C.Ar.D. · and Luca Baracchi, Roberto Bensi, Alessandra Benzi, Emiliana Biondi, Luigi ... > Giulio...

C.Ar.D.Contemporary

Art&Design

2016Artistic itineraries

in the vales around Piacenza

C.Ar.D. Contemporary Art & DesignAgazzano, Nibbiano, Piozzano and Pianello Val TidoneJuly 9 - October 9, 2016

Conceived and curated byPaolo Baldacci and Daniela Volpi

Board of advisorsCristina Baldacci, Giacinto Di Pietrantonio,James Hyde, Barney Kulok, Franco Raggi

Design section curated by Franco Raggi

Exhibition set upFranco Raggi, Daniela Volpi

General coordinationGiulia Pellegrino

Coordination and communicationDonatella Volonté

Press officeLara Facco Press & Communication, Milano

Graphic designMarco Strina

Supported byAssociazione Amici di C.Ar.D.

www.cardcard.it

C.Ar.D. 2016 would particularly like to thank:The galleries: Nicelle Beauchene Gallery, New York; Galleria Continua, San Gimignano/Beijing/Les Moulins/Habana; Ramiken Crucible, New York; Galerie Christian Lethert, Köln; Kate MacGarry, London; Pinksummer, Genova; Altman Siegel Gallery, San Francisco; Simone Subal Gallery, New York; Galerie Barbara Thumm, Berlin; Philipp von Rosen Galerie, Köln; Wentrup Gallery, Berlin; Otto Zoo, Milano. The Fondazione Piacenza e Vigevano, the Fondazione Libertà, Sky Arte HD, 3D Produzioni, the Institutions and Municipalities that have granted patronage, all technical sponsors.Paola Achilli, Cristina and Irma Arzani, Lalla Astorri, Roberta Baldini, Beppe and Luca Baracchi, Roberto Bensi, Alessandra Benzi, Emiliana Biondi, Luigi Bisi, Stefano Bolzoni, Laura and Alessio Borgognoni, Vittoria Bosi, Marco Bracchi, Lorena and Romano Braga, Mario Braghieri, Fosco Bugoni, Eleonora Buongiorno, Lorenzo Burgazzoli, Cristiano Cassi, Ambra Chitti, Mattia Cigalini, Lino Cignatta, Guya Cipelli, Benedetta Dal Verme, Luca De Catolis, Lorenza De Marchi, La famiglia Elefanti, Adamo Filios, Stefania Fanchini, Paolo Fasoli, Maddalena Fava, Fiorenzo Ferdenzi, Angela Fiori, Greta, Irene, Luigi, Maddalena and Paola Fornasari, Pietro Franzini, Carlo Gandini, Filippo Gariboldi, Rodolfo Garlinzoni, Maurizio and Lara Gatti, Luigi and Marisa Gazzola, Roberto Gervasoni, Carla Graziosi, Eleana Gropelli, Arianna Groppi, Roberta Guglielmetti, Luca Incerti, Carlina Lorduy Cabarcas, Cecilia Luchian, Daniela Lusardi, Rita Maffi, Francesco Milazzo, Davide Giani, Luciano Gobbi, Davide Greco, Tiziana Libé, Diego Maj, Agostina and Massimo Magistrali, Carlo Maserati, Simone Maserati, Sandro Miglioli, Giorgio, Michele and Raffaella Milani, Mauro Mori, Michela Oberti, Matteo Oddi, Enrica and Nicola Oddi, Paola Parolini, Alberto Pizzati, Vincenzo Repetti, Donatella Ronconi, Attilio Sfolcini, Alberto Simoncini, Franco Tagliaferri, Giorgio Testa, Alessandra Ticchi, Massimo Toscani, Luca Tromelli, Carlo Alberto Varesi, Valentina Volpi, Maria Luisa Zanardi Landi, Matteo Zarbo, the volunteers of the Pro Loco of Pianello, the volunteers of the Banca del tempo, Trattoria del Chiarone, bar Garibaldi, bar Grande, bar Novecento, bar Barino, bar Raggio D’Oro in Pianello Val Tidone.Our thanks go also to the artists, to everyone who helped out with painting, cleaning, cutting, nailing, hanging, gluing, carrying and moving, lifting, turning on the lights…, and to all those we have unintentionally forgotten to mention.

scalpendi editoreMA.PRE.L.

s.r.l.

MA.PRE.L.s.r.l.

Ordine degli Architetti P.P.C. della Provincia di Piacenza

Patrons

Technical sponsors

Comune di Agazzano

Comune di Piozzano

Comune di Pianello Val Tidone

Supported by

Comune di Nibbiano

Comune di Gazzola

Media partners

media coverage by

Grigio: c 0, m 0, y 0, k 40

> The Spirit and Significance of C.Ar.D. 7 PaoloBaldacci

> Boundaries 11 FrancoRaggi

> Contemporary art, why and who for 13 CristinaBaldacci

> Invernomuto ConsorzioAgrario,Agazzano 17 CristinaBaldacci

> Anna K.E. and Florian Meisenberg ConsorzoAgrario,Agazzano 23 CristinaBaldacci

> Nari Ward ConsorzoAgrario,Agazzano 29 CristinaBaldacci

> Martine Bedin MolinoCalcagni,Piozzano 35 MartineBedin

> Sergio Maria Calatroni MolinoCalcagni,Piozzano 41 SergioMariaCalatroni

> Matali Crasset MolinoCalcagni,Piozzano 47 MataliCrasset

> Giulio Iacchetti MolinoCalcagni,Piozzano 53 GiulioIacchetti

> Ulrich Egger ConsorzioAgrario,LocalitàSanGabriele,Piozzano 59 PaoloBaldacci

> Matt Keegan ConsorzioAgrario,LocalitàSanGabriele,Piozzano 65 PaoloBaldacci

> Joe Fyfe Magazzini,PianelloValTidone 71 PaoloBaldacci

> Lucas Blalock Bocciodromo,PianelloValTidone 77 CristinaBaldacci

> Maria Morganti Bocciodromo,PianelloValTidone 83 CristinaBaldacci

> Chris Wiley Bocciodromo,PianelloValTidone 89 CristinaBaldacci

> Patricia Treib OratorioSanFrancescoeSanCarlo,LocalitàStrà,Nibbiano 95 PaoloBaldacci

> Nick Stolle C.Ar.D.Point,PianelloValTidone 101 JamesHyde

> List of works 107

Contents

76

The Spirit and Significance of C.Ar.D.

TheideaofcreatingC.Ar.D.cameaboutbychance.InMay2012thetremorsfromtheearthquakethathadhitEmiliaRomagnacouldbefelt,ifonlyfaintly,inthevalleysaroundPiacenza,buttheywerestrongenoughtodisplacethesteelbracketthatwasholdinguponeofthetwolargeglassboxesdesignedbyJames(Jim)HydewehadinourcountryhomeinValTidone,andsoonemorningwefounditsmashedtopiecesonthefloor.Iwasextremelyfondofthatart-work:itwasdesignedbyanartistIlovedandwhohadsignificantlyinfluencedmostofmyworkinNewYorkandMilanointhe1990s.Jimhadactuallymadeitin1996,workinginastudioIhadfoundforhimnearRogoredoStation.HeactuallydesigneditforhissoloshowthathadopenedmygalleryinCorsoGaribaldiandthen,justovertenyearslater,Ihadboughtitbackfromafriend,awell-knowncontemporaryartcollectorwhohadfallenillanddecidedtosellhiscollection.SoIwrotetoHydeafternothearingfromhimforalongtimeandhecametoPianelloinearlyJuly,turnedourgarageintoastudioand,injustovertwentydays,createdahugenumberofworks,onemorebeautifulthanthenext.Whilehewashere,BarneyKulok,anextremelytalentedphotographer,whoseworkhadalreadybeenincludedintheMoMAcollection,alsocametovisitforafewdaysandweimmediatelybecamefriends.Thevillagewasintriguedandexcitedbythearrivalofnewandeccentricpeopleandfascinatedbythatsortofmagician’sdenthatourgaragehadturnedinto,whereJimworkedawaytothesoundofrockmusicand,soitissaid,dancedallaloneontheoutsidelawnashewatchedhisworkstakeshape.DanielaandIdecideditwouldbewonderfultocontinuewithandelaborateuponthisexperience,gettingasmanypeopleinvolvedaspossible.WewenttoNewYorkinNovemberandstartedworkingonprojectsandmeetingartists.Afterayear’splanning,mainlyspentlookingforsuitablelocations,theprojectfinallygotunderwayinwinter2013-2014.Theartistbeganinspectingthelocationsinthespringtoseetheplaceswheretheywouldbeworkingandwheretheirworkswould

bedisplayed,andinAugustapeacefulinvasionofPianelloandthevalleysaroundPiacenzabegan.FabienneLasserrewasthefirsttoarrivefromBrooklyn,becauseshewaspregnantandhadtogobackbeforetheopening:withmath-ematicalprecisionandmethod,sheunpackedhercasestounveilcolouredsculptureswithironcorescoveredwithpaintedfabricsandfibres,whichhaveabsolutelynothingofthemathematicalpre-cisionwithwhichtheyhadbeenpackedway,butwouldcertainlylivenupthepremisesoftheConsorzioSanGabrielewithextra-ter-restrialpresences.JessicaStockholder,whoarrivedfromChicagowithallherfamily,tookovertheBocciofilainvialeCastagnetti,whichhadjustbeenaltered,basedonadesignofhers,withasky-bluebowlingalleyandwallsmadeofdiagonalpiecesofconcrete.Sheconstructedtwosite-specificinstallationsforit,thesmallerofwhichhadactuallybeendesignedforthemagnificentcourtyardoftheCastellodiLisignano(Gazzola),whereitwaslatertransferred.RashawnGriffin,ayoungandpromisingAfrican-Americanartist,whohadarrivedfromKansasCityandbeengivenaLambrettabyus,workedonthefloorabovetheDemaplastwarehousesinviaMascarettiduringtheday,swelteringuncomfortablyintheheat,butthenintheeveningsheentertainedeverybodyonthestagesoflocalfestivalsinhisownveryimaginativeandrathermakeshiftItalianthathehadlearntstudyingatduolingo.comAtnight-timeheusedtoscarethewildboarashedashedaroundthestreetsridinghisLambretta.EzraJohnsonhadtakenoverasmallceramicskilnandkeptchurningoutendlesspiecesofearth-enwarethatlookedlikecolouredspongesforwashingplates.DuilioFortesetuphisgiganticSleipnirhorsealongtheshoreoftheRiverTidone,DenisSantachiaracoveredthevery“respectable”andaes-theticallyproperfacadeofPianelloAuditoriumwithamonstrousyellowfacewithagapingmouththatcouldbeenteredthroughabloodred-colouredtongueandJimHydehadturnedtheFornasarifirm’swarehouseupsidedowntocreate,amongstotherwhims,gi-ganticcolourfulglassboxesthatcouldnotbemoved.

