production; I see myself with the eyes of a possible audience; I glimpse myself in the luminous traces I produce online. I observe the light and light observes me and captures me, I am subjected to it. I risk losing myself in the labyrinthic network of changeable and temporary connections, the fragmentation of the perception of myself corresponds to a multiplicity of incoherent and disconnected relations. These intermittences push me in a myriad of directions, leading me to play a quantity of roles such as to make disappear my self-conciousness.
– Does the self completely saturated by digital light become a non-self?
In the luminous technosphere there is the possibility not yet present in the real world. Each manifestation in physical reality must have a luminous representation. All changes in physical nature are consequence of digital information processes; nature has ended up in digital light.
I live in a place where autonomous intelligences multiply themself, where body-machines generate images fed by autonomous information that become new forms of life, where millions of environments cohabit in the same physical space, creating a chain of parallel worlds. The image becomes dematerialized, while I merge myself with a luminous medium that questions the notions of authorship, corporeity. Identity is overloaded by the plurality of my iconic projections, falling into a biological imbalance where an informative proliferation develops, a background light characterizes the identity itself, to the point of confusing it with the traces of other actors distributed in the network. Light allows me to enter an area with weak borders, subject to continuous redefinition, marked by multiple belongingness and osmosis between center and border. Through light I instantly propagate myself in every direction, I multiply myself in an endless process, I extend myself in every direction. I am surrounded by luminous flares that amplify my ability to look into matter and through space. I know, I perceive, I meet and communicate with others and with the environment through lights-prosthesis making body with my body, quickly dissimulating one’s own otherness. I am present-absent. Absent in the presence. I am here and there at the same time, I am on and off, my body expands itself, turns itself, extends itself, “naturally”. I am in the light of a transpersonal experience that allows me to look at the interconnection of everything, the permeability and instability of boundaries, the lack of distinction between the part and the whole, the foreground and the background, the context and the content. I move in a landscape where the flesh no longer needs redemption because it has already become a body of light.
PRAISE BE TO THE FLAWLESS, ALL-PERVASIVE ILLUMINATION OF THE GREAT MUDRA. TURN OVER TO ME THE JEWEL, LOTUS AND RADIANT LIGHT.
OFF More beautiful than the day, peaceful by all means, the star-studded, pensive and soft night is a better model of knowledge than the sun-struck, cruel, exclusive, eye-hurting, ideologically-prone and opinion-ridden light of day.
I live in a fluid space that extends the finite limits of traditional metaphysics, traceable to the anthropocentric sight and light, that is, linked to the space-time dimension proper to human sensoriality. I free myself from the anthropological structure anchored to the “vision”, to the truth of evidence, and lose myself in the trans-human horizon, revealed as trans-optical, trans-luminic, trans-spatial, trans-temporal….
My universe refers to what is widespread, not localizable or definable, to what is not shown, to what is stingy with signs, expressing itself, if it does, in an ambiguous and transversal way. Light blinds me and prevents me from seeing. It is the shadows to give me the perception of depth, to make the sensible world endowed with density and concreteness. I need shadows to leave the opacity that is proper to the object. I need shadows to escape from the blinding light of a flattened universe.
I was in the center of an immense grotto. The ground was covered with fine sand bespangled with gold. The vault was as high as that of a Gothic cathedral, and stretched away out of sight into the distant darkness. The walls were covered with stalactites of varied hue and wondrous richness … The decomposition of the luminous rays by the thousands of prisms, the showers of brilliancy that flashed and flowed from every side, produced the most astonishing combination of light and color that had ever dazzled the eyes of man.
Group Show - Senza Appuntamento #2
Franco Candela - barber shop - Corso Vittorio Emanuele II, Rome
19thApril / 20th May 2018
Artists: Michele Gabriele, Emiliano Maggi, Andrea Martinucci, Caterina Morigi e Lorenzo Pace
Organised by Andrea Polichetti, Niccolò De Napoli and Silvio Saccà.
Curated by Vasco Forconi
with the contribution of NERO editions, Untitled Association, Monitor Gallery Rome, Operativa Arte Contemporanea, Rome.
