Objects-Rooms | Catalogue | 2007

LONDON | AMSTERDAM | PARMALONDON | AMSTERDAM | PARMAINTERNATIONAL EXHIBITION 2007INTERNATIONAL EXHIBITION 2007

OBJECTS - ROOMSOBJECTS - ROOMS

CATALOGUECATALOGUE

GROUND’S ART GALLERY, PARMA, ITALYGROUND’S ART GALLERY, PARMA, ITALY

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THANKS TO :CONSULAAT-GENERAAL VAN HET KONINKRIJK

DER NEDERLANDEN,ASSOCIAZIONE 360 GRADI,

A2ARTS,ATELIER WG,

EXHIBITIONOW CONTEMPORARY ART PROJECTS,AND GROUND’S ART GALLERY’ STAFF.

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LONDON | AMSTERDAM | PARMALONDON | AMSTERDAM | PARMAINTERNATIONAL EXHIBITION 2007INTERNATIONAL EXHIBITION 2007

OBJECTS - ROOMSOBJECTS - ROOMS

CURATORS:CURATORS:EXHIBITIONOW CONTEMPORARY ART PROJECTSEXHIBITIONOW CONTEMPORARY ART PROJECTS

AND SILVIA SCARAVAGGIAND SILVIA SCARAVAGGI

FEATURING ARTISTS FROM ITALY,FEATURING ARTISTS FROM ITALY,THE NETHERLANDS AND U.K.THE NETHERLANDS AND U.K.

GROUND’S ART GALLERY | PARMA | ITALYGROUND’S ART GALLERY | PARMA | ITALY

GROUND’S ART GALLERY, PARMA, ITALYRT GALLERY, PARMA, ITALYRT GALLERY, PARMA, ITALYGROUUND’S ARGROUND’S AR , ,, ,

OBJECTS – ROOMS suggests a clear division between two elements: space and works;OBJECTS – ROOMS suggests a clear division between two elements: space and works;‘rooms’ and ’objects’ interact with themselves. The title of the exhibition indicates a process that connects, initially, all the viewers:‘rooms’ and ’objects’ interact with themselves. The title of the exhibition indicates a process that connects, initially, all the viewers:

a process of understanding that starts from the image and transfers itself into the space, a visual interpretation of the exhibitiona process of understanding that starts from the image and transfers itself into the space, a visual interpretation of the exhibitionwith separate elements, not in symbiosis with each other. This fi rst ‘momentum’ transforms itself into the relationshipswith separate elements, not in symbiosis with each other. This fi rst ‘momentum’ transforms itself into the relationships

that the artistic object, with its own inner and outer dynamics, physical and conceptual presence animates the surrounding spacethat the artistic object, with its own inner and outer dynamics, physical and conceptual presence animates the surrounding spaceby modifi ng itself and so redefi ning the space. In this way, the space tends to amplify or to include in itself the artistic gesture.by modifi ng itself and so redefi ning the space. In this way, the space tends to amplify or to include in itself the artistic gesture.

The artists’ works build private paths activating interrelationship dynamics in gallery spaces, so that the visitors in their own timeThe artists’ works build private paths activating interrelationship dynamics in gallery spaces, so that the visitors in their own timecan get closer to the works, letting themselves be blown away by the continuous dialogue of the forms, colours and evocative images. can get closer to the works, letting themselves be blown away by the continuous dialogue of the forms, colours and evocative images.

Over the years artists have worked with several media, from visual art to electronic art.Over the years artists have worked with several media, from visual art to electronic art.Even if their artistic research is developed with different solutions, they still fi nd a common ground in the idea of compositionEven if their artistic research is developed with different solutions, they still fi nd a common ground in the idea of composition

and in the search for time to adapt sight and thought. Through the ‘objects’, that become ‘actors’ in the visual narration,and in the search for time to adapt sight and thought. Through the ‘objects’, that become ‘actors’ in the visual narration,they explore a way to be in space and time, the movement and presence of the body and forms in the space, the passing of time,they explore a way to be in space and time, the movement and presence of the body and forms in the space, the passing of time,the act of meditation, fi xing traces and signs of light and shadows on several materials. The natural elements, presence/absence ofthe act of meditation, fi xing traces and signs of light and shadows on several materials. The natural elements, presence/absence of

human intervention, abstract forms both original and geometrical, organic and ethnographic references appear as essential componentshuman intervention, abstract forms both original and geometrical, organic and ethnographic references appear as essential componentsin an interpretation of artistic gesture that investigate the relationship between artist-work-viewer, in a useful and uninterrupted exchange.in an interpretation of artistic gesture that investigate the relationship between artist-work-viewer, in a useful and uninterrupted exchange.