98

AttilioStocchihad,inaratherelitistway,decidedtokeepawayfromthecrowd,takingshelterinsidetheinaccessibleconfinesofRoccad’OlgisioFortress,whileMarcoFerrerigotthelocalkidsfromthevillagetodemocraticallysmashandtrampleonlittlecoffeecupsfromthedilapidatedold1970sbarintheBowlsArena.Thechildren,whoweredelightedtobeabletosmashthingsupwithoutbeingtoldoffbyanybody,threwthecupsagainstthewallsandwindowswithalltheirmight.AseveningcameroundlotsofpeoplefromthevillagewouldmeetonthelawninfrontofMasarolaFarmsteadtoeatsalamianddrinksparklingMalvasiasurroundedbyGiordanoPozzi’sgiantsteelandneonsculptureshangingbetweenthearchesofthegranary,whilethelightbulbsdesignedbyStudioFormafantasmaoutofbull’sbladdersinteractedwithPaolaAnziché’sdriedpumpkinsandprim-itiveethnicwovenclothsandropes.MeanwhileyoucouldwatchtheinstallationofalovelydisplayofDonnaMoylan’simaginarylandscapesinsideAnguissolaScottiVillainAgazzano,ascranesunloadedthegigantic“folded”doublemarblegatesdesignedbyRonGilad,knownas“thewander”,who,busyelsewhere,stoodoutforhisabsenceandonlyturnedupwhenitwasallfinishedtocheckeverythinghadbeencarriedoutproperlyunderthewatchfuleyeofhistrustedfriendGiuliaPellegrino.ChristopherBroadbent(tall,thinandshamblinglikethegovernorofsometerritorythatusedtobelongtotheBritishEmpire)couldoftenbeseeninPianelloSquaretogetherwithhisyoungphotogra-pherfriendBarneyKulok,who,wearingaBusterKeaton-stylestrawhatandblueknee-lengthtrousers,lookedlikehehadsteppedoutofadrawingbySaulSteinberg.Therewereprojectionsofdocumen-taries,interviewswiththeartistsandconferencerightthroughAu-gustandSeptemberinPianelloAuditorium.Therewereonlyafew,indeedaveryfewofus:DanielaandhisnieceValentina,me,GiuliaPellegrino,Franco(Kin)RaggiandmynieceCristinaBaldacci,butwehadplentyoflovingsupport:Luigi,Paola,Maddalena,Irene,Cristiano,CarloandVincenza,EnricaandMatteo,Davide,MaurizioandCorrado…whowereallrightbehindus.Wewereallabsolutelyexhaustedbuthappyattheendofthefestivalandourgreatadventure.Butweknewwehadtoorganiseourselvesdifferentlyinfuture.Thisishow“TheFriendsofC.Ar.D.”

cameintobeing,anon-profitassociationbasedinPiacenza,whichcollectsthefundsfromsubscriptionsanddonationswemanagetoraiseatthemoment,notverymuchtotellthetruth,butwehopemoremoneywillbeforthcominginthefuture.Wereallysufferfromalackofpublicfinancingandforthetimebeingwesurvivethankstothesupportofourfewfriendsandareownpersonalendeavours,aswellastheincomefromsalesthatgotowardssup-portingourproject.Inourcasetheshareofincome,which,intheartmarketsystem,usuallygoestowardsgalleriesandauctionhous-es,isfreelydonatedto“TheFriendsofC.Ar.D.”InMay2015,theFondazionePiacenzaeVigevanodecidedtogiveitsvitalsupporttoasecond,verydifferenteditionoftheC.Ar.D.exhibitionsheldinanincrediblecollectionofbuildingsinsidetheoldcitywallsofPiacenza.ItwasactuallyGiorgioMilani’sideaandturnedouttobeauniqueopportunitytodemonstratethevitalityandadaptabilityofmajorcontemporaryartworks,whichcanreallyspringbacktolifeinallkindsoflocations.Throughnofaultofourown,C.Ar.D.2016hadtopartlychangeformatandmomentarilyabandonthemoreeducationalcommuni-cativesideoftheartprojectionsandconferences,butwedobelieveourselectionofarthasnowreachedahighpointintermsofitscompactnessandconsistency.FromthewildandcrazybunchoffriendsItalkedaboutabove,allartistsofthehighestcalibreandstylisticskillsbutlesshomogeneousintermsoftheirlanguagesandmethods,wehavemovedontotheseriesofexhibitionspresentedinthiscatalogue,whichwebelieveconstituteanapproachcapableofbringingtogetherthevariousartsanddesignand,consequently,representsamajororganisationalenterprise.Anumberofvisitorshavenoticedthisandpointeditoutwithnopromptingonourpart.Butthemostimportantthingofallisthesocial-popularspiritofC.Ar.D.aimedatmakingartcommunicatewitheverybody.Notjusttorestorelifeandnotorietyinvariousdifferentwaystothenaturalandarchitecturalbeautiesofourcountryside,but,aboveall,tomakepeo-plerealisethatartis“poeticexpression”andtheenhancingoflife,andthatbeautyisnotanormtobecopiedorrepeated,butsomethingthatisoccasionallyreinventedorreborninharmonywithchanginglife.

PaoloBaldacci

1110

Boundaries

Twoyearsagowesetourselvesanaimandposedaproblem.Theaimwastogetartistsanddesignersinvolvedinunconventionalplaces,askingthemtoconfrontphysicalstructures,landscapesandculturesfoundincertainlocationsupinthehillsaroundPiacenzaandtocreatetheirownartworksandimages.Ofcoursetheproblemwashowtocreatetheseworksandcommunicatetheseideas.ForsometimenowArtandDesignhavebeenconfrontingeachotherandtakingactioninconvergingrealms.Wethoughtitwouldbeinterestingtoassesshowtheyoverlap,comparingvariousmethods,proceduresandresults.Personallyspeaking,Ihavealwaysthoughtitisinvigoratingandhealthytoshufflethecards,invertrolesandapplymeansofcriticalthinkingtorealmsmorefamiliartootherdisciplines,basicallyattemptingtocreatelinguisticandculturalhybridisations.Theavant-gardesandcreative/negativethinkinghavealwaysfollowedthepathofbreakingboundsandcreatingoverlapsand,fortunately,formanyyearsnowdesignisnolongerconsideredatechnicalpracticeaimedatproducingconsumergoodsbasedonindustrialmanufacturingprocedures.Asanexpressionofcreativeresearchintointerpretationsofreality,designisnodifferentfrommusic,literatureand,ofcourse,theso-calledfigurativearts.Thelegendary,sacred‘Statusofbeinganartist’,which,byconventionandconviction,isfreefromanyinteractionwithclientsbutconstrainedbytheneedtocreatemeaningandanawarenessofourhumancondition,hasnowalsomovedintotherealmofdesign,viewedasaformofplanning,researchandexperimentationwiththesametraitsasconventionalartistry.Afterall,evenartistryhappilybreaksboundstomoveintotherealmsofproductmanufacturingandlarge-scalepublicconsumersettings.IamthinkingabouttheproductionofobjectsCattelanhasundertakenandtherecentapocalypticorange-coloured“floatingpiers”onLagod’IseodesignedbyChristo.RoomArtandLandArt,figurativeartanddesignarejusttwodifferentpointsofview,whichlookatthemodern-dayworldanditscultural,linguisticanddramaticallypoliticalaporiasthroughasceticordisenchantedeyes,butneverinablandorobviousway.TwoyearsagoIaskedsomefriends(MarcoFerreri,DuilioForte,RonGilad,DenisSantachiara,AttilioStocchi,StudioFormafantasma)totacklevariousdifferentlocationsandlandscapes.Theresultsconfirmthevitalityandversatility

