Neither Nor (@milovanfarronato)

Curator Italian Pavilion @labiennale
Director & Curator @fiorucciartrust
Posts co-edited w/@matildecerrutiquara @stellabottai @lavinia.filippi

214 posts
14.4K followers
1.7K following
214 posts
14.4K followers
following
Moon is rising. Volcano is present. We are almost ready. Waiting for you, friends and enemies alike, for Death, the 9th edition of Volcano Extravaganza. 18-20 July Stromboli, 21 July Pompei, artistic leader @apsleycherrygarrard
1.8K 42
Moon is rising. Volcano is present. We are almost ready. Waiting for you, friends and enemies alike, for Death, the 9th edition of Volcano Extravaganza. 18-20 July Stromboli, 21 July Pompei, artistic leader @apsleycherrygarrard
Pompeii. From the catalogue of #NeitherNor to what will be the closing chapter of ‘DEATH’, the 2019 edition of @fiorucciartrust’s yearly festival #VolcanoExtravaganza which features #MariaLoboda as Artistic Leader. Skulls, bones, paraphernalia. Hoards of potsherds, ampullae, pieces of metal, fragments of various nature are preserved in appropriate locations in its archaeological depositories. Yet not everything that looks chaotic is the actual reflection of a disorder. Even in the hypertrophic accumulation, one could find everything just as they need it to be. These rooms are drenched with death and life and reflections from the underworld. Layers of object, baubles, talismans, materials. Memories of a long-lost drama. Findings like photographs of time where to encounter something born anew: Revelation, Oracle or Awakening? Come and discover it on 21 July at @pompeii_parco_archeologico. Places are limited so please confirm your attendance to mlv@fiorucciartrust  #VolcanoExtravaganza2019 @apsleycherrygarrard #Death #appointmentinsamarra 📸@giovannamuzzisilva #padiglioneitalia #italianpavilion #padiglioneitalia2019 #biennalearte2019 #enricodavid #chiarafumai #lilianamoro #neithernor #thechallengetothelabyrinth @labiennale @dg_aap @humboldtbooks
729 6
Pompeii. From the catalogue of #NeitherNor to what will be the closing chapter of ‘DEATH’, the 2019 edition of @fiorucciartrust ’s yearly festival #VolcanoExtravaganza which features #MariaLoboda as Artistic Leader. Skulls, bones, paraphernalia. Hoards of potsherds, ampullae, pieces of metal, fragments of various nature are preserved in appropriate locations in its archaeological depositories. Yet not everything that looks chaotic is the actual reflection of a disorder. Even in the hypertrophic accumulation, one could find everything just as they need it to be. These rooms are drenched with death and life and reflections from the underworld. Layers of object, baubles, talismans, materials. Memories of a long-lost drama. Findings like photographs of time where to encounter something born anew: Revelation, Oracle or Awakening? Come and discover it on 21 July at @pompeii_parco_archeologico. Places are limited so please confirm your attendance to mlv@fiorucciartrust #VolcanoExtravaganza2019 @apsleycherrygarrard #Death #appointmentinsamarra 📸@giovannamuzzisilva #padiglioneitalia #italianpavilion #padiglioneitalia2019 #biennalearte2019 #enricodavid #chiarafumai #lilianamoro #neithernor #thechallengetothelabyrinth @labiennale @dg_aap @humboldtbooks
Advertisement
A display of glass cases seductively emanates a comforting light for those who wander. The traditional museum display based on shelves and cabinets was among Enrico David’s inspirations in the conception of ‘Tutto il resto spegnere IV (Homage a E. F.)’: a series of vitrines intended to house a jumbled archive of works, research materials and personal paraphernalia collaboratively chosen with Liliana Moro and myself. Amidst both sacred and profane objects we placed the Bible, wig and dress coming from Chiara Fumai’s body of work ‘Madonna Horiente’. In her video piece ‘Per vas nefandum’—from the Latin quote “By means of the improper vessel”—Chiara tore the Bible in pieces to announce the arrival of the Whore of Babylon, a mythological creature she evoked as a metaphor for a stance against puritanism. Moreover, Chiara’s props are protected from impure spirits by three iron arrows, ‘Hangers’, whose design comes from an early Christian incantation meant to preserve an environment from the wicked. If you were to raise your gaze and zoom out of this photo, you might see them hung so to seemingly float above the walls of the labyrinth. 📸 #AnnaFranceschini “attraverso il labirinto del padiglione italia” by @matildecerrutiquara, @id_italy #padiglioneitalia #italianpavilion #padiglioneitalia2019 #biennalearte2019 #enricodavid #chiarafumai #lilianamoro #neithernor #thechallengetothelabyrinth @labiennale @dg_aap
