Personal painting exhibition
Inauguration: 22 October 2009 at 5.00 p.m.
Open to the public: 22 October - 22 November 2009; opening hours 10.00 a.m. - 6.00 p.m. (closed on Tuesdays)
Venue: Infopoint Arte Communications, Riva San Biagio, Castello 2145 – 30122 Venice
Artist: Ezio Camorani
Organization: Fondazione Valerio Riva in collaboration with Arte Communications
Catalogue:Christian Maretti Editore
Fondazione Valerio Riva and Arte Communications present a personal exhibition by the painter and engraver Ezio Camorani, an artist with a noteworthy expressive career who, inspired by the great experiences of the past and by modern and contemporary stimuli, has developed a considerable personal language, centred on the constructive dynamic of the continuous “gestural sign”, which the artist himself sees as “a symbol of our time”. Colour is a primary component of each work, processed not instinctively but following an evolving sign that is always controlled and a gesture that dances over the canvas, releasing creative impulses and stimulating sensory and tactile values. When the pictorial progress comes up against a break or tear, a consecutive dynamic process is triggered which pervades the entire surface of the painting. The canvases, sometimes in a modular composition, reveal distinct geometric shapes, where colour and light interact in harmonies that call to mind suggestions of “contemporary showcases”.
Ezio Camorani, who defines himself a "realist" painter, but not a painter of visual images or stories, in fact produces prevalently aniconic creations which, in the energetic rhythm of traces of signs and colours, evoke the frantic ferment of contemporary life, tormented by speed, violence and chaotic noise. Yet the painter’s art yearns for the chromatic objectification, sign and gesture of music, and of jazz in particular. If underlying hints of abstract impressionism can emerge from the works, they are more akin to the pop impulse, a movement to which the artistic has made significant tributes, which now seem to be confirmed by the occasional inclusion in his paintings of a sensuous female mouth, the true aesthetic icon of our time. Being aware of the role that art plays as a message of communication, Ezio Camorani has also dedicated a substantial installation to Picasso’s “Guernica”.
Ezio Camorani, a self-taught painter and engraver from Romagna, trained at the Academy of Fine Arts in Ravenna where he followed courses in painting and history of art held by Raffaele De Grada and courses in engraving under Tono Zancanaro. The meeting with Ilario Rossi was of fundamental importance for his artistic career, while the periods he spent in Paris, Munich and Berlin, and currently in London, were most profitable.
Esteemed by critics and by the public, he took part in the X Quadriennale in Rome in 1975 and, in 1976, in the Venice Biennale, in the Social Environment Section. He has held many personal and collective exhibitions in the medium of painting or engraving, either organised by himself or as a guest artist; many significant works are also to be found in public and private collections.
9. Edition OPEN PRIZE
Special Prize to the 66th Venice International Film Festival
The OPEN Prize is awarded to the director Michael Moore for the film Capitalism: A love story
Award-giving ceremony Wednesday 9th September 2009 at 7 p.m. - Aeroporto Nicelli, Venice Lido
Arte Communications, in collaboration with Bellati Editore, launches the 9th edition of the OPEN Prize, on the occasion of OPEN 12. International Exhibition of Sculptures and Installations. The prize will be awarded to a director taking part in the 66th Venice International Film Festival whose work reveals, in an unprecedented way, a fruitful interest in the fascinating theme of the mutual interaction between art and cinema, two art forms which live on image and are nourished by the desire to express emotions.
The institution of this award, conceived in 2000 by Paolo De Grandis and Pierre Restany, developed parallel to OPEN, the International Exhibition of Sculptures and Installations, which opens its twelfth edition this year on September 2nd at Venice Lido and San Servolo Island.
The OPEN 2009 Prize, a work conceived and realised by the Master Ugo Riva, has been awarded to the director Michael Moore for the film Capitalism: A love story. The jury, composed of the President Paolo De Grandis and the jury members the Councillor for Culture Luana Zanella, Ferruccio Gard, Anna Caterina Bellati and Chang Tsong-zung, gave this interpretation of the film:
“With this splendid film, Michael Moore has finally brought the investigating documentary, on an equal footing, into the history of world cinema. Capitalism: A Love Story is a work which, between biting irony and moments of intense drama, courageously denounces the tragic consequences that capitalism, unhampered by any ethic and with only the ruthless logic of profit, can produce even in the richest country in the world, where 14 thousand people lose their jobs every day, and in losing their job they can also lose their home and health care. As shown by the film, capitalism counts even more than democracy, thanks also to frequently compliant politics, and the reconstruction of the origin of the current economic crisis involves and outrages spectators from any political line of thought, because no one, for example, can remain unmoved by the scenes of families turned out of their homes because they can no longer pay their mortgages to the banks. The symbol of the film can be the yellow tape used by the American police to mark off a crime scene, the same tape with which, in an admirable artistic performance, Michael Moore surrounds a bank on Wall Street and announces through the megaphone that he has come to arrest the criminals. Amidst laughter, indignation and emotion, Michael Moore’s documentary is of the highest social value. It digs deep into our consciences and can become an important contribution to make a more human and democratic capitalism, one that must serve the poor more than the rich, rather than what is happening now in America, and other places too”.