The formal construction and the search for the rules that shape those ‘impressions’, hidden in stratifi cation and colours,The formal construction and the search for the rules that shape those ‘impressions’, hidden in stratifi cation and colours,unite and distinguish themselves simultaneously, in each artists’ creative and personal research.unite and distinguish themselves simultaneously, in each artists’ creative and personal research.

ARTISTSARTISTS

U.K.:U.K.:LIZ HARRISONLIZ HARRISON

PAUL MALONEPAUL MALONENICOLA RAENICOLA RAE

NETHERLANDS:NETHERLANDS:ELS VAN DER GRAAFELS VAN DER GRAAF

RODY LUTONRODY LUTONNIKOLAUS URBANNIKOLAUS URBAN

ITALY:ITALY:FABIOLA FAIDIGAFABIOLA FAIDIGA

GIANLUCA FERRARIGIANLUCA FERRARIDAMIANO PARONIDAMIANO PARONI

GIORGIO TENTOLINI GIORGIO TENTOLINI


LIZ HARRISONLIZ HARRISONWINDOWWINDOW

MIXED-MEDIA - 2007MIXED-MEDIA - 2007

My current practice seeks to defi ne and articulate ideas about space.My current practice seeks to defi ne and articulate ideas about space.Visual narratives inherent within the work, create a dialogue that explore disparate sites as the home, the city, the countryside.Visual narratives inherent within the work, create a dialogue that explore disparate sites as the home, the city, the countryside.

Concerns within my practice are to do with sense of place and an awareness and discovery ofConcerns within my practice are to do with sense of place and an awareness and discovery ofhow we realise and occupy space both in the present day real timehow we realise and occupy space both in the present day real time

and in our spatial and associative memories of the past.and in our spatial and associative memories of the past.A variety of eclectic media, images and processes are employed simultaneously,A variety of eclectic media, images and processes are employed simultaneously,

in response to diverging and seemingly unrelated subject matter.in response to diverging and seemingly unrelated subject matter.What pulls the work together are the underlying concepts:What pulls the work together are the underlying concepts:

the tentative relationships that individuals have with their surroundings;the tentative relationships that individuals have with their surroundings;the everyday repetitious, mundane habitual activities that inform our perceptions.the everyday repetitious, mundane habitual activities that inform our perceptions.

Themes of landscape, architecture, body, are re-current within my work,Themes of landscape, architecture, body, are re-current within my work,and evolve from personal and generic experiences of past and present spaces,and evolve from personal and generic experiences of past and present spaces,

re-established through spatial siting and orientation. re-established through spatial siting and orientation.

For ‘Objects-Rooms’ I brought over to Parma two works.For ‘Objects-Rooms’ I brought over to Parma two works.

The fi rst was a corner installation of suspended 3D anaglyphs that the public could interact withThe fi rst was a corner installation of suspended 3D anaglyphs that the public could interact withby looking through the red/blue glasses that were supplied alongside.by looking through the red/blue glasses that were supplied alongside.

The imagery in this installation refl ected sections of landscape devoid of overt sings of life.The imagery in this installation refl ected sections of landscape devoid of overt sings of life.The inspiration for this imagery came from the images returned by the Mars Rovers of the lifeless terrain of this distant planet.The inspiration for this imagery came from the images returned by the Mars Rovers of the lifeless terrain of this distant planet.

Yet there is something strangely familiar about these landscapes as if they contain a potential for a pre-existing narrative…Yet there is something strangely familiar about these landscapes as if they contain a potential for a pre-existing narrative…

The second work was part of my series of ‘cosmological conceits’ to do with Electric Universe theory. The second work was part of my series of ‘cosmological conceits’ to do with Electric Universe theory.This consisted of 500 expandable children’s drinking straws arranged in the form of an electrical z-pinch.This consisted of 500 expandable children’s drinking straws arranged in the form of an electrical z-pinch.

The straws were a specifi c blue colour and were illuminated with an intense blue light in keepingThe straws were a specifi c blue colour and were illuminated with an intense blue light in keepingwith the ultraviolet expression of its electrical origin.with the ultraviolet expression of its electrical origin.