429 12
A display of glass cases seductively emanates a comforting light for those who wander. The traditional museum display based on shelves and cabinets was among Enrico David’s inspirations in the conception of ‘Tutto il resto spegnere IV (Homage a E. F.)’: a series of vitrines intended to house a jumbled archive of works, research materials and personal paraphernalia collaboratively chosen with Liliana Moro and myself. Amidst both sacred and profane objects we placed the Bible, wig and dress coming from Chiara Fumai’s body of work ‘Madonna Horiente’. In her video piece ‘Per vas nefandum’—from the Latin quote “By means of the improper vessel”—Chiara tore the Bible in pieces to announce the arrival of the Whore of Babylon, a mythological creature she evoked as a metaphor for a stance against puritanism. Moreover, Chiara’s props are protected from impure spirits by three iron arrows, ‘Hangers’, whose design comes from an early Christian incantation meant to preserve an environment from the wicked. If you were to raise your gaze and zoom out of this photo, you might see them hung so to seemingly float above the walls of the labyrinth. 📸 #AnnaFranceschini “attraverso il labirinto del padiglione italia” by @matildecerrutiquara , @id_italy #padiglioneitalia #italianpavilion #padiglioneitalia2019 #biennalearte2019 #enricodavid #chiarafumai #lilianamoro #neithernor #thechallengetothelabyrinth @labiennale @dg_aap
‘BUSTROFEDICO’ (Boustrophedon) is the working title of #AnnaFranceschini’s new experimental short film, which offers an artistic documentation of ‘Neither Nor: The challenge to the Labyrinth'. In linguistics, ‘boustrophedon’ is a form of inverted writing, found, for instance, in Leonardo da Vinci’s notes: the direction of the words changes at each line, while the letters appear as if reflected in a mirror. Using this form as a metaphor, Franceschini’s new film aims at translating the maze of ‘Neither Nor’ into moving image. Going forward and backward, confusing movements and traces, the camera will shift, expand, repeat, agitate itself to create a cinematic spatial experience of disorientation. Whilst being truthful to the actual exhibition content, the subject is also reinterpreted and reconstructed by Franceschini in a studio offsite, in line with the artist’s theoretical research around animated display. Both the exhibition and its documentary narrate a story. They show and tell. The gazes are as many as the concoctions of thought. The documentary is specially commissioned by the Italian Pavillion at the 58th @labiennale and produced by @inbetweenartfilm and @gluck50_milano. It will be premiered on the occasion of the Pavilion’s finissage 📸 The Lapis Niger shrine at the Roman Forum @a_cinema_verite_kind_of_girl #padiglioneitalia #italianpavilion #padiglioneitalia2019 #biennalearte2019 #enricodavid #chiarafumai #lilianamoro #neithernor #thechallengetothelabyrinth @labiennale @dg_aap
426 5