Visiting curator: Laura Amann, Significant Other, Vienna
Photographs: Giorgio Benni
“Senza Appuntamento” is a dynamic and ironic response to the condition of radical economic and existential precariousness which multiple generations of artists, curators and workers in the field of culture are facing. Thanks to its light collective and horizontal structure, the project is designed to open a physical but most of all a relational space for artists where they can discuss and compare their research practices, giving at the same time to the public an opportunity to know more about the work done by young artists. The project constitutes an emerging and open platform which will overtime tell about what is going on in the city of Rome while developing a dialogue with other active independent entities in Italy and Europe. On this occasion, Laura Amann, founder of the space Significant Other in Vienna will be invited to come to Rome as a visiting curator. The uniqueness of the project also resides in the incredible nature of the space that Franco Candela, owner of the Barberia, granted with generosity and enthusiasm. It is a space suspended in time, a space of an absolute social heterogeneity but most of all, it is a space for work.
The space offers a real comparison between two completely different ways of working: there is the artist’s work and the labour that take place in the Barberia on a daily basis. This makes room for broader a reflection of which the exhibition represents the first tangible representation.
Solo Show - THE COURTLAW FIRM DI PIETRO - LUCCHI, Pescara, Italy December 16th - February 25th
Voyage au bout de la nuit
Curated by Maurizio Vicerè - Vice
Artists: Cosimo Casoni, Andrea Martinucci, Marco Strappato
Photographs: Pierluigi Fabrizio
THE COURT, the newly created concept space in Pescara, has the pleasure to present the first exhibition project Voyage au bout de la nuit curated by Maurizio Vicerè - Vice and with the participation of the artists Cosimo Casoni, Andrea Martinucci and Marco Strappato. The exhibition will take place in the new Law Firm Di Pietro - Lucchi in Piazza della Rinascita, 24 Pescara. THE COURT is a project designed to find opportunities for encounter between visual artists and intellectuals through literary works among the most recognized of the 21st century. For this first edition we have tried to develop a meeting between the artists Casoni, Martinucci, Strappato and the fundamental work Voyage au bout de la nuit - Journey to the end of the night - by author Louis Ferdinand Celine. It will then start from the very title of the novel as an exclusive material of reflection and left to the free interpretation of artists. It is no coincidence that the three artists have been chosen to work with convergence points and conceptual proximity to amplify the aura of Celiniana's work, unique in its genre and inspiration for most modern and contemporary literature.
The Journey and the Night are therefore the edges that limit the presence of a whole where chaos occurs through the impossibility of a linear path since, while it is true that time moves in one direction, the same cannot be said of man who through two infinite - the inner one and the one just out of the body - keep alive the unconsciousness of moving with freedom, singular ways and reactions. The same applies to Celine's "Travel" crossed by the singular prophetic cynicism of Ferdinand Bardamu anti-hero who through the author finds himself absorbed by a part of the world that he will never understand .
The only glimmer, the only certainty, the only morsel of salvation and sometimes beauty is the night, she alone accompanies him on a journey to the limits of human existence.
FOREVER NEVER COMES
GROUP SHOW - Museo Archeologico e d’arte della Maremma, Grosseto
Metabolismo del Tempo
26th August 2017 - 26th January 2018
curated by Lapo Simeoni
Artist: Alighiero Boetti | Broomberg & Chanarin | Paolo Bottarelli | Sandro del Pistoia | Gabriele De Santis | Rachel De Joode | Cleo Fariselli | Francesca Ferreri | Eloise Ghioni | Jason Gomez | Luca Grechi | Helena Hladilová | Francesco Irnem | Michael Johansson | Felix Kiessling | Andrea Martinucci | Vincenzo Marsiglia | Martina Marlini | Francesco Minucci | Paulo Nimer Pjota | Nicola Pecoraro | Pennacchio Argentato | Massimiliano Pelletti | Luca Pozzi | Przemek Pyszczek | Moira Ricci | Mustafa Sabbagh | Nicola Samorí | Titus Schade | Namsal Siedeckli | Lapo Simeoni | Bosco Sodi | Santiago Taccetti | Lamberto Teotino | Philip Topolovac | Leonardo Ulian | Aaron Van Erp + Antonio Barberi | Cosimo Casoni | Gabriele Dini | Duepernove | Michele Montanaro | Gerald Morder | Aischa Gianna Müller
Photographs : Carlo Bonazza
“Etruscans? Etruscans never existed. You may ask where they came from; if they came from the continent, from Minor Asia or America. You also make hypothesis that they have always been here. So, you are all both right and wrong, you are considering an issue that doesn’t have sense. Would it make sense asking where Piedmontes, Tuscans or Milaneses come from?” Luciano Bianciardi, Il lavoro culturale, 1957
Etruscans used to transform themselves and this is why they arrived until us. Why talking about time in contemporary art if new technologies that are indulging artists in their productive time are becoming part of a mechanism that was already obsolete in its century, or even in the decade next to the creation of the work of art itself? Who are the artists that succeeded in staying in time and holding a dialogue with it? Does the development of the past by facing up the future make sense? The exhibition FOREVER NEVER COMES will deal with these themes by creating a new multi-temporal path about the meaning of contemporary art that needs to dialog with the artworks and the archaeological finding of the Archaeological Museum of Grosseto and the Archeological Park of Roselle.