PAUL MALONEPAUL MALONE3D ANAGLYPHS - BLUE Z PINCH3D ANAGLYPHS - BLUE Z PINCH



Site-oriented investigation has been an integral part of my practice as an artist for over twelve years. For the exhibition ‘Objects-Rooms’Site-oriented investigation has been an integral part of my practice as an artist for over twelve years. For the exhibition ‘Objects-Rooms’in Parma, I have fi lmed two samples of confi ned invertebrates that were collected from the Greenwich Peninsula in London. in Parma, I have fi lmed two samples of confi ned invertebrates that were collected from the Greenwich Peninsula in London.

Estuarine and freshwater invertebrates from two adjacent urban sites are shown interacting with each other in a confi ned space. Both groups of Estuarine and freshwater invertebrates from two adjacent urban sites are shown interacting with each other in a confi ned space. Both groups of invertebrates are trying to escape the unaccustomed light of the microscope, but they also interact with each other during this process.invertebrates are trying to escape the unaccustomed light of the microscope, but they also interact with each other during this process.

Some are predators who are aggressive about their territories within a confi ned space, while others are grazers who collaborate in sharingSome are predators who are aggressive about their territories within a confi ned space, while others are grazers who collaborate in sharingthe space. Not all of the invertebrates interact in one way all of the time, although most of them have preferred patterns of behavior.the space. Not all of the invertebrates interact in one way all of the time, although most of them have preferred patterns of behavior.

The estuarine invertebrates were collected from watery mud in the Thames, adjacent to the Greenwich Peninsula in south-east London.The estuarine invertebrates were collected from watery mud in the Thames, adjacent to the Greenwich Peninsula in south-east London.The freshwater invertebrates were collected from a man-made lake located 50 metres away, in the Greenwich Peninsula Ecology Park (created The freshwater invertebrates were collected from a man-made lake located 50 metres away, in the Greenwich Peninsula Ecology Park (created

in 1997-8). Both sites have been associated with heavy pollution in the past but have been “cleaned”. in 1997-8). Both sites have been associated with heavy pollution in the past but have been “cleaned”. The sound track, which can be heard on two headphones, was recorded at various locations on the Peninsula. It includes the sound of The sound track, which can be heard on two headphones, was recorded at various locations on the Peninsula. It includes the sound of

construction work on new homes, traffi c approaching the Blackwall Tunnel, airplanes taking off from City Airport, the sounds of Priors aggregate construction work on new homes, traffi c approaching the Blackwall Tunnel, airplanes taking off from City Airport, the sounds of Priors aggregate machinery and bow waves on the Thames - recording a particular moment in a time of change on the peninsula.machinery and bow waves on the Thames - recording a particular moment in a time of change on the peninsula.

My thanks go to the Greenwich Peninsula Ecology Park for the use of their professional microscope, and to Tony for expertly collectingMy thanks go to the Greenwich Peninsula Ecology Park for the use of their professional microscope, and to Tony for expertly collectingthe invertebrates for this project. Any sales of this work will directly benefi t the Greenwich Peninsula Ecology Park’s educational programme.the invertebrates for this project. Any sales of this work will directly benefi t the Greenwich Peninsula Ecology Park’s educational programme.

NICOLA RAENICOLA RAEINTERACTIONS: GREENWICH PENINSULA, LONDON 28-08-07INTERACTIONS: GREENWICH PENINSULA, LONDON 28-08-07



The starting point for this 7 parts work is a quotation from Chuang Tzu:The starting point for this 7 parts work is a quotation from Chuang Tzu:“Things evolve and take their natural course”, “Things evolve and take their natural course”,

which expresses the cruel inevitability of the continuous process of natural transformation of matter,which expresses the cruel inevitability of the continuous process of natural transformation of matter,but the works focuses at the same time on the great beauty of the ephemeral stages of those transitions.but the works focuses at the same time on the great beauty of the ephemeral stages of those transitions.

Each photograph captures a moment of this process when the subjectEach photograph captures a moment of this process when the subjectlooses some properties of its original and evolves into pure form, texture and colour looses some properties of its original and evolves into pure form, texture and colour

thereby concentrating abstract, visual values.thereby concentrating abstract, visual values.

ELS VAN DER GRAAFELS VAN DER GRAAFANEANTISSEMENTANEANTISSEMENT

PHOTOGRAPHS - 2007PHOTOGRAPHS - 2007

‘Objects’, ‘rooms’ — spanning a space.‘Objects’, ‘rooms’ — spanning a space.Colours and shades cast across the room, affecting our being.Colours and shades cast across the room, affecting our being.

Vibrations in multiple directions. Vibrations in multiple directions. Stillness and change, energies and refl ections.Stillness and change, energies and refl ections.