‘BUSTROFEDICO’ (Boustrophedon) is the working title of #AnnaFranceschini’s new experimental short film, which offers an artistic documentation of ‘Neither Nor: The challenge to the Labyrinth'. In linguistics, ‘boustrophedon’ is a form of inverted writing, found, for instance, in Leonardo da Vinci’s notes: the direction of the words changes at each line, while the letters appear as if reflected in a mirror. Using this form as a metaphor, Franceschini’s new film aims at translating the maze of ‘Neither Nor’ into moving image. Going forward and backward, confusing movements and traces, the camera will shift, expand, repeat, agitate itself to create a cinematic spatial experience of disorientation. Whilst being truthful to the actual exhibition content, the subject is also reinterpreted and reconstructed by Franceschini in a studio offsite, in line with the artist’s theoretical research around animated display. Both the exhibition and its documentary narrate a story. They show and tell. The gazes are as many as the concoctions of thought. The documentary is specially commissioned by the Italian Pavillion at the 58th @labiennale and produced by @inbetweenartfilm and @gluck50_milano. It will be premiered on the occasion of the Pavilion’s finissage 📸 The Lapis Niger shrine at the Roman Forum @a_cinema_verite_kind_of_girl #padiglioneitalia #italianpavilion #padiglioneitalia2019 #biennalearte2019 #enricodavid #chiarafumai #lilianamoro #neithernor #thechallengetothelabyrinth @labiennale @dg_aap
-12 to #volcanoextravaganza2019. Are you ready for four days of never-ending shadow games, mysterious déjà vus and constant inexplicable repetitions? Here are some tips to pack your suitcase for #stromboli and #pompeii. Each one of the days of the festival has been named after famous banquets and we suggest you respond to certain dress codes. For the inaugural event, FETE WORSE THAN DEATH, after the 1661’s lavishing party that costed finance minister to Louis XIV a life sentence, please dress accordingly to the Gospel of LIVE AND LET DIE. The second day we will picnic to the ULTIMATE ORGY, after Nero's imperial and legendary party. This time you should think about DIVORCE ME, DARLING!Our last appointment on the island is FEAST OF THE BEAST, after the ultimate carnivore New Year's Eve party organised by Monsieur Bonvalet in 1870. For this night of mystery we suggest you dress in the spirit of SODOM AND GOMORRAH and keep in mind that when you think it is over, more could still happen. Finally, the name of our ultimate appointment in Pompeii Archaeological Park is inspired by the title of the chaotic and cursed family depicted by Jan Steen in 1663-64, THE DISSOLUTE HOUSEHOLD. The last dress code suggested for a promenade through the Villa of the Mysteries and the dead city is A SATYR’S CHOICE #appointmentinsamarra @pompeii_parco_archeologico @fiorucciartrust @nicoletta_fiorucci_london @apsleycherrygarrard @lucas_4rruda @juliebena @matrixsratrix #nicholasbyrne #federicocampagna @hamiltonanthea @premsahib #albertserra
1.2K 20
-12 to #volcanoextravaganza2019. Are you ready for four days of never-ending shadow games, mysterious déjà vus and constant inexplicable repetitions? Here are some tips to pack your suitcase for #stromboli and #pompeii. Each one of the days of the festival has been named after famous banquets and we suggest you respond to certain dress codes. For the inaugural event, FETE WORSE THAN DEATH, after the 1661’s lavishing party that costed finance minister to Louis XIV a life sentence, please dress accordingly to the Gospel of LIVE AND LET DIE. The second day we will picnic to the ULTIMATE ORGY, after Nero's imperial and legendary party. This time you should think about DIVORCE ME, DARLING!Our last appointment on the island is FEAST OF THE BEAST, after the ultimate carnivore New Year's Eve party organised by Monsieur Bonvalet in 1870. For this night of mystery we suggest you dress in the spirit of SODOM AND GOMORRAH and keep in mind that when you think it is over, more could still happen. Finally, the name of our ultimate appointment in Pompeii Archaeological Park is inspired by the title of the chaotic and cursed family depicted by Jan Steen in 1663-64, THE DISSOLUTE HOUSEHOLD. The last dress code suggested for a promenade through the Villa of the Mysteries and the dead city is A SATYR’S CHOICE #appointmentinsamarra @pompeii_parco_archeologico @fiorucciartrust @nicoletta_fiorucci_london @apsleycherrygarrard @lucas_4rruda @juliebena @matrixsratrix #nicholasbyrne #federicocampagna @hamiltonanthea @premsahib #albertserra
Advertisement