ofanapproachencouragingdiverseattitudestodesign,rangingfromtheconceptualtotheironicandesoteric.Theprojectcreatedtalkingmachinesandambiguous,mysterious,engagingandunexpectedsigns.Astable,ashorealongariver,anabandonedbar,astatelycourtyard,anancientrock,andanurbanfaçade,werethemiscellaneouslocationsaccommodatingthesecreativeconfrontations.Anisolatedandsolitaryplacehasbeenchosenforthisyear’sedition:theMolinoCalcagnicomplex,ahouse/farmsteadandadjacentstablewillhostthefourdesignersinvitedtotakeparttotheexhibition.Eachofthemhaschosento“inhabit”andinterpret(throughtheirownworks)roomsandplacesalreadyinhabitedthatexudeanairofdisjointedinhabitationassociatedwithabandonedhousesandworkplaces.MataliCrassethasinterpretedthestringentfunctionalityofastableinhisownsimplegeometricstyle,settingoutlines,coloursandlightsintheaxialspace,whichspeakthe‘soft’languageofaholyplace,almostlikeasmallcathedral.SergioMariaCalatronihasinhabitedabeautifulroomwithdustyoldcolourfulsurfacesusingthemiscellaneoussignsofhisownwork:aphotograph,anoilpainting,amarblecoffeetable,fragmentsofpoetrywrittenonsmallmirrorsandlittlepiecesofroughceramicscreatedduringtwoweeksspentimmersedinthelandsaroundPiacenza.Theseepisodesfurnishthediningroom(theplacewherefamiliesrituallygettogether)inanemotional,non-functionalway.MartineBedinhasplacedherunusualbrightly-colouredandmonumentalabstracthouseholdobjectsintwosmalladjacentrooms.Zoomorphologicalfurniture,solidandgeometriccabinets,andlampsthatlooklikefragilepiecesofarchitectureallinteractwiththesimplespaceofanoldkitchenandadinetteintheformofnewcoloursanddecorationonjusttwoofthewalls.GiulioIacchetti“SalmieSalami”(PsalmsandSalami)playsonaone-letterdifferenceinspellingtobringtogethersoftsalamiandsacredwordsintheplacerituallyusedformaturingpurposes,wiselysuggestingthattheSalami/cushionandwordsshouldbeallowedtomaturetogether.TocompletetheworkofallfourdesignersIhavecollectedtogetherdrawingsandimagesinaroomtoprovideanoverviewoftheirpersonalbackgrounds,sinceIbelievethatallprojectsbeginandendwithdesign.

FrancoRaggi

1312

Contemporary art, why and who for

Contemporaryartofteninducesfearandmistrust.Forallthosewhodonothavethenecessaryknowledgeormeansofcomprehension,itremainssomethingrathercrypticandinaccessible,apuzzleorevenajoke.Thismisunderstandingprimarilyderivesfrompoorcommunication,inmanycasesdistortedinformation,whichleadspeopletobelievethatartworksandimagesareendsinthemselves,shutawayinsomeelitistsystemor,worsestill,dependentontheworkingsofthemedia,makingitlikelyforthemtobemistakenforphenomenarelatedtoentertainment,spectacle,highsocietyandthemarketplace.EvenanenterpriselikeChristo’sonLagod’Iseo,backedbythenobleintentionofdrawingattentiontoandenhancingaculturallyrichbutratherunfamiliarterritory,momentarilytransformingthelandscapethroughanartisticgesturecomprehensibletoeverybodyandabletobesharedbyeveryone(aswellasbeingeco-sustainableandself-financed),isindangerofbeinginterpretedasagiganticsetaimedatattractingasmanypeopleaspossibleandliningthepocketsofthosewhocandrawfinancialbenefitfromit.Showingandtranslatingartinasimplebutneverblandwayisthefirststepinprovidingproperinformationandcombatingthenumbingeffectofadvertising,accordingtowhich–alongthelinesofthosefifteenminutesoffameAndyWarholtalkedaboutorJosephBeuys’socio-democraticmotto“everyoneisanartist”–everyactionoreverydayundertakingcould,theoretically(butwrongly),belabelledas“art”.Findingnewlocations,clientsorotherplayers,generallydistantfromorextraneoustotheconventionalcircuits,andteachingthegoodhabitoftakingandallowingyourselfthetimetounderstand,arethenextstepsingettingpeoplemoreinterestedincontemporaryart.Despitebeinganexpressionofthepresentday,theromanticideathataworkofartcanbeunderstoodat

firstglance,becauseitinstantlygeneratesacertainempathy,isnotactuallythattrue.Ittakeseffortandcuriosity:youneedtoatleastbemoreorlessup-to-datewiththeintellectual,scientificandaestheticchangesofyourowntimesandinformedaboutartistsandthecontextinwhichtheywork.Withoutconsideringthefactthatartistsoftenshuffleorevenhidethecardsonthetable,inordertogetustothink,leavinguseitherwrong-footed,scared,startledoramused,dependingontheirintentions.Thesearetheassumptionsonwhichtheperhapsratherambitiousandutopianbut,nonetheless,sincereideatookshapetwoyearsagotocreateabiennialexhibitionofartanddesignupinthehillsaroundPiacenza,asanopportunitytocreatedialogueandinteractionbetweenartistsandtheirworks,thelandanditspeople.Aregularandnotaone-offeventinasocioculturallocationwithitsownverypowerfulidentity,althoughalmosttotallylackingincontemporaryart,wherethechallengeofintroducingcutting-edgeartisticlanguagesandexperimentsandhelpingthemtakerootistrickyfromanorganisationalviewpoint,butextremelysatisfyingonapersonalandaestheticlevel.Enteringwhatwasformerlyanagriculturalconsortiumandencountering,first,afilmrelatinglocalrealitytoHistorywithacapital‘H’andvariouslocationsaroundtheworld,thenanenvironmentalinstallationthatprovidesanoverviewofourrelationshipwiththenewmediaand,finally,aselectionofworksassembledusingsociety’swasteasametaphorforthemodern-dayhumancondition,beforethengoingoutintothevalleysordalesinsearchofaformerbowlsarena,asmalloratorio,acountryfarmsteadoranindustrialworkhousecontainingmoreworksopeningupnewworldsandimages,isanexperiencethatneedstobetriedatleastonce.

CristinaBaldacci

* The images on pp. 6, 8, 10, 12 relate to the first edition of C.Ar.D. (2014), in Pianello Val Tidone, Cascina Masarola, Rocca d’Olgisio, Piozzano, Agazzano, Gazzola.

1514 1514

AgazzanoPianelloValTidone LocalitàStrà,Nibbiano MolinoCalcagni LocalitàSanGabriele,Piozzano

17

InvernomutoThisrealandmetaphoricalepicjourneyundertakenbytheInvernomutoteam(SimoneBertuzziandSimoneTrabucchi)isbasedonatruestorypasseddownorallywithinafamilythathasbecomealegendinthesmallcommunityofVernasca,avillageinVald’Arda,wherebothartistscomefromitis1936,acrucialyearinthefascistcolonialwarinEthiopia.AnItaliansoldierreturnshomeafterbeinginjuredinbattleand,onenight,makesaliberatinggesturetogetherwithhiscomrades:heburnsaneffigyofHaileSelassieI,thelastemperorofEthiopia(1930-1972)fromtheNegusline,theRoyalfamilydescendingfromaloveaffairbetweenKingSolomonandtheQueenofShebaand,forthisreason,alsoamessiahfortheJamaicanRastafarianreligion.Afteryearsofresearchandtravelandaseriesofworksonthesubject,InvernomutoshotthefilmNegus(2016)tocompleteaphaseintheirartistdevelopmentthatledthemtotraceanidealgeographicalandhistorical-cultural(and,mostsignificantly,allegoricalandmystical)triangleformedofthreecardinalpoints:Italy(Vernasca);Ethiopia,particularlyShashamane,anoldRastacommunitysymbolisingso-called“backtoAfrica”orthereturntothePromisedLandforJamaicans;andJamaicarepresentedbythecityofKingston,whereLee“Scratch”Perry,atrailblazerofreggaemusicand,togetherwithHaileSelassieI,akeycharacterinNegus,hadhisstudio,whichhehimselfburntdown(fireisonceagainsynonymouswithredemption).Withitsnon-linearnarrativeconsistingofconstantflashbacksanddigressionsinwhichacastofpeoplebeinginterviewedformthenarrativevoice,Invernomutohavenotshotavideocliporadocumentarybutanartisticfilm,whoseguidingthreadholdingtogethertheattimesratheranachronisticeditingismusic,anotherleitmotifintheworkofthesetwoartists.ItisnocoincidencethatNegusendswithamusicalperformance,whichisactuallyasortofreenactmentoftheepisodefromwhicheverythingbegan.InvernomutoinvitedLee“Scratch”PerrytothelocalsquareinVernascatoperformaritualvergingonboththemagicalandexpiatorytothesoundofflamesandreggae“beats”.

1.

001. Negus, 2016, film poster (courtesy of the artists, 999 films and Pinksummer, Genova).002. Invernomuto during the filming of Negus (courtesy of the artists, 999 films and Pinksummer, Genova).

003-004. Sequence of stills from Negus (courtesy of the artists, 999 films and Pinksummer, Genova).005. View of the projection room installed at the Consorzio Agrario in Agazzano.