The artists selected, both emergent and established, will be chosen on a national and international level and they’ll need to compare themselves with the symbology of the past and realize a connection between space, time and art using the fortune offered by the Archaeological Museum as an inspiration. Every artist will make an artwork that can be an expositive project or an installation, focused on one or more temporal sections among PAST, PRESENT, FUTURE. There will be also the possibility to include some of these works in the boxes of the Archaeological Museum in order to create a relation between different historical periods.
ENDLESS BACK UP
Group Show - Futurdome, Milano. OUTER SPACE ARS exhibition by Ginevra Bria and Atto Belloli Ardessi.
March, 27th - April, 15th (Event for MIART 2017)
Curated by ULTRASTUDIO
Artist: BENOIT MENARD, OLIVER PAUK, ANDREA MARTINUCCI, ZSOFIA KERESZTES, DOMINIK, SEBASTIAN WICKEROTH, RAPHAEL LERAY, SYNCHRODOGS
Photographs: Ivan Divanto
“Look at this cochere door! Dwarf! I continued: it has two faces. Two paths here agree: no one has ever paths to the end… This long way to the door and back: it lasts an eternity. And this long way out the door and forward, that is another eternity”. (Thus spoke Zarathustra. Friedrich Nietzsche)
Atlante_ Astral date unknowed_ I feel lost_ Scanning_ Traveling continuously for boundless space is possible. Visit exotic worlds and parallel universes, know the curves of the time, the movements of Sioux endless dances. Travel distances between sidereal signs of present stems from time immemorial it is equally possible. Crossing the left doors of access to satellites that revolve around our shamans perpetual consciences. Admire the hanging gardens of Babylon and then sit down to talk with Destiny and find him obedient it is finally possible. A new world is showing in front of my eyes. This time it's for sure the world from which I left blank. I can hardly recognize it but I feel like familiar. Yet so far, trillions of galaxies far, we have traveled desirous of knowledge for decades whose account is lost. Now I'm here, and I find the endless return. It's been thousands of years and things appear as a new but faded, I forced a door and I find this present still active on my most peripheral and archaic hemisphere of my brain. I'm having a deja vu? Scanning_ "This I've seen ... I know that person ... I know how it works ... It was so long that it felt not to mention ...". Amarcord. And yet it all seems so rarefied, impalpable, away: it seems to attend the tangibility of echo. Redundancy signals. An holographic memory, fiction. Simulacra of an upcoming reality. Scanning_ If it were not for my mortal flesh I would say to be in front of what we have tried to find continuously. The Phoenix. I rediscover a new feeling, an awakening from millennial slumber which start weaned. I’m touching this world. It’s the first time and it seems in all a first time. I feel to be entered in connection with this world, I feel a gentle pressure on my meat, everywhere the same pressure. I feel the cold is just a reverse transfer to a feeling if intense heat. I breathe deeply the smell of an old radio. I close my eyes. My robe melts, becomes the first fiber, fragments then finally dust all around. I imagine. On the face drawing a smile. Funeral house. I open my eyes. I try to find myself and I am not. I arrived. I’m feeling lost. Love you all. Adamo.
Welcome back Billy
Group Show - Basement, Milano 14.03.17 – 19.03.17
Artist: Aggetelek Duo, Annabelle Arlie, Andrea Martinucci, Billy Lidh, Giuseppe Mastromatteo, Maurizio Vicerè – Vice
“Long live the Theater, where it’s all fake but nothing is false, and this is true. And you know from before, if is dyed Othello, or he’s black … No actor wants you believe, pushing hard intonation, it’s all true what you see. He wants to show that it is a fiction. If you have to die on stage it is true that does not really die otherwise, who would die so well? Understand by yourself, really: If he really dies might not die every night!”