Claustrophobic or claustrophilic? These hollow articulations of cubicles and tunnels are as ghostly as inviting and exciting. You are in the underbelly of the metropolis, the necessary and inescapable opposite of the city lights. No catacombs, but the subterranean infrastructure composed of thousands of kilometres of pipes and conduits documented by @giovannamuzzisilva beneath the streets of Milan. Enjoy the adventure, rolling in the deep, taking the chance to profanate such un-sacred, yet respectable, architecture. @humboldtbooks #padiglioneitalia #italianpavilion #padiglioneitalia2019 #biennalearte2019 #enricodavid #chiarafumai #lilianamoro #neithernor #thechallengetothelabyrinth @labiennale @dg_aap
483 6
Claustrophobic or claustrophilic? These hollow articulations of cubicles and tunnels are as ghostly as inviting and exciting. You are in the underbelly of the metropolis, the necessary and inescapable opposite of the city lights. No catacombs, but the subterranean infrastructure composed of thousands of kilometres of pipes and conduits documented by @giovannamuzzisilva beneath the streets of Milan. Enjoy the adventure, rolling in the deep, taking the chance to profanate such un-sacred, yet respectable, architecture. @humboldtbooks #padiglioneitalia #italianpavilion #padiglioneitalia2019 #biennalearte2019 #enricodavid #chiarafumai #lilianamoro #neithernor #thechallengetothelabyrinth @labiennale @dg_aap
I wrote the word ‘death’ on the sand by the sea. Each letter quickly disappeared in the waves. Sometimes things need to be destroyed or dismissed in order to exist, like a sigil in chaos theories, which only works when the initial desire that inspired its creation is forgotten. In the same way, presences that seemed gone forever might come back to solve an enigma, to help us see things as they really are or to tell us one last revealing story. Like in the medieval Scottish ballad, The Cruel Sister, where the water returned the corpse of an unfortunate girl pushed from a cliff by her older sister because of love rivalry. A harp was made out of her breast bone and her golden hairs were used as strings. The day of the wedding of the cruel sister, when she finally thought her dream had come true, the macabre musical instrument magically started playing itself and singing about the murder, revealing the truth and killing the bride of shame and heartbreak. What will the waves bring to the shore of the island of Stromboli? What will be revealed in Pompei? What tales will be narrated during the ninth edition of #volcanoextravaganza? #volcanoextravaganza2019 by @fiorucciartrust will be entitled #death and will take place from 18 to 21 July in #stromboli, with a final evening event in #pompei archeological park . This edition’s artistic leader is @apsleycherrygarrard, with @lucas_4rruda @juliebena @matrixsratrix #nicholasbyrne #federicocampagna @hamiltonanthea @premsahib #albertserra 📸 by @apsleycherrygarrard
947 23
I wrote the word ‘death’ on the sand by the sea. Each letter quickly disappeared in the waves. Sometimes things need to be destroyed or dismissed in order to exist, like a sigil in chaos theories, which only works when the initial desire that inspired its creation is forgotten. In the same way, presences that seemed gone forever might come back to solve an enigma, to help us see things as they really are or to tell us one last revealing story. Like in the medieval Scottish ballad, The Cruel Sister, where the water returned the corpse of an unfortunate girl pushed from a cliff by her older sister because of love rivalry. A harp was made out of her breast bone and her golden hairs were used as strings. The day of the wedding of the cruel sister, when she finally thought her dream had come true, the macabre musical instrument magically started playing itself and singing about the murder, revealing the truth and killing the bride of shame and heartbreak. What will the waves bring to the shore of the island of Stromboli? What will be revealed in Pompei? What tales will be narrated during the ninth edition of #volcanoextravaganza? #volcanoextravaganza2019 by @fiorucciartrust will be entitled #death and will take place from 18 to 21 July in #stromboli, with a final evening event in #pompei archeological park . This edition’s artistic leader is @apsleycherrygarrard , with @lucas_4rruda @juliebena @matrixsratrix #nicholasbyrne #federicocampagna @hamiltonanthea @premsahib #albertserra 📸 by @apsleycherrygarrard