Different planes through which our bodies experience a space. Different planes through which our bodies experience a space. Feelings and perceptions at multiple levels.Feelings and perceptions at multiple levels.

Separation and unity.Separation and unity.

RODY LUTONRODY LUTONMULTIPLE LEVELSMULTIPLE LEVELS



The fi sts on the photos indicate the enclosure of an objectThe fi sts on the photos indicate the enclosure of an objectin the hand as well as implosion, explosion and transgression.in the hand as well as implosion, explosion and transgression.

Their appearance as a corporal gesture also opens up the possibility to political implications. Their appearance as a corporal gesture also opens up the possibility to political implications. The light fall makes reference to the paintings of Caravaggio where the body is capturedThe light fall makes reference to the paintings of Caravaggio where the body is captured

by the force of light and shadow.by the force of light and shadow.The round bottom of the bottle - reminiscent of a looking glass -The round bottom of the bottle - reminiscent of a looking glass -

distorts the organic form and brings it to a concentric movement,distorts the organic form and brings it to a concentric movement,threatening to break through.threatening to break through.

NIKOLAUS URBANNIKOLAUS URBANUNTITLED (FISTS), 4 PARTSUNTITLED (FISTS), 4 PARTSMIXED-MEDIA - 2006/2007MIXED-MEDIA - 2006/2007


FABIOLA FAIDIGAFABIOLA FAIDIGACIRCUS MEMECIRCUS MEME


‘Nature is transformation, memory is darkness’ ‘Nature is transformation, memory is darkness’ In 1970, Sony the elephant and his mate Lanka were given by The indian President Indira Gandhi to In 1970, Sony the elephant and his mate Lanka were given by The indian President Indira Gandhi to Josip Broz TitoJosip Broz Tito

the President of the Republic of Yugoslavia.the President of the Republic of Yugoslavia.Since then, Sony and Lanka have lived in the Safari park on Brioni Maggiore Island in Croatia.Since then, Sony and Lanka have lived in the Safari park on Brioni Maggiore Island in Croatia.

‘Shared symbols moving towards re-forming lifes and relationships,‘Shared symbols moving towards re-forming lifes and relationships,inviting the present and the future in a visual transformation to be reconciled with history’. inviting the present and the future in a visual transformation to be reconciled with history’.


‘Mouths’ is not indifferent, ‘Mouths’ impresses. ‘Mouths’ is not indifferent, ‘Mouths’ impresses. The body, clearly exposed in the act of speaking, expresses by entering and exiting. The body, clearly exposed in the act of speaking, expresses by entering and exiting.

‘Mouths’ speaks, but is silent at the same time. ‘Mouths’ is still action, unspoken movement, communication, rising exchange. ‘Mouths’ speaks, but is silent at the same time. ‘Mouths’ is still action, unspoken movement, communication, rising exchange. At the very beginning ‘Mouths’ was only an open mouth facing outwards; it has become a pair. At the very beginning ‘Mouths’ was only an open mouth facing outwards; it has become a pair.

A presence that enters and one that exits in a mutual exchange, yet to be realized.A presence that enters and one that exits in a mutual exchange, yet to be realized.‘Mouths’ is an interrupted activity, whose story only comes to life when observed.‘Mouths’ is an interrupted activity, whose story only comes to life when observed.

It’s frozen in time as an act of meditation using communication. Gianluca Ferrari’s work always refl ects on the meaning of timeIt’s frozen in time as an act of meditation using communication. Gianluca Ferrari’s work always refl ects on the meaning of timeand the importance of the past. These topics are tied spontaneously with the contemporary: new media is a remarkable and characteristicand the importance of the past. These topics are tied spontaneously with the contemporary: new media is a remarkable and characteristic

presence in his work, as evolving forms of expressions. ‘Mouths’ is a prelude to movement.presence in his work, as evolving forms of expressions. ‘Mouths’ is a prelude to movement.Expression is present but only as a prelude to communication. The gesture is evident and is chargedExpression is present but only as a prelude to communication. The gesture is evident and is charged

with all that was in the past and what could be in the future. At the same time, the light in Gianluca Ferrari’s works is the testimonywith all that was in the past and what could be in the future. At the same time, the light in Gianluca Ferrari’s works is the testimonyto the intensity that allows his work to concentrate on an almost meditative action, as a refl ection. to the intensity that allows his work to concentrate on an almost meditative action, as a refl ection.