001◀

1918

003002 ◀

2120

005004◀

23

Anna K.E. and Florian Meisenberg AnnaK.E.andFlorianMeisenbergworktogetherasateamandalsoindividually.Bothfocustheirresearchontheeffectsthenewmediahaveonperceptionandthebody:thismeanstheyadoptbothahaptic(tactile)andopticalapproach.Observingtheworldthroughthescreenoftheirsmartphones,theycapture(staticormoving)imagesotherpeoplehavepostedonsocialnetworks,particularlyYouTube,andincorporatethemintheirownworksonvariousdifferentsupports,creatingakindofmigrationthatissimultaneouslysemiotic,meaningfulandmedial.Thisispartlywhytheirworksoftentaketheformofinstallationsinwhichvariouslanguages-video,painting,sculptureandperformanceart(K.E.,anacronymforanextremelycomplicatedGeorgiansurname,KapanadzeEdzgveradze,studiedasadancer)-correspondtoeachother.ThisisexemplifiedbyMythologicalGrind&FacialDisorders(2016),asite-specificworkdesignedfortheexhibitionasare-adaptationofapreviousinstallation,butwithsomebrand-newparts,consistingoftwoskateboardramps,asmalleroneandabiggerone,tailor-madeforhimandher,which,likegiantpedestals,supporttwoprojectionscreens.Thevideoclipsreproduced(CountdownBelladonna)showfirstAnna’stitaniceyeandthenFlorian’sastheyvoraciouslyaccommodateandthenreflect(ontheirrespectivepupils)imagesthatthetwoartistsbrowsethrougheverydayontheInternet.Aswellasthesoundsfromthevideos,theworkiscompletedbytwowallpapersdepictingastarryuniverse(similartothedefaultimagefoundonthescreensaversofcomputers)andthreeneonsculpturessuspendedinmid-air.Thetwisting,undulatingmovementsoftheneonlightevokethepirouettesofskaters,whowerespeciallycommissionedtoperformontherampsandusetheirwheelsrollingacrossawoodensurfacetomakeasecondrecordingofferociously-deafeningsounds.

2.

001. Countdown Belladonna (Anna), 2016, video still (courtesy of the artists and Simone Subal Gallery, New York).002. Mythological Grind & Facial Disorders, 2016, installation view with a detail of the video Countdown Belladonna (Florian) and the performance on the bases or skate ramps at the Consorzio Agrario in Agazzano.

003. Mythological Grind & Facial Disorders, 2016, installation view with a detail of the video Countdown Belladonna (Anna) and the performance on the bases or skate ramps at the Consorzio Agrario in Agazzano. 004. Anna K.E. and Florian Meisenberg installing their show.

001◀

2726

003 004

29

Nari WardNariWard’sartisconcernedwiththepoeticsofsmallthings,butitisneveranendinitself.Hiswork,consistingofdiscardedobjectsandcheapmaterialsfoundinthestreetsofHarlem-theAfrican-AmericanneighbourhoodofNewYorkwherehemovedtoliveafterleavinghishomelandJamaica-,echoeswithdifferentsubjectsandpowerfulmessagesregarding,amongstotherthings,socio-racialmarginalisation,materialandmoralmisery,andthesearchforandassertionofidentity.LikeBaudelaire’srag-and-bonemandescribedbyWalterBenjamin,Wardcollectsoursociety’swaste;heappropriatesitssymbolsandsymptomsratherthantreatingitasarchaeologicalorethnographicrelics;heassemblesthemintohighlyvisuallyandemotionallystrikinginstallationsmirroringlacerated,hybridhumanitythatisnot,however,withouthope.Thepossibilityofbothrealandmetaphoricalredemptionisembodiedintheobjectsthemselves,whicharerecycledandre-contextualisedtoattractnewattentionandtakeonnewmeaning.Herewefindthelinkwiththeromanticfigureofthechiffonier,whocollectstheworld’swaste,althoughhereithasbeengivenamorecontemporaryanddramaticreadingbyreferencetobothBenjamin’sAngelusNovus,wholooksattherubbleofHistorywithasenseofpainanddesireforredemption,andJean-MarieFloch’sbricoleur,hewho,throughanewkindofarscombinatoria,bringstogethermiscellaneouselementsasacognitive,allegoricalandcriticalgesture.Inotherwords,artasbricolageandritual,ascanclearlybeseenfromtheinstallationTranStrangerCafé(2012):acascadeofusedcoffeecupshangingfromapagoda-styleconstructionmadeoutofoldtables,whereanold-fashioned,convivialrituallikedrinkingcoffeeiscontrastedwiththelatestfashionofInternetcafés;placesthatfoolusintothinkingwecanalwaysbeanywherewithanybodyatanytime,butwhich,inactualfact,revealthefragilityofhumanrelations.

3.

001. Portrait of Nari Ward taken at the exhibition. 002. Installation view of the exhibition at the Consorzio Agrario in Agazzano, with details of TranStranger Café, 2012, Door Hanger Cream, 2013, Crosswalk and Crossroad, 2016, Mission Accomplished I & II, 2013.

003. Door Hanger Whole, 2013 (installation view).004. Nari Ward installing his show, with details of Milk Car, 2013, and CarouSoul, 2011.

001◀

31

002

3332

003-004

34 35

Martine BedinHereIamagaininItalywithmyimprobablefurniture!Ihaveneverthoughtthattherusticstylewasfate.JustasIhaveneverthoughtthattheBourgeoisstylewasfate.Indeed,Ithink,asalmosteverybodythoughtinMilanointheEighties,thateverybodyshouldlikewhatwedesignbecauseittellsstoriesthatwecanallrelateto.Storiesofpeoplewhosit,eat,turnonthelights,lookatthestars,argue,loveoneanother.TwoyearsagoIlookedbackatthirtyyearsofmyfurnituredesigns.Ichoseafewthathadneverbeenmadeandendeavouredtoredesignthemsotheycouldbemadetoday.Strangely,thepassingoftimeisnofateeither.Thesepiecesoffurniturehavebeentravellingfortwoyears,fromaContemporaryArtFoundationinSwitzerlandallpaintedwhite,toanexhibitionintheEighteenthcenturyMuséedesArtsDécoratifsinBordeaux,andnowtheyhappilycometoafarmsteadinthecountrysidetofurnishtworoomsofafarmer’skitchen.Myfurnitureislikeme.Nomadic,nolongerfashionable.Itishappyanywherebecauseactuallymypiecesoffurnitureare“homes”themselves.TomakeitclearerIshouldsaythatthesepiecesoffurniturearebooks.Theytellstoriesofvastplacesorevenstoriesoftinyplaces.Storieswhicharepasseddownfromonegenerationtothenext,tosonsanddaughters.Butsince,nowadays,no-onelistenstothestoriesoftheoldanymore,perhapstheywillcontinuetheirjourneyforever…

4.

001. Lampe de poche, 1982/2014 (installation view).002. Installation view of the exhibition at the Molino Calcagni in Piozzano, with details of Escalier Graal, 1979/2014, and wall painting.003. Escalier Graal, 1979/2014 (installation view).004. Grand chat bois, 2004/2013 (installation view).

005. Petit chat Blanc “Muret”, 2003/2004 (installation view).006. Installation view of the exhibition at the Molino Calcagni in Piozzano, with details of Table à tout faire, 1979/2014, and Secrétaire Fantôme, 1993/2014.

001◀

3736

004003◀

3938

004-005 006

40 41

Sergio Maria Calatroni Ablueroom.Agardenwithavividyellowbush.Thesurroundingcountrysidecompletelysilent.Onthewallnearthewindowsmallhandbagmirrors,perhapsdatingfromthe1950s,scratchedwithwritings-wordswhicharereadbacktofront–jewelsoflightinthepenumbraofsummer,ablazingfurnace.Atarnishedpieceofglasslikepuregoldabandonedonapieceoffurnitureembroideredbywoodworm.Timeseemstohavestopped.Everythingisforgotten,neglected,waitingtobebroughtbacktolife.Thebacklitlow,blackandwhitemarbletablecanbeglimpsedfromthedoor.“Isthereperhapsadaywhichisnotagoodday?”singsavoiceattheentrancetothehouse.Besidethefireplaceablackandwhitepaintingofamoonlitbaywithalonepinetreelookingoutatthehorizonontopofasheercliffonaserenenight,perhapsinJapan,whenloversburnwithdesire.Thewillowsinthegardenaregreenandallthepinkflowershaveblossomed.Ablackandwhitephotographofapotteratworkisonthefloorandanotheroneincolourofabottle-vasefullofredberrieshangsnearitinhalfshadow.Theblackofthephotographandtheblackoftheroomarebottomlessandeventhelapislazuliblueofthewalldecorationsseemsinfinite.Thepinkchinapiecesarenotchasedbythesunsetshadows.Theysitonalopsidedpieceoffurniture.Ablackbirdreturnstoitsnestholdingaflowerinitsbeak.Nothingelseneedstobesaid.Igatherwaterinmyhandswherethemoonisreflected.Astarfallsandtheleavesarecloakedindew.Thereisneitherjoynorpainwhenthingsnolongerhaveaname.SergioMariaCalatroni,Sarmato,June16,2016

5.

001. Amore, 2016 (installation view).002. Installation view of the exhibition at the Molino Calcagni in Piozzano, with details of Grande piatto verde, 2016, and Baia con luna, 1982-1987. 003. Installation view, with details of Serenamente, 2016 (on the wall), and the ceramics made for the exhibition in the furnace of the castle in Sarmato (PC).

004. Installation view, with details of Montagne in fiore, 2016 (on the wall), Contenitore grande, 2016, and the ceramics made in Sarmato. 005. Installation view, with (in the right foreground) Tavolino basso/TE Collection, 2014, and Grande vaso, 2016.

001◀

4342

002-003

44 45

004-005

46 47

Matali CrassetTheCathedralintheBarn.AbarninthehillsofPiacenza.Astonestructurenexttoafarmbuildingwithlargedimensionsandhighceilingallowingtostorehayabovetheanimals.Anabandonedandemptybarnforametamorphosis.Thetroughsoneithersidewiththeirmetalarchesbecomeroundedalcovesupportsforanimaginarycathedral.Thewoodenbracketsspreadaroundtoshapearoofandtheedgesofsmallchapelsplacedendtoend.Inthemiddletherearearches–alamprecesssetwherethestainedglasswindowsoncewereandwhichservethesamepurpose–providinglightandsummoningtheimagination.Apureandcrystallinelightinthisdustyspace.Inthecentreatthebackofthenave,aredheartwithaflatwalllightwhichrevealsanotheralcovelampwhichisupright,symbolisingthealtar.Aplacebecomesanother,livegoesbyandisreviveddifferently.Theenchantmentofthislocationdoesn’tstemfromitsstructurenoritsfunction,butfromhowit’slivedout.Atributetolife.