Advertisement
‘Essentially an illustration of a state that I have been compelled to “mimic” as a form of personal visual testimony, but also a caricature of both the image and the memory, a cartoon of “nostalgia”’. With these words Enrico David describes ‘Ultra Paste’ (2007), a diorama created on the occasion of his first institutional exhibition in London, at the ICA. It shows the artist’s bedroom as a teenager, designed by his father in the 1970s, reworked and integrated with elements citing the setting of Surrealist photographer Dora Maar’s 1935 photo-collage ‘Vieille femme et enfant’ in which a boy presses his body against that of an elderly woman. The grotesque and oedipal scene portrayed by Maar is acted out here by preadolescent David himself, viewed from behind with his trousers pulled down, rubbing against a large manikin. At the bedroom threshold is ‘Life Sentences’, a seemingly innocuous centipede, completely uninterested in what is going on around it, which, creating both a spatial and a temporal interference with ‘Ultra Paste’, emphasises its more dreamlike and surreal traits. #padiglioneitalia #italianpavilion #padiglioneitalia2019 #biennalearte2019 #enricodavid #chiarafumai #lilianamoro #neithernor #thechallengetothelabyrinth @labiennale @dg_aap
577 6
‘Essentially an illustration of a state that I have been compelled to “mimic” as a form of personal visual testimony, but also a caricature of both the image and the memory, a cartoon of “nostalgia”’. With these words Enrico David describes ‘Ultra Paste’ (2007), a diorama created on the occasion of his first institutional exhibition in London, at the ICA. It shows the artist’s bedroom as a teenager, designed by his father in the 1970s, reworked and integrated with elements citing the setting of Surrealist photographer Dora Maar’s 1935 photo-collage ‘Vieille femme et enfant’ in which a boy presses his body against that of an elderly woman. The grotesque and oedipal scene portrayed by Maar is acted out here by preadolescent David himself, viewed from behind with his trousers pulled down, rubbing against a large manikin. At the bedroom threshold is ‘Life Sentences’, a seemingly innocuous centipede, completely uninterested in what is going on around it, which, creating both a spatial and a temporal interference with ‘Ultra Paste’, emphasises its more dreamlike and surreal traits. #padiglioneitalia #italianpavilion #padiglioneitalia2019 #biennalearte2019 #enricodavid #chiarafumai #lilianamoro #neithernor #thechallengetothelabyrinth @labiennale @dg_aap
A zigzag pattern forms a campus, framing the hill it is laid on. A structure ideally conceived as a see-through building that can be entered from any angle: no façade, no front, no majestic entrance. A concoction of bricks and concrete. As part of her visual essay for the Italian Pavilion catalogue, @giovannamuzzisilva photographed these passages and angularities belonging to the Collegi del Colle dei Cappuccini in Urbino—literally meaning “Colleges of the Hill”. These serpentine works of architecture were designed in the Sixties by visionary architect Giancarlo De Carlo, and have inspired some of the edges and irregularities of the #NeitherNor exhibition layout that was developed with @studio_julia. Gazing through the slits in between buildings one may have a sudden revelation, a panoramic vision over the hills. De Carlo’s main objective was to conceive meaningful, suggestive spatial events that could evolve with those who inhabited it, the artificial discretely merging with the surrounding natural landscape. @humboldtbooks  #padiglioneitalia #italianpavilion #padiglioneitalia2019 #biennalearte2019 #enricodavid #chiarafumai #lilianamoro #neithernor #thechallengetothelabyrinth @labiennale @dg_aap
515 4
