Senza Appuntamento #2

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

Franco Candela  - barber shop - Corso Vittorio Emanuele II, Rome.

19thApril / 20th May 2018

“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.


Voyage au bout de la nuit
curated by Maurizio Vicerè - Vice
16 dicembre – 25 Febbraio
Artists: Cosimo Casoni, Andrea Martinucci, Marco Strappato
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.

Photographs: Pierluigi Fabrizio


Metabolismo del Tempo

curated by Lapo Simeoni

26.08.17 - 26.01.18

26.08.17 - 26.10.17

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

“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.

The major goal of this project is to give life to a cultural program dedicated to a variegated public with the aim to promote territory and the relation that it and its story have with contemporary art. Special attention will be given to those artists that will valorise in the best way the Maremma territory and its national and international dialog with history and art.

To have a strong promotion of the initiative will be organized conferences, events and collaborations with other cultural institutions. There will also be some didactic activities, organized thank to the contribution of the Educative Service of the Archaeological Museum; it’s about a series of laboratories and guided tours dedicated to students of primary and secondary schools. These activities are organized in six different didactic unities, each of theme composed of three laboratories, according to the history programs of schools. The duration of every laboratory is about two hours and generally includes a tour of the museum followed by interactive activities.

Photographs : Carlo Bonazza



Opening: Monday 27, March
March, 28 - April, 15

ARS exhibition by Ginevra Bria and Atto Belloli Ardessi.
Via Paisiello, 6 – 20131 Milan (IT)

“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)

Astral date unknowed_
I feel lost_
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?
"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.
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.

Photographs : Ivan Divanto

back Billy

14.03.17 – 19.03.17

Aggetelek Duo, Annabelle Arlie, Andrea Martinucci,
Billy Lidh, Giuseppe Mastromatteo, Maurizio Vicerè – Vice

Basement. Milan

Partner: Scandale Project
“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!”

Photographs : Irene Gittarelli


EX FORNACE, Alzaia Naviglio Pavese 16, 20142 Milano
Opening: 22 Giugno 2017

Curated by Teresa Vitali
Chiara Bonetti | Riccardo Di Stefano | Lorenzo Kamerlengo |
Andrea Martinucci | Giacomo Montanelli | Guido Segni | Luca Staccioli

Nella società attuale la vita degli individui scorre pubblicamente. Da un lato si sta concretizzando la Big Brother Society descritta da George Orwell dove, in nome della sicurezza collettiva, dati e informazioni sono costantemente raccolti attraverso elementi che popolano il nostro quotidiano come mezzi di trasporto pubblico, telecamere di sorveglianza, cellulari, carte di credito, email e molto altro.
Dall’altro lato sono gli individui stessi a diffondere in prima persona frammenti della propria esistenza, condividendoli all’interno dei molteplici social network che sono divenuti parte integrante del nostro essere. A questo proposito Andrew Keen afferma che “i social media odierni stanno frammentando la nostra identità in modo che esistiamo sempre al di fuori di noi stessi, incapaci di concentrarci sul qui e ora, troppo legati alla nostra stessa immagine, rivelando perennemente dove ci troviamo, sacrificando la privacy individuale alla tirannia utilitaristica della rete collettiva”. Il progetto espositivo si concentra proprio su quest’ultimo fenomeno, cercando di definire cosa resti di veramente intimo e confidenziale all’interno di una società che porta ineluttabilmente a mostrarsi.

Il titolo "Vite private" assume quindi un duplice significato riferendosi in prima istanza alla sfera personale di ciascun individuo e, in seconda istanza, considerando la parola “private” come participio passato del verbo privare, allude alla perdita di qualcosa. Esistenze prive di identità e significato, svuotate dal senso di autenticità che si confondono tra i milioni di profili che parlano di sè sui social media.

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