6.

001. Portrait of Matali Crasset taken at the exhibition.002. Installation view of Cattedrale nella stalla, 2016, at the Molino Calcagni in Piozzano.

003. Large table lamp (installation view).004. Small table lamp (installation view).

001◀

5150

003 004

52 53

Giulio IacchettiSalamiandPsalms.ForusyoungstersfromthePoValley,Piacenzaanditssurroundingswasessentiallyagastronomicdayout,wheresalamiwasthemostmouth-wateringofSundaytreats.Returningtothosegentlevalleys,visitingMolinoCalcagniand,inparticular,anatticcertainlypartlyintendedforthedryingofsalami,IunderstoodthatitwastherethatIwoulddomywork.Iembracedtheroleofsausagedesigner,design-ingsoftsalamimadeofsponge,derivatives,onemightfancy,ofstuffedtoypigs.Acamouflageproject,respectful,non-violent,withanodtoJacovitti,wholiberallystrewedhundredsoflargeandsmallsalamisthroughouthiscartoons.Onthewallsreproductionsofbiblicalpsalmsdeclaimanodetothecreationonecanenjoyandobservefromthenumerouswindowsoftheroom,withaspecialfocusonpsalm36,wherethepsalmistwrites:“OLord,thoupreservestmanandbeast”,acentralverseintheprayerofChristianvegetarians.GiulioIacchetti,Designerandaspiringvegetarian

7.

001. Installation view of Salmi e Salami, 2016, at the Molino Calcagni in Piozzano. 002-003. Salami (installation view).

004. Installation view of Salmi e Salami, 2016.005. Salmi (installation view).

001◀

5554

002 003

5756

004 005

58 59

Ulrich EggerUlrichEggerisahighlyoriginalartistduetothewayhedrawsontheeffectsofseeminglydifferentartformsatthesametimeandinonesinglework:sculpture,architecture,painting,photography.Inthisrespectheisachampionofthekindofstylisticinterdisciplinaritythathasconstantlybrokendowntheboundariesofartisticpracticesoverthelastfewdecades.Hisphotographsshowbuildings,wedgedbetweenwallsofrock,thathavebeentakenfromurbansiteswecannolongerrecognise;sulphurymistsorglaciersevokingaromantickindofdelightfulhorrorprovidethebackdropforsteeltubesandthehooksofgiganticpulleysinanalternatinginterplayofshiftinganddisorientation,whichisallthemoreexciting,themoreplausibleandrealitseems.AglassorPerspexdiaphragm,heldinplacebythecrumblingwoodenframeofawindow,isoftenplacedinfrontofanimagetakenfromreality,whichmayormaynothavebeenmodified,tocreatethemiracleofdoubledeepvision,atrickoftheeye,inwhichthepieceofmaterialrealityrippedoutofacrumblingbuildingencompasses,inallitsrealism,theillusionofphotographyinamovingexistentialstagingoffragmentsoflife:Palermo,Naples,Milan.Eggerdoesnotgoinforhalfmeasures,heshoutsoutloudandneverhesitatestoripopenhisgiganticphotographicwalls,asittourgentlyannounceallthedramahiddenawayinthesettingsbeingportrayed:whatemergesarebitsofmasonryandconcrete,ragsandclothes.Butwhenhewants,hecancomeupwithverysubtleandcerebralmetaphysicalpoetics:thereisnowayoutofthelittlewhite-tiledhouserestingontwocushionsfloatingacrossaseaofconcreteflooring,somethingbetweenGiottoandGiulioPaolini.

8.

001. Installation view of the exhibition at the Consorzio Agrario, Località San Gabriele, in Piozzano, with details of No Way Out and (on the wall) L’anno che verrà, 2012 (courtesy of the artist). 002. Installation view, with details of Casa Goldstein, 2012, and (in the background) No way

Out and Aspettando casa, 2010 (courtesy of the artist).003. Installation view, with a detail of Inverno/Milano, 2013 (courtesy of the artist). 004. Towndown, 2008 (installation view, courtesy of the artist).

001◀

6160

002 003

64 65

Matt KeeganMattKeeganisanattentive,thoughtfulartistwiththeclear-sightedandpenetratingvisionofaconceptualthinker.Inactualfact,behindthisapparentcoolnessthereisapoetic-formalawarenesscapableofgeneratingpowerfulandlong-lastingaestheticemotions:hehassomethingofSolLewittandsomethingofDonaldJuddabouthim,eventhoughwhathedoesisabsolutelypersonalinstyle.HehasworkedandworkswithPhotoshop,video,silk-screenprintingothertechniques,buteversincehediscoveredsteelhehasperhapsfoundtheverybestmeansofexpressinghisfullpotential.Initiallywithclaysculptures,thinsheetsingeometricshapes,foldedandperfectly“perforated”bywordsandphrasescutintothemetal,thenwiththesesoftandcolourfulcut-outstobehungfromthewall,inwhichthespecificweightofmaterialiscompletelycancelledoutbyaninterplayofreflectionsoflightandshadow,solidsandvoids.A“dance”ofsoft,gentleforms,likethekindofthinkingthatappealedtoNietzsche.IfollowedKeeganashedesignedhistwelvesteel“cuts”forC.Ar.D.2016andIwatchedhimobsessivelysupervisingandcontrollinghowtheywerehandledinaworkshopinthelowerBrianzaregion.Hetoldmethattheideabehindthemcamefromamemoryofcolouredsheetsofpaperhismother,whowasborninCuba,gavehimtocutoutforfunwhenhewasachild,andthisconfirmedtomethevalueofhisart,meticulousbutdrawingonmemory,capableofsuggestingconstantmetamorphoses:thefoldsinthecutsteelinperfectlygaugedcolours,whichabsorblightasiftheywereskins,looklikesensual,gentlypartedlipsorthepetalsofflowersorevenworksoforigamiinwhichthepsychicambiguityofaspecular,reflectedimagealwayscomesintoplay,thetopandthebottom,onesinglefoldinthemiddle,theleftandtheright.

9.

001. Portrait of Matt Keegan taken at the exhibition. 002. Installation view of the exhibition at the Consorzio Agrario, Località San Gabriele, in Piozzano, with details of C.Ar.D. Cutout (Claret Violet), 2016, and C.Ar.D. Cutout (Large Traffic

Yellow), 2016.003. Installation view, with some details of the C.Ar.D. Cutouts hung as during the drying process of the color. 004. C.Ar.D. Cutout (Leaf Green), 2016. 005. C.Ar.D. Cutout (Red Orange), 2016.

001

6766

002 002

6968

003 004 005

71

Joe FyfeJoeFyfeisanartcriticandwriter,aswellasapainter.Inthe1980sheabandonedfigurativearttoinstilhisartistrywithaprofoundexistentialandaestheticawarenessofthesocio-culturalmetamorphosestheworldisconstantlyundergoing.Inhiscase,ratherthanabstractart,wecantalkabouttheconcretematerialsfromwhichtherealmeaningofhisworksareconstructed.ForFyfeartislikeawindowontolifethatheexploreswithendlesscuriosityinthemostremoteanddispossessedcornersoftheearth.AtthebeginningofthenewmillenniumFyfereintroducedBaudelaire’sfigureoftheflâneurontothemodern-dayartscene-adetachedanderuditemanembodyinganarrayofsensationsandemotionsaswandersalongtheroadsofadramaticallyvibrantworld,despitetheeconomicandcivilbreakdown.Fyfe’sworksarenon-judgemental,theymerelytakestockofthewaythingsstandandarecreatedoutofrags,ropesandbitsofwood,assemblingtogetherworthlessbitsoffabriccollectedfromthepoorestmarketsintheFarEast.Incountriesthathaveexperienceddeepculturaluprootingandareindangeroflosingtheirownidentityduetoglobalisation,hehasdiscoveredandcollectedvisualstubs/buttsonwhichheinstilstheromanticauraofhighbrowimages,which,however,duetotheverysimplicityofthematerials,stitchingandassemblytechniques,holdontoanaestheticmemoryoflatercontaminationsfromThirdWorldcultures.VagabondPaintingswasthetitleofhismostrecentexhibition,reflectinghisperfectlyexistentialistapproach.

10.

001. Installation view of the exhibition at the Magazzini in Pianello Val Tidone, with details of Untitled, 2013, and Mr. Marley, 2015. 002. Jatetok, 2006 (installation view).