A zigzag pattern forms a campus, framing the hill it is laid on. A structure ideally conceived as a see-through building that can be entered from any angle: no façade, no front, no majestic entrance. A concoction of bricks and concrete. As part of her visual essay for the Italian Pavilion catalogue, @giovannamuzzisilva photographed these passages and angularities belonging to the Collegi del Colle dei Cappuccini in Urbino—literally meaning “Colleges of the Hill”. These serpentine works of architecture were designed in the Sixties by visionary architect Giancarlo De Carlo, and have inspired some of the edges and irregularities of the #NeitherNor exhibition layout that was developed with @studio_julia. Gazing through the slits in between buildings one may have a sudden revelation, a panoramic vision over the hills. De Carlo’s main objective was to conceive meaningful, suggestive spatial events that could evolve with those who inhabited it, the artificial discretely merging with the surrounding natural landscape. @humboldtbooks #padiglioneitalia #italianpavilion #padiglioneitalia2019 #biennalearte2019 #enricodavid #chiarafumai #lilianamoro #neithernor #thechallengetothelabyrinth @labiennale @dg_aap
Advertisement
Back to the labyrinth after some spatial-temporal distance, in company of its protagonists. Ready to retrace their ways, to once again walk throughout its meanders: the reiteration of a journey of the mind and of the body, to reveal traces and moments still unknown. Time creates distance, distance grows new connections. Not everything has been said or revealed yet. Please join us on June 18 at 4 PM around Liliana Moro’s dining table installation ‘Quattro Stagioni’ (Four Seasons) inside the Italian Pavilion at the Arsenale, for the first in a series of events. #padiglioneitalia #italianpavilion #padiglioneitalia2019 #biennalearte2019 #enricodavid #chiarafumai #lilianamoro #neithernor #thechallengetothelabyrinth @labiennale @dg_aap
397 9
Back to the labyrinth after some spatial-temporal distance, in company of its protagonists. Ready to retrace their ways, to once again walk throughout its meanders: the reiteration of a journey of the mind and of the body, to reveal traces and moments still unknown. Time creates distance, distance grows new connections. Not everything has been said or revealed yet. Please join us on June 18 at 4 PM around Liliana Moro’s dining table installation ‘Quattro Stagioni’ (Four Seasons) inside the Italian Pavilion at the Arsenale, for the first in a series of events. #padiglioneitalia #italianpavilion #padiglioneitalia2019 #biennalearte2019 #enricodavid #chiarafumai #lilianamoro #neithernor #thechallengetothelabyrinth @labiennale @dg_aap
Repetition – be it gestural, physical, visual or, why not, even emotional – is in its essence a mechanism of transformation, understood as growth and as reduction. An example of this is Spazi (Spaces, 2019), a work of Liliana Moro’s created precisely by the accumulation of repeated spaces. Since the early Nineties, Moro has made preparatory models of the environments in which her exhibitions are going to be held. Little lights, plasticine and photographs are some of the materials with which the artist has faithfully reproduced her works throughout these aids, on show for the first time, grouped and stacked one on top of the other. A set of physical perspectives and correspondences in which the ‘large’ of the exhibition is replaced by the ‘small’ of the model and the repeated gesture of accumulation makes the little models ‘big’, turning them into sculptures – that are exhibited in turn. Altogether they offer a point of view that is of great value to the artist: one that allows her to take in all the elements at a single glance. It is not just space that is being manipulated, however, but also time: in a single instant, in that single glance, Liliana allows us to perceive a succession of ideas and projects that spans over thirty years of her career. 📸 @delfino_sl @_marcocappelletti ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀
Neither Nor: The challenge to the Labyrinth
Italian Pavilion
58th International Art Exhibition - La Biennale di Venezia 