The mouth is the voice’s power, the body is the presence that wanders through living spaces, the light or the video imageThe mouth is the voice’s power, the body is the presence that wanders through living spaces, the light or the video imageis the kynetic movement. We tend to watch and to remain suspended; usually white words in an shadowed environment lighted byis the kynetic movement. We tend to watch and to remain suspended; usually white words in an shadowed environment lighted by

the slide-projector’s electric light, as a traced and unending path for one’s thoughts.the slide-projector’s electric light, as a traced and unending path for one’s thoughts.Suspension is therefore everywhere, not least in the words that indicate a meditative mood.Suspension is therefore everywhere, not least in the words that indicate a meditative mood.

Silvia ScaravaggiSilvia Scaravaggi

GIANLUCA FERRARIGIANLUCA FERRARIMOUTHSMOUTHS



Even if his art was delivered by several different media,Even if his art was delivered by several different media,Damiano Paroni has always maintained a peculiar style driven by a strict sense of spaceDamiano Paroni has always maintained a peculiar style driven by a strict sense of space

and a maniacal use of the same colour and a maniacal use of the same colour (black)(black).His works often consist of a few elements whose interplay can be described as a silent dialogue.His works often consist of a few elements whose interplay can be described as a silent dialogue.

In spite of the complete lack of images and the frequent use of rigid shapes, the work is never experienced as static. In spite of the complete lack of images and the frequent use of rigid shapes, the work is never experienced as static. As soon as our sight is taken over by our feelings we perceive implosions,As soon as our sight is taken over by our feelings we perceive implosions,

distances and depths, all connected by an intimate breath of infi nity.distances and depths, all connected by an intimate breath of infi nity.

DAMIANO PARONIDAMIANO PARONISENZA TITOLOSENZA TITOLO



My works are formed by pieces of time.My works are formed by pieces of time.When my concentration is caught by something that draws my attention towards a detail. When my concentration is caught by something that draws my attention towards a detail.

They are moments of silence surrounded by noise, they are an escape valve or the beginning of a break out...They are moments of silence surrounded by noise, they are an escape valve or the beginning of a break out...I’m searching for the cause-and-effect and nothing in my works is private or emotional.I’m searching for the cause-and-effect and nothing in my works is private or emotional.

There is no narrative aspect etiher. There is no narrative aspect etiher. I’m going to give a different fruition of photographies, starting from these imagesI’m going to give a different fruition of photographies, starting from these images

and working on piled up or excavated layers of pictures.and working on piled up or excavated layers of pictures.

GIORGIO TENTOLINIGIORGIO TENTOLINIANIMULA VAGULA BLANDULAANIMULA VAGULA BLANDULA



CONTACTCONTACT

LIZ HARRISON WWW.A2ARTS.CO.UKLIZ HARRISON WWW.A2ARTS.CO.UKPAUL MALONE WWW.A2ARTS.CO.UKPAUL MALONE WWW.A2ARTS.CO.UK

NICOLA RAE NICOLA RAE WWW.A2ARTS.CO.UKWWW.A2ARTS.CO.UK

ELS VAN DER GRAAF ELS VAN DER GRAAF WWW.EXHIBITIONOW.COMWWW.EXHIBITIONOW.COMRODY LUTON WWW.ATELIERWG.NLRODY LUTON WWW.ATELIERWG.NL

NIKOLAUS URBAN WWW.DEAPPEL.NLNIKOLAUS URBAN WWW.DEAPPEL.NL

FABIOLA FAIDIGA FABIOLA FAIDIGA WWW.A2ARTS.CO.UK/FAIDIGAWWW.A2ARTS.CO.UK/FAIDIGAGIANLUCA FERRARI GIANLUCA FERRARI WWW.EXHIBITIONOW.COMWWW.EXHIBITIONOW.COM

DAMIANO PARONI DAMIANO PARONI WWW.EXHIBITIONOW.COMWWW.EXHIBITIONOW.COMGIORGIO TENTOLINI GIORGIO TENTOLINI WWW.GIORGIOTENTOLINI.COMWWW.GIORGIOTENTOLINI.COM

campofamecampofamein concertin concert

Emanuele MissoriniEmanuele MissoriniMarco MonicaMarco MonicaDamiano ParoniDamiano ParoniDeborah PenzoDeborah Penzo

NO REPRODUCTION WITHOUT PERMISSION | VIETATA QUALSIASI RIPRODUZIONENO REPRODUCTION WITHOUT PERMISSION | VIETATA QUALSIASI RIPRODUZIONEOBJECTS-ROOMS 2007OBJECTS-ROOMS 2007

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Objects-Rooms | Catalogue | 2007

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