MARCO CONTINO PORTFOLIO

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MARCO CONTINO A PORTFOLIO

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Marco Contino, born in Catania, Sicily, in 1986, graduates at the Accademy

of Fine Arts of Venice in 2014. During his studies he participates in various

events in occasion of the 54° Biennale d'Arte di Venezia, collaborating

for instance with the Argentinean artist Amalia Pica. In 2009 his work is

awarded at the international stage design contest Opera J mise en scène.

Between 2010 and 2012 he takes part in a series of workshops hold by the

François Pinault Foundation at its Venice gallery of Palazzo Grassi where he

has the chance to collaborate with artists such as Urs Fischer, Loris Gréaud,

Friedrich Kunath and Piotr Uklanski.

In 2012, Marco Contino wins a scholarship for Middlesex University in

London where he studies at the MA programme of Fine Arts for a year. In

London he displays works in Eye-Eye Artist's Collective at the Art Pavilion

and in Hot-One-Hundred at Schwartz Gallery. During Spill Festival 2013

he collaborates with the artists Julie Vulcan and The Famous Lauren

Barri Holstein. In December 2014 he is selected by Bevilacqua La Masa

Foundation to expose in 98ma Collettiva Giovani Artisti (98th Young Artists'

Collective) at the foundation's gallery of St. Mark's Square, Venice.

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In is artistic approach, Marco Contino is strictly contemporary. His work often shows minimalist characteristics which are subject to conceptual processes of deformation or destruction determining both the formal aspect and the meaning of the piece. These processes that generate or mutilate the works manifest themselves in the form of live performance or photographic or videographic documentation accompanying the physical artwork. The ironic play with the concept of value — natural and artificial, real and fictive, objective and subjective — as well as the appropriation of the rules that define the determining dynamics and the experimental violation of this game's structure can be identified as the recurrent artistic language throughout many of Marco Contino's works.

£ 16,000 per sq.mHow to make £ 16,000 per sq.m.Untitled (Sugar Wall)AmmainabandieraSale

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What is the value of space?The urban sprawl and population growth lead to people living in continuously shrinking habitations while the ever-growing market demand keeps doubling the rental and land prices. Prestigious residential areas form around the city centres; less eligible and sought-after boroughs develop in the more remote districts. Accordingly, the market value of the neighbourhoods is defined.It is a dynamic that derives from a desire deeply anchored in the heart of an entire society. We want to be social, connected, in the centre not of something but of everything that happens around us. But is that what we need, too? In a world that is entirely and complexly connected, ironically, we tend to feel lonely in the crowd. The life that the big city offers us can hardly take this loneliness off our shoulders. Is is maybe, after all, just a question of social prestige.

£16,000 per sq.m. is a genuine piece of London soil, extracted in Hampstead Heath. The work refers to the value of the ground, of the space, of the means one has or has not to inhabit it for the price of the luxury it symbolises. It recounts the privilege of choosing where to live, where to exist, where to be at home. It quotes the insanity of the real estate market and the abstractism of the concrete values enabling it.

2013

London soil, Hampstead Heath

100 x 100 x 15 cm

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2013

video

5:39 min.

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A wall is a physical presence created to divide, to separate one part from the other. It is not a natural phenomenon but artificial, constructed by men and therefore also destructible by men.To lick, using one’s tongue to decompose, is a highly intimate action. Demolishing a wall by licking it means choosing a very delicate method of precision for an operation that is raw, dirty and of such great scale that the relation cannot be seen but as out of proportion. It is a choice that requires an immense amount of effort and dedication. Two entities are licking two opposed parts of the same wall not perceiving each other, unconscious of each other’s actions. The wall prevents the possibility of a gaze, of any kind of contact.Sugar, caramel, a simple, elementary material and yet complicated in its production, sweet and tasty — a delight in small doses but nauseating and unsanitary if consumed in great quantities.What coalesces on the floor is a blend of sugar and saliva; in its confluence the only contact established between the two sides of the wall before the wall itself collapses.

2013

performance

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2014

in collaboration with Martin Verdroß

offset-printed paper, anilinic colour

variable dimensions

"Come diventare uno stato indipendente in tre semplici passi."("How to become an independent nation in three simple steps.")

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“The rate at which Venice is going is about that of a lump of sugar in hot tea.”John Ruskin

The death of Venice is an old story, closely linked to the end of the Republic and the inevitable corrosion of its social structure and urban fabric. Once built to be a commercial machine, Venice reawakens in a world that has outgrown the kind of market it has been designed for and, ironically, transmutes itself into the product to be sold on the new market of the Twentieth Century in a self-destructive spree.Tudy Sammartini, who has long been engaging with the problems Venice is subjected to, declares in a recent interview that “Venice has always been a commercial town, but today, this Byzantinism predominates above everything else. The mercantile spirit reigns supremely. They’d sell their own mother if only they could.” It is impossible not to resign in watching Venice putting itself on sale — piece after piece, brick after brick — as a macro-object of consumption.Sale features objects made from the powders of the Venetian bricks that, in the saline air of the lagoon, crumble into sand. Each sculpture is a sad, mass-produced souvenir coming in unlimited quantities, multiplied by the use of industrial moulds and fabricated with ordinary resin that re-assembles the ashes of the Serenissima into an object paying homage to the new persona of Venice.

2014

mattoni veneziani corrosi, resina epossidica

dimensioni variabili

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2014 2015 2016 2017 2018

[email protected]

0039 346 21 50 174

online soon

cover portrait / creative concept & layout / portfolio curated by Martin Verdroß