Photography Delfino Sisto Legnani and Marco Cappelletti
Courtesy DGAAP-MiBAC ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀
#padiglioneitalia #italianpavilion #padiglioneitalia2019 #biennalearte2019 #enricodavid #chiarafumai #lilianamoro #neithernor #thechallengetothelabyrinth @labiennale @dg_aap
592 4
Repetition – be it gestural, physical, visual or, why not, even emotional – is in its essence a mechanism of transformation, understood as growth and as reduction. An example of this is Spazi (Spaces, 2019), a work of Liliana Moro’s created precisely by the accumulation of repeated spaces. Since the early Nineties, Moro has made preparatory models of the environments in which her exhibitions are going to be held. Little lights, plasticine and photographs are some of the materials with which the artist has faithfully reproduced her works throughout these aids, on show for the first time, grouped and stacked one on top of the other. A set of physical perspectives and correspondences in which the ‘large’ of the exhibition is replaced by the ‘small’ of the model and the repeated gesture of accumulation makes the little models ‘big’, turning them into sculptures – that are exhibited in turn. Altogether they offer a point of view that is of great value to the artist: one that allows her to take in all the elements at a single glance. It is not just space that is being manipulated, however, but also time: in a single instant, in that single glance, Liliana allows us to perceive a succession of ideas and projects that spans over thirty years of her career. 📸 @delfino_sl @_marcocappelletti ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀
Neither Nor: The challenge to the Labyrinth
Italian Pavilion
58th International Art Exhibition - La Biennale di Venezia
Photography Delfino Sisto Legnani and Marco Cappelletti
Courtesy DGAAP-MiBAC ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀
#padiglioneitalia #italianpavilion #padiglioneitalia2019 #biennalearte2019 #enricodavid #chiarafumai #lilianamoro #neithernor #thechallengetothelabyrinth @labiennale @dg_aap
“I am the silence that is incomprehensible
and the idea whose remembrance is frequent. 
I am the voice whose sound is manifold and the word whose appearance is multiple.
I am the utterance of my name. [...]
For I am knowledge and ignorance. 
I am shame and boldness.
I am shameless; I am ashamed.
I am strength and I am fear. 
I am war and peace. [...] “

Tired eyes, lips parted in astonishment, an impelling desire to spew out words. These demented, crazy portraits, furtively screen-grabbed by Enrico David, capture the audience of British TV program Question Time, from which this artwork takes its title. Printed on glass, these faces exist in a space void of anything but sound, expressing the perplexity of having to ask for explanations. They question because they need to, for they don’t understand. Their physiognomy is an archetype of uncertainty and doubt. They ask. They observe. They listen. Unawares, they’ve become audience to a voice echoing in the room. A reverberation: “For I am the one who alone exists, and I have no one who will judge me”. Reciting fragments of the IV century Coptic poem 'Thunder, Perfect Mind’, Chiara Fumai performs a divine female figure whose superhuman nature is described through a series of seemingly contradictory adjectives and statements that proclaims the co-existence of irreconcilables opposites. The ultimate labyrinthine paradox. All questions answered, we may start again, and again and again: “For I am the first and the last.” 📸 detail from Enrico David, ‘Question Time’, 2019
#padiglioneitalia #italianpavilion #padiglioneitalia2019 #biennalearte2019 #enricodavid #chiarafumai #lilianamoro #neithernor #thechallengetothelabyrinth @labiennale @dg_aap
226 5
“I am the silence that is incomprehensible
and the idea whose remembrance is frequent.
I am the voice whose sound is manifold and the word whose appearance is multiple.
I am the utterance of my name. [...]
For I am knowledge and ignorance.
I am shame and boldness.
I am shameless; I am ashamed.
I am strength and I am fear.