003. Monivong Boulevard, 2009.004. Maidstone #2, 2014 (installation view).005. Untitled (Phnom Penh #4), 2007.

001001◀◀

7272

002

7574

003 004-005

77

Lucas BlalockInthesamewaythatanalogicalphotographyhasaccustomedustotheperfectsnapshotcapturedatthekeymomentofasceneorpieceofaction,digitalphotographyhasfamiliariseduswithadifferentdegreeofperfection,thekindobtainedthroughaninvisibletouchappliedduringtheeditingandpostproductionphase,creatinganewkindofillusionismorsublimationoftheimage.LucasBlalockdoesnotfolloweitherofthesetwopaths:heusesPhotoshopandthelatestdigitaltechniquestofocusonthoseelements,which,inoveracenturyofphotographichistory,firstasameansandthenasalanguageofart,havelostvalue,particularlysince,insteadofbeingcreatedbyanimpressionoflight,imagesarenowgeneratedfromamassofpixels.Inaworldfullofvirtualimages,Blalocktriestofocusonthematerialsideofphotography.Firstandforemostonitsunderlyingprops,whichiswhyhesoscrupulouslyfollowstheprintingandframingofhisworks;healsopaysgreatattentiontosurface,whichisneverflat,butneitherdoesitcreateanillusionofdepth,ifanythingtheopposite:theportrayedobjectsseemtocometowardsus,asifinathree-dimensionalalmostpictorialspace.Anotherfundamentalaspectforhimisre-establishingacertaindegreeofauthorialcontroloveraprocessthatisevenmorede-subjectifyingthanthemechanical-analogicalprocess,soheleavescertainstepsanddecisionsfromthecomputerprocessingphaseclearlyvisible.Thatiswhyhisphotographsseemtohaveadeliberatelyungainly,hurriedstyle,likesomecheapeditionthatfailstoconcealthecopy-and-pastingorscribblingusedfordefiningtheobjectsrepresented.Buttakenote:Blalockdoesnotsuperimposeimages,neitherdoesheaddoneimagetoanother;he“paints”byadjustingandreconfiguringthepixelswithaninnatesenseofhumour.

11.

001. Portrait of Lucas Blalock taken at the exhibition in front of Untitled Number Work (27, 18, 14), 2012.002. Installation view of the exhibition at the Bocciodromo in Pianello Val Tidone, with details of DIAGRAM, 2015-2016, and Untitled, 2012.

003. Odile S., 2015 (courtesy of the artist and Ramiken Crucible, New York).004. Installation view, with details of (from left to right) The Mallard, 2011, 00000, 2010, hands and feet, 2013 (on the far right: Chris Wiley, 26, 2012).

001◀

7978

002 003

82 83

Maria MorgantiMariaMorganti’spaintingscaneasilybemistakenformonochromesupdatingtraditionalmodernistandpost-modernistabstractpainting.Butifyoufocusonthetopborderofthecanvasratherthanthesurfaceorpictorialfabric(eventhegesturewithwhichcolourisappliedisofnoimportancetotheartist),youwillnoticethatthereisalotmorethanmeetstheeye.TheSedimentazioni-thetitleMorgantigavehermaincollectionofworks-areafarcryfromboththeexpressioniststyleorgeometricrationalismandalsominimalistprecisionandconceptualobjectivity.Thetitleandborderofthepaintingrevealhowthepictorialmaterialhasbeenappliedinlayers,slowly,onecolouratatime.ForMorganticoloursetstherhythmandmeasureoftime,whichis,indeed,existentialtimebutevenmoresoitisthetimespentworkinginherstudioinaharmoniousblendofartandlife.Daybydaysherepeatsthesameritual:inasmallbowl,whereeverythingbegins,theartistmixesthecolour(onesinglecoloureachday),butthechoiceofshadeisonlypartlydeliberate,becauseMorgantiworkswithsomeofthematerialusedthedaybefore.Thisgestureveryconciselyembodiesthesubsequent“sedimentation”createdbyspreadingalayerofcolouracrossthecanvas,whichissuperimposedonthelayersofcolourusedonpreviousdays.Tokeeptrackofthisprocess,Morgantihasdevisedadoublearchiveofcolour:aQuadroinfinito(EndlessPainting),inwhichshehasbeenapplyingaspecimenofeverysinglecolourusedeachdaysince2006,andacorpusofDiari(Diaries)intheformofwoodenstickscollectedinalargemetalstructure,wherethecoloursfromapproximatelythreemonths’workarespreadacrosshorizontally,likewordsonthepagesofadiary.Sedimentazioni,Stratificazioni,Impastamenti,Accelerazioni,Carte:eachoftheartist’scollectionsbringscolourtolifeasanintimate,physicalexperience.

12.

001. Stratificazione con lapislazzuli, Venezia 2013 (courtesy of the artist and Otto Zoo, Milano. Photo: Francesco Allegretto).002. Installation view of the exhibition at the Bocciodromo in Pianello Val Tidone, with details of Sedimentazione a ritroso (polittico in 4 parti), Venezia 2013, and a series of Carte/Diario, Venezia 2010.

003. Stratificazione 2011 #3, Venezia 2011 (courtesy of the artist and Otto Zoo, Milano. Photo: Francesco Allegretto).004. Detail of Stratificazione 2011 #2, Venezia 2011 (courtesy of the artist and Otto Zoo, Milano. Photo: Francesco Allegretto).001

8786

003-004

88 89

Chris WileyForChrisWileythesecretliesintheframearoundthesurfaceusedforrepresentationor,betterstill,presentationpurposes.ItisnolongerametaphorforanoldRenaissancewindowornewdigitalscreenthroughwhichweobservetheworld,butratheraboxinwhichthespecificnatureofobjectsisdeconstructed.Thatiswhyhisphotographsarehighlysculpturaland,insteadofshowingthewholeofvisualreality,theyonlypresentasmallpartofit:adetailofafabric,buildingorornament.Hisfavouritesubjectsarearchitecturalfeatures,inboththeTechnicalCompositionsandDingbatscollections,whoseframeshehimselfassemblesfrombuildingmaterials(plaster,Formica,plywood,corrugatedsteel...)tobringoutsimilaritiesorcontrastsbetweentheimageandobject.Thetitleofthesecondcollectionfocusesonanotherfundamentalrelation,thatbetweenwordsandimages.Wiley’schoiceoftheword“dingbat”isinitiallyinspiredbyakindoflivingunitmadeofwoodandplasticthatisratherreminiscentofabox,foundthroughoutCaliforniaandtheSouthWestinthe1950s-60s.However,italsoreferstoaparticularkindofgraphicsign,apictograph,replacinglettersandnumberswithsymbolsandforms,oftenenclosedwithinsquaresorsmallvirtualboxes.Thisvisual-verballinkalsocropsupinanothermorerecentcollectionentitledWingdings,anamecomingfromakindoffontmadeupexclusivelyofsymbols.Itisnotsurprisingthatwefindthiskindofrelationshipbetweenwordsandimages:afterall,Wileyisalsoawriterandexhibitioncurator,aswellasaphotographer.

13.

001. Installation view of the exhibition at the Bocciodromo in Pianello Val Tidone, with details of the Dingbat series, 2014 (on the right wall: Lucas Blalock: True Bad Door, 2014). 002. Dingbat (29), 2015 (courtesy of the artist and Nicelle Beauchene Gallery, New York)..003. Dingbat (15), 2014 (courtesy of the artist and Nicelle Beauchene Gallery, New York).

004. Dingbat (28), 2015 (courtesy of the artist and Nicelle Beauchene Gallery, New York).005. Dingbat (2), 2013 (courtesy of the artist and Nicelle Beauchene Gallery, New York).006. Dingbat (7), 2014 (courtesy of the artist and Nicelle Beauchene Gallery, New York).007. Installation view, with details of (from left to right) 17, 4, 38, 26, all dated 2012.

001◀

9190

002-003 004-005

9392

006 007

95

Patricia TreibPatriciaTreib’sartissimply“painting”inthehighest,mostsophisticated,butalsothemostordinaryandconventionalmeaningoftheword.Paintingasacompositionofforms,abstractatfirstsightbutfulloffigurativeresonance,justlikewhenwelookatacloud,patchonthewalloroutlineofamountainthatremindsusofsomethingwehavealreadyseen.Paintingascolour,whichisnotonlyembodiedinharmoniousshadesorclashesintone,butalsoasstructure,becauseitsshapelyphysicalityanddepthmakeitsculptural,profoundlyintegratingitwiththeformwithinwhoseboundsitisexpressed.Finally,paintingassignandmaterial:writing,pictograms,hieroglyphicsrecurringonamodularbasis,thickanddeeppatchesthatneverlosetheprecisionordominionofform.Oilpaintingthatfullyexploitsallthemagicalpossibilitiesthismeanspossessesthroughitstransparenciesandthevibrantrhythmic/musicalgesturesofboldbrushstrokes.TheaveragesizeofPatriciaTreib’spaintingsisusually66x50inches,approximately168x127cm,asizethatallowsustofullyappreciateheralmostsensuousmastery.Butthetenoilonpapersketches,measuring19x14cm,ondisplayattheOratoriodiStrà,initialideasforbiggercompositions,containalltheelaboratevirtuosityofbiggerworkswithakindofinstantaneousfreshness.Treibhasworkedbackwardsthroughmany20th-centuryexperiments,butshehasnotallowherselftobeensnared,shehastherichnessandtransparencyofaBaroquemasterandanartisticstylecapableoftransferringtherapturesofagreatmusicalpieceontocanvas.

14.

001. Portrait of Patricia Treib taken at the exhibition.002. Straps Variation, 2015-2016 (courtesy of the artist and Kate MacGarry, London). 003. Cuff Variation, 2015-2016 (courtesy of the artist and Kate MacGarry, London). 004. Robe Variation, 2015-2016 (courtesy of the artist and Kate MacGarry, London).

005. Housecoat Variation, 2015-2016 (courtesy of the artist and Kate MacGarry, London). 006. Drape Variation, 2015-2016 (courtesy of the artist and Kate MacGarry, London). 007. Installation view of the exhibition at the Oratorio di San Francesco e San Carlo, Località Strà, in Nibbiano.