I am war and peace. [...] “

Tired eyes, lips parted in astonishment, an impelling desire to spew out words. These demented, crazy portraits, furtively screen-grabbed by Enrico David, capture the audience of British TV program Question Time, from which this artwork takes its title. Printed on glass, these faces exist in a space void of anything but sound, expressing the perplexity of having to ask for explanations. They question because they need to, for they don’t understand. Their physiognomy is an archetype of uncertainty and doubt. They ask. They observe. They listen. Unawares, they’ve become audience to a voice echoing in the room. A reverberation: “For I am the one who alone exists, and I have no one who will judge me”. Reciting fragments of the IV century Coptic poem 'Thunder, Perfect Mind’, Chiara Fumai performs a divine female figure whose superhuman nature is described through a series of seemingly contradictory adjectives and statements that proclaims the co-existence of irreconcilables opposites. The ultimate labyrinthine paradox. All questions answered, we may start again, and again and again: “For I am the first and the last.” 📸 detail from Enrico David, ‘Question Time’, 2019
#padiglioneitalia #italianpavilion #padiglioneitalia2019 #biennalearte2019 #enricodavid #chiarafumai #lilianamoro #neithernor #thechallengetothelabyrinth @labiennale @dg_aap
A labyrinth for a graveyard, a metaphor for a passage. A caesura, a pause about to turn into everlasting peace. This is the atmosphere of Katharina Fritsch’s rigorous, geometrical planimetries for two unrealised cemeteries. ‘Friedhof für Reihengraber’ (Cemetery with Row Graves, 1980-1982) unfolds as both a square and a spiral, its limbs articulate anti-clockwise to form a swastika—a figure whose meaning in Sanskrit is ‘conducive to well being’. Horribly mangled in intention by the Nazis, who used it clockwise as an effigy of death, this ancient symbol originally belongs to Eurasian systems of belief such as Buddhism, Hinduism and Jainism. I believe swastikas were traced by Fritsch in a few of her works for the positive, spiritual charge of their original configuration, whilst also visually evoking a political warning. ‘Friedhof für Urnengräber’ (Cemetery for Urns, 1982-1983) is an octagonal structure made up of triangular modules, reiterating Fritsch’ predilection for the manifold applications of number eight. 📸 PARKETT 25 ‘Speculations on Trucks, Cemeteries, Foxes and Other Images’ by Julian Heynen, 1990 #padiglioneitalia #italianpavilion #padiglioneitalia2019 #biennalearte2019 #enricodavid #chiarafumai #lilianamoro #neithernor #thechallengetothelabyrinth @labiennale @dg_aap
539 6
A labyrinth for a graveyard, a metaphor for a passage. A caesura, a pause about to turn into everlasting peace. This is the atmosphere of Katharina Fritsch’s rigorous, geometrical planimetries for two unrealised cemeteries. ‘Friedhof für Reihengraber’ (Cemetery with Row Graves, 1980-1982) unfolds as both a square and a spiral, its limbs articulate anti-clockwise to form a swastika—a figure whose meaning in Sanskrit is ‘conducive to well being’. Horribly mangled in intention by the Nazis, who used it clockwise as an effigy of death, this ancient symbol originally belongs to Eurasian systems of belief such as Buddhism, Hinduism and Jainism. I believe swastikas were traced by Fritsch in a few of her works for the positive, spiritual charge of their original configuration, whilst also visually evoking a political warning. ‘Friedhof für Urnengräber’ (Cemetery for Urns, 1982-1983) is an octagonal structure made up of triangular modules, reiterating Fritsch’ predilection for the manifold applications of number eight. 📸 PARKETT 25 ‘Speculations on Trucks, Cemeteries, Foxes and Other Images’ by Julian Heynen, 1990 #padiglioneitalia #italianpavilion #padiglioneitalia2019 #biennalearte2019 #enricodavid #chiarafumai #lilianamoro #neithernor #thechallengetothelabyrinth @labiennale @dg_aap

socviewer.com