001

001◀

9796

002-003 004-005

9998

006 007

100 101

Nick StolleLookingatapaintingofNickStolleoneimmediatelysensestheartist’sfaithanddetermination.Stollepaintsapicturethroughapplyingpaint;scrapingandsanding,thenapplyingmorepigmentandonwardthroughrepeatedcyclesofdiggingandcovering.LikeaminerStolleburrowsintohispaintinguntilafinalimageemergesthatisasarrestingasStolle’sprocessiscaptivating.Evenastheemphasisonprocessisconstanteachpaintinglooksdifferent.AsanabstractpainterStolle’sstyleisheterodox.Stolleallowseachpaintingtodevelopitsowncharacter.Stolle’sexcavationsarepurposefulinthatineverypaintingsometreasurehasbeendiscovered.Perhapsaglimpseofastarrysky,apatchofsunoranoddlyfamiliarimagethatsmilesorwinksattheviewer—allthesesensationscanemergefromtheexperienceoflookingatStolle’spaintings.TheintimatesizeofStolle’spaintingsistiedupwithStolle’sbeliefinpainting.Theseareneithertechnicalenoughnorlargeenoughtoastound.Insteadtheyinsistuponthepleasuresofpainting.Stolle’sstubbornworkingofthematterandsurfaceisnotanendinitselfnordohispaintingsattempttotranscendtheirmaterialfacts.Stolle’spaintingsdisplaythejoyfulworkofuncoveringtheancientenchantmentsofpicture-making.

15.

001. Setting, 2016.002. Bird I, 2015.003. Performer, 2015.

004. Facing Front, 2016. 005. Installation view of the exhibition at the C.Ar.D. Point in Pianello Val Tidone.

001

103102

004002-003

104 105

005

005

List of works

Invernomuto Negus, 2016

HD video, 70’

Courtesy of the artists, 999 films and Pinksummer,

Genova

Still da Video, 2014

Vending machine, digital print

Courtesy of the artists and Marsèlleria, Milano

Anna K.E. and Florian MeisenbergMythological Grind & Facial Disorders, 2016

2 ramp constructions built out of wood and metal

2 wall pieces, including the wallpapers and video

projections

2 videos:

Countdown Belladonna (Anna),1 h 20 min

Countdown Belladonna (Florian),1 h 30 min

Environmental dimensions

Courtesy of the artists and Simone Subal Gallery,

New York

Nari Ward TranStranger Café, 2012

Tables, cups, coffee, cm 280 x 190 x 350

Unique work

Courtesy of the artist and Galleria Continua, San

Gimignano/Beijing/Les Moulins/Habana

Crosswalk, 2016

Shoe laces, cm 180 x 250

From The Cross Series



Crossroad, 2016

Shoe laces, cm 132 x 130

From The Cross Series



Elevate, 2012

Springs, cowrie shells, shoe laces, trampoline,

diameter cm 91,44

Unique work



Mission Accomplished I & II, 2013

90-80 kg metal cubes each, confetti

cm 36 x 32 x 32 and cm 32 x 32 x 32

Unique work



Door Hanger Whole, 2013

Wooden door, milk cartons, cm 205 x 70 x 20

Unique work



Door Hanger Cream, 2013

Wooden door, milk cartons, cm 192 x 69 x 15

Unique work



CarouSoul, 2011

Ropes, tyres, shoe tips and tongue, laces


Unique work



Milk Car, 2013

Milk boxes, cow pelt, cm 5 x 340 x 400

Unique work



Martine Bedin Secrétaire Fantôme, 1993-2014

Frame in lacquered wood, drawers in ©orian ICE

translucent, retro illuminated by LEDs

cm 140 x 71 x 46, 100 kilograms

Numbered from 1 to 6 + 3 AP

Courtesy: Martine Bedin

Petit chat Blanc “Muret”, 2003-2004

White Carrara marble, cm 52 x 20 x 80

Unique work


Grand chat bois, 2004-2013

Solid oak, cm 73 x 25 x 95



Lampe de poche, 1982-2014

Lacquered wood and gold leaf, light bulbs for

bicycle headlights

cm 78 x 155 x 10



Escalier Graal, 1979-2014

Lacquered wood,molded glass

cm 184 x 113 x 20



Table à tout faire, 1979-2014

Padouk wood, seat in natural straw, cm 91 x 184

x 67



Vase chinois, 2011

Watercolor, acrylic, graphite on ledger, glued on

canvas and framed

cm 55 x 36


Vase d’or, 2011

Watercolor, acrylic,graphite on ledger, glued on

canvas and framed

cm 55 x 36


Vase clôt, 2011


canvas and framed

cm 55 x 36


Vase, vase, vase, 2011


canvas and framed

cm 55 x 36


Vaso Girotondo, 2011


canvas and framed

cm 55 x 36


Sergio Maria Calatroni a.1

nn. 1, 2, 3, 4, 5, 6, 7, 8, 9

Giardini, 2014

Drawings on green paper

Graphite on Thai green card, cm 16 x 23

Courtesy: Sergio Maria Calatroni

a.2

n. 10

Sergio Maria Calatroni in his studio, Castello di

Sarmato, Piacenza, June 2016

Photography, print on fiber paper

3 copies

109108

Copie no.1, cm 40 x 50

Photo: Sergio Devecchi


a.3

n. 11

Montagne in fiore, 2016

Marker-pen drawing on letterpress printing

Unique, cm 21 x 27


a.4

n. 12

Baia con luna, Milano 1982-1987

Acrylic on canvas, cm 110 x 150

Signed on the back


a.5

nn. 13, 14, 15

Porcelain plates, Sarmato, Piacenza 2016

Limonges porcelain

Unique, variable dimensions, signed on the back


a.6

n.16

Serenamente, 2016

Handbag mirrors with graphite words

Variable dimensions

Unique


a.7

n. 17

Vassoio, 2016

Polychrome glass fusion, cm 40 x 40

Unique

Signed on the back


a.8

nn. 18, 19, 20

Ciotole alte, 2016

Limonges porcelain

Unique, variable dimensions

Signed on the back


a.9

n. 21

Vassoio, 2016

Limonges porcelain

Unique, signed on the back


a.10

n. 22

Contenitore grande, 2016

Limonges porcelain



a.11

n. 23

Vaso basso, 2016

Limonges porcelain



a.13

n. 24

Tavolino basso/TE Collection 2014

Sivec Top in breach, black and white Sivec marble

foot, cm 43 x 90

Unique


a.14

n. 25

Grande vaso, 2016

Stoneware, porcelain, earthenware, cm 42 x 38

Unique


a.15

n. 26

Grande piatto verde, 2016

Polychrome glass fusion, cm 5 x 35

Unique


a.16

n. 27

Amore, 2016

Graffiti and white mirrors, variable sizes

Unique


Matali Crasset Cattedrale nella stalla, 2016

Wood, metal, paint, LED lights


Courtesy: Matali Crasset

Untitled, 1996

Pigment print on fine art archive paper size A3

Courtesy: Matali Crasset

Giulio Iacchetti Salmi e Salami, 2016

Fabric, rope, sponge, sinkers

Variable sizes 12 pieces

Courtesy: Giulio Iacchetti

Suino 01, 2016

Coloured pencils on paper, cm 41,5 x 29,5


Suino 02, 2016



Suino 03, 2016



Suino 04, 2016



Suino 05, 2016



Suino 06, 2016



Suino 07, 2016



Suino 08, 2016



Suino 09, 2016



Suino 10, 2016



Suino morente 01, 2016



Suino morente 02, 2016



Ulrich Egger Casa Goldstein, 2012

Photo print on plexiglass, cm 150 x 100

Courtesy of the artist

Casa Goldstein, 2012



Hotel Principe, 2008

Photo print, plaster and iron, cm 166 x 255 x 13


L’anno che verrà, 2012

Photo print, wood frame and plexiglass, cm 190 x

128 x 25


Palermo, 2016

Photography on canvas and wood frame, cm 130

x 170 x 25


Towndown, 2008

Photo print on Forex and plaster, cm 230 x 190 x 10


Towndown, 2008

Photo print on Forex, t-shirt and plaster, cm 230 x

140 x 20


Towndown, 2008

Photo print on Forex, painted plaster and iron, cm

230 x 150 x 23


Inverno/Milano, 2013

Photography on canvas and wood frame, cm 102

x 175


Aspettando casa, 2010

Photo print on Forex, plaster and iron, cm 150 x 50


My neighbour, 2016

Photography on canvas and wood, cm 125 x 60 x

20


Finestra, 2016

Wood assemblage, cm 48 x 52 x 45


Casa Goldstein, 2012



No Way Out

White tiles and pillows, cm 60 x 50 x 200


Matt KeeganC.Ar.D. Cutout (Carmine Red), 2016

Powder-coated steel, cm 76,2 x 58,4

Courtesy of the artist and Altman Siegel Gallery,

San Francisco

C.Ar.D. Cutout (Claret Violet), 2016



San Francisco

C.Ar.D. Cutout (Gentian Blue), 2016



San Francisco

C.Ar.D. Cutout (Leaf Green), 2016



San Francisco

C.Ar.D. Cutout (Lemon Yellow), 2016



San Francisco

C.Ar.D. Cutout (Melon Yellow), 2016



San Francisco

C.Ar.D. Cutout (Red Brown), 2016



San Francisco

C.Ar.D. Cutout (Red Orange), 2016



San Francisco

C.Ar.D. Cutout (Rose), 2016



San Francisco

C.Ar.D. Cutout (Strawberry Red), 2016



San Francisco

C.Ar.D. Cutout (Traffic Blue), 2016



San Francisco

C.Ar.D. Cutout (Large Traffic Yellow), 2016



San Francisco

Joe Fyfe Tam Lin, 2014

Felt, gingham and cotton banner, cm 203 x 174


Bull, 2014

Gauze, nylon and cotton, cm 203 x 174


Untitled, 2013

Cotton, nylon and acrylic, cm 203 x 174


Arrel, 2010

Cotton of various weights, cm 173 x 203


Untitled, 2013

Nylon, cotton and acrylic, cm 203 x 174


Wat Boh Road, 2014

Cotton flag, nylon, canvas, cm 215 x 109


Psar Thmei, 2011

Cotton and gauze, cm 203 x 173


Boeng Kak, 2011

Felt, cotton, gauze, cm 119 x 139,7


Maidstone #2, 2014

Vinyl, wood, felt, rope, cm 203,5 x 38 x 27


Maundy Thursday, 2011

Wood and cotton, cm 244 x 77


Untitled, 2011

Nylon banner, cotton, paper, gauze, cm 96 x 226


Monivong Boulevard, 2009

Cotton, muslin, felt, gauze, cm 173 x 203,5


Window with Orange, 2008

Dyed cotton, felt and silk burlap, cm 80,6 x 61


Large Window with Pink, 2008

Dyed cotton, felt and silk burlap, cm 76,2 x 66,04


Untitled (Phnom Penh #4), 2007

Cotton felt and acrylic, cm 160 x 120,6


Jatetok, 2006

Acrylic on muslin, burlap and felt, cm 179 x 275


After Corot, 2007

Felt, cotton and jute, cm 137 x 162,5


Beatocello, 2011

Nylon, paper, cloth, cm 96,5 x 73,6


Hotel Saghunda, 2011

Nylon banner, cotton, cm 96,5 x 76,2


Untitled (Three part sculpture), 2012

Wood, acrylic, cm 142,2 x 47 x 30


Calle de Francia II, 2011

Wood, paper, ink, cloth, cm 91 x 10 each


Untitled, 2013

Fabric on canvas, cm 214 x 178,5


Mr.Marley, 2015

Cotton, felt, acrylic, cm 120 x 112

111110


KhanJahan, 2010

Commercially dyed cotton, cm 173 x 203


Kappabashi¬dori #2, 2013

Cotton on restaurant banner and vinyl tabs, cm

181,5 x 51


Soeur Jacques-Marie, 2011

Nylon, muslin acrylic, cm 166 x 78


Bucalino, 2014

Vinyl and cotton, cm 111 x 155


For Vann Molyvann, 2010

Found wood, wood and felt, cm 91,5 x 66 x 25


Vinh Long, 2014

Plastic and felt, cm 145 x 100


Lucas Blalock Cacti, cacti, cacti, 2015-2016

Archival inkjet print, cm 54,6 x 68,6

Edition of 3 plus 2 AP (#2/3)

Courtesy of the artist and Ramiken Crucible, New

York

DIAGRAM, 2015-2016



York

Odile S., 2015

Archival inkjet print, cm 61 x 73,7 (framed)



York

True Bad Door, 2014

Archival inkjet print, cm 61 x 76,2



York

Edge of Town (knife block), 2013

Archival inkjet print, cm 60 x 48 (framed)

Single edition plus AP (#1/1)


York

Hands and feet, 2013

Archival inkjet print, cm 74 x 62 (framed)



York

Bricks and Stoppers, 2013

Archival pigment print, cm 64,8 x 51,4 (framed)



York

Untitled, 2012

Silver gelatin print, cm 156,5 x 125,4 (framed)



York

555-555, 2012

Chromogenic print, cm 109 x 88

Unique


York

Untitled Number Work (27,18,14), 2012

Silver gelatin print, cm 132,7 x 105,4

Single edition plus AP (#1/1)


York

Blue Balls, 2011

Chromogenic print, cm 52 x 41 (framed)



York

The Mallard, 2011




York

00000, 2010

Chromogenic print, cm 74 x 60 (framed)



York

Maria Morganti Stratificazione con lapislazzuli

Venezia 2013

Modelling clay, wood, Lapis lazuli, cm 8,7 x 12,8 x 7

(basis, cm 22 x 18 x 2,5)

Courtesy of the artist and Otto Zoo, Milano

Sedimentazione 2013 #4

Venezia 2013

Oil on canvas, cm 18 x 16


Sedimentazione a ritroso (polyptych in 4 parts)

Venezia 2013

Oil on canvas, cm 110 x 90 each


Stratificazione 2011 #2

Venezia 2011

Modelling clay on wood, cm 22 x 18 x 2,5 (with

acrylic box, cm19 x 23 x 5,5)



Venezia 2011





Venezia 2011




Impronta Carte/Diario, 2010¬2012

Venezia 2012

Oil pastels and oil sticks on paper, cm 49 x 60



Venezia 2013




Venezia 2009



Carte/Diario

Venezia 2010

Oil pastels on paper, cm 18 x 26 each


Chris Wiley 4, 2012

Archival inkjet print mounted on alluminum in

custom plywood frame, cm 67,30 x 46,67

Edition 4/4

Courtesy of the artist and Nicelle Beauchene

Gallery, New York

10, 2012

Archival inkjet print mounted on aluminum in

custom plywood frame, cm 105 x 69,53

Edition 1/4


Gallery, New York

13, 2012


custom plywood frame, cm 105 x 69,53

Edition 1/4


Gallery, New York

26, 2012



Edition 1/4


Gallery, New York

17, 2012



Edition 2/4


Gallery, New York

38, 2012



Edition 2/4


Gallery, New York

Dingbat (28), 2015


artist frame with stucco and sprayed acrylic, cm

106,68 x 50,8


Gallery, New York

Dingbat (29), 2015


artist frame with oil cloth, cm 106,68 x 71,12


Gallery, New York

Dingbat (2), 2013


artist frame with insulation, cm 109,22 x 74,93

Edition 2/3


Gallery, New York

Dingbat (7), 2014


artist’s frame with chipboard, cm 109,22 x 74,93


Gallery, New York

Dingbat (9), 2014


artist frame with stucco, cm 106,68 x 71,12


Gallery, New York

Dingbat (10), 2014


artist frame with fabric, cm 106,68 x 71,12

Unique


Gallery, New York

Dingbat (14), 2014


artist frame with faux alligator skin, cm 106,68 x

71,12


Gallery, New York

Dingbat (15), 2014


artist frame with corrugated steel , cm 106,68 x

71,12

Unique


Gallery, New York

Dingbat (18), 2014




Gallery, New York

Dingbat (19), 2014


artist frame with vinyl flooring, cm 106,68 x 71,12


Gallery, New York

Dingbat (21), 2014


artist frame with stucco and sprayed acrylic, cm

106,68 x 71,12

Unique


Gallery, New York

Dingbat (22), 2014


artist frame with fabric, cm 106,68 x 71,12


Gallery, New York

Patricia Treib Plant Variation, 2015-2016

Oil on paper, cm 19,05 x 13,97

Courtesy of the artist and Kate MacGarry, London

Icon Variation, 2015-2016



Housecoat Variation, 2015-2016



Frock Variation, 2015-2016



Drape Variation, 2015-2016



Straps Variation, 2015-2016



Hem Variation, 2015-2016



Robe Variation, 2015-2016



Cuff Variation, 2015-2016



Delft Icon Variation, 2015-016



Nick StolleFighter, 2015

Acrylic on wooden panel, cm 23 x 30,5


Bird I, 2015

Acrylic on wooden panel, cm 30,5 x 23


Bird II, 2016



Performer, 2015



Stage Set, 2015



A Crowd, 2015



Facing Front, 2016



Facing Away, 2016



Setting, 2016



Night, 2015

Acrylic on wooden panel, cm 20,5 x 25,5


printed in italy (september 2016)by scalpendi editore s.r.l. - milano

C.Ar.D. Contemporary Art & Design 2016

© 2016, Scalpendi editore, MilanoISBN-13: 978-88-99473-26-6

Edited byCristina Baldacci

TextsCristina Baldacci, Paolo Baldacci, Martine Bedin, Sergio Maria Calatroni, Matali Crasset, James Hyde, Giulio Iacchetti, Franco Raggi

TranslationsMartyn Anderson (introductory texts and artists monographic writings) Judith Mundell (designers monographic writings) Maddalena Ferrara (checking of the designers monographic writings)

Graphic designMarco Strina

Installation viewsMarco De Scalzi (unless otherwise indicated)

All rights reserved. No part of this publication may be transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any storage and retrieval system, without prior permission in writing from the publisher.

First editionSeptember 2016

Scalpendi Editore S.r.l.

Legal officePiazza Antonio Gramsci 820154 Milano

Operating officeGrafiche Milani S.p.a.Via Guglielmo Marconi, 17/1920090 Segrate

[email protected]

For images on pages 6, 8, 10, 12, thanks to the artists (in order of appearance): Denis Santachiara; Jessica Stockholder, Barney Kulok,Giordano Pozzi, Alice Cattaneo, Duilio Forte, Fabienne Lasserre, DavidAlexander Flinn; Rashawn Griffin, Christopher Broadbent, Attilio Stocchi,Donna Moylan, James Hyde, Ezra Johnson, Paola Anziché; StudioFormafantasma, Ron Gilad, Marco Ferreri.Gratitude also goes to: Ferdinando Crespi, Caterina Morganti, Alice Pedroletti, Roberto Repetti.

C.Ar.D. · and Luca Baracchi, Roberto Bensi, Alessandra Benzi, Emiliana Biondi, Luigi ... > Giulio...

Documents

Transcript of C.Ar.D. · and Luca Baracchi, Roberto Bensi, Alessandra Benzi, Emiliana Biondi, Luigi ... > Giulio...