Previous winning directors were Joao Botelho with the film Quem es tu?, Julie Taymor with Frida, Takeshi Kitano with Zatoichi, Marziyeh Meshkini with Sag - haye velgard, Stanley Kwan with Changhen ge (Everlasting Regret), Jia Zhangke with Dong, Peter Greenaway with Nightwatching, Philip Haas with The Butcher’s Shop.
The OPEN exhibition has been held for twelve years, coinciding with the Venice Film Festival, confirming the precise intent to strengthen the bond that exists between art and the cinema; the creation of OPEN Prize bears witness to this close and fertile relationship.
Pavilion of Morocco at 53rd International Art Exhibition - La Biennale di Venezia
Open to the public: 7 June – 22 November 2009; opening hours 10.00 am – 6.00 pm; closed on Mondays
Venue: Chiesa Santa Maria della Pietà, Riva degli Schiavoni, Castello 3701, 30122 Venice
Artists: Fathiya Tahiri, Mahi Binebine
Curator: Paolo De Grandis
Commissioners: Dr. Mohiedine El Kadiri Boutchich, Consul General of Morocco in Milan;
Paolo De Grandis, Director of Musée Hassan - Rabat
Deputy Commissioner: Carlotta Scarpa
Organizer: Arte Communications (www.artecommunications.com)
Under the patronage of: Musée Hassan, Rabat
Web site: http://www.lemarocalabiennaledevenise.com/
Morocco, a crossroads of cultures and ideas, of goods and knowledge, a land rich in fascination and traditions, faithful over the centuries to a moderate form of Islam, in which the logic of reason and the light of faith coexist, is taking part in the Venice Biennale for the second time to present the contemporary artistic scene which has seen flourishing expressive development in recent years.
Today Moroccan art presents a lively and dynamic panorama both on the private and informal scene and at an official level, as is demonstrated by the foundation of the Musée Hassan, the new contemporary art centre in Rabat, which has been active since 2006 as an integral part of a programme of cultural renewal of the city and which aims to present internationally known artists, to promote local artists, and to collaborate with the main institutions operating in the sector.
Two artists will be representing Morocco: Fathiya Tahiri and Mahi Binebine. Though both linked to the material use of painting, during their expressive training they have also developed different approaches in the field of sculpture.
Fathiya Tahiri began on the artistic scene with a vast production of jewel sculptures, then translated this skill into painting, in countless expressive variations. Her canvases reveal an attentive scanning of colour which prefers bright pure tones, giving life to extensive descriptive formulae that are inspired by the emotions of the artist, sensitive to intimate perceptions. A border line in which the artist’s brush insists with a singular expressive force on a timbre of colour, creating fascinating backgrounds that then become the metaphor of an existential condition. Fathiya Tahiri brings about an aesthetic revolution, hovering between an idea of beauty seen as loyalty to an uncorrupted model and the study of new forms, seeking the unquenchable need for poetic renewal, the intimate essence of art.
Fascinating images, captivating the beholder with the lyrical atmosphere that emanates from their harmony of colours, spring from the imagination of Mahi Binebine. They are often silent masks or trapped figures. They are the same ones that the artist tells us about in his novels, desperate journeys yearning to ask fate for a second chance. Binebine’s work has a formal neatness interrupted by melodic colour combinations created using pure pigments applied directly on the canvas and then skilfully modified by the hands of the artist or by extreme actions that burn the surface. So pure colour may just as easily be silent language, a means of detaching sensations or an element of disturbance.
Art, literature, topical events and tradition live side by side in the works of these two artists. Because in the centre of their art there is always a state of tension involving the natural, primeval world that man too frequently ignores, ill-treats or insults. So Fathiya Tahiri and Mahi Binebine look inside Man and Nature. That is how, in this exhibition, they meet in an embrace that goes beyond the boundaries and is a reciprocal respect and yearning for a dimension in which the rational and the emotional, spiritual aspect can be united.
Tel: (39) 041. 526 4546 Fax: (39) 041. 276 9056
Syrian Arab Republic
Syrian Arab Republic Pavilion at the 53rd International Art Exhibition - La Biennale di Venezia
Coordination by Marzia Spatafora and Enzo Dall’Ara
Commissioner: Christian Maretti
Location: Ca’ Zenobio - Dorsoduro 2596, Venice
Date: June 7 – November 22, 2009
The Syrian Arab Republic is taking part in the “53rd International Art Exhibition – Venice Biennial” with the show Artist’s Chamber underlying the close cultural ties among Mediterranean countries, with the presence of Syrian and Italian artists. Two great Syrian artists, the realist Issam Darwich and the informal Yasser Hammoud, are showing their works together with seven leading figures of contemporary Italian and international art: Gastone Biggi, Salvatore Emblema, Sergio Lombardo, Hannu Palosuo, Franca Pisani, Concetto Pozzati, Turi Simeti.
To represent the Near Eastern republic, the coordinators Marzia Spatafora and Enzo Dall’Ara, together with the commissioner Christian Maretti, chose to exhibit paintings, sculptures and installations on the principle of the historic background and the contemporary and international nature of each artist.
The Syrian Arab Republic, invited for the second time to this important international artistic event, is hosted at the prestigious location of Ca’ Zenobio where the exhibition, of great importance, is spread out through the inside halls and the garden.
As the title of the event shows, each artist has a specific space reserved to himself, with works which belong to his personal expressive experience, so as to make the work of each both unique and unified at the same time. The creations reveals a cultural exchange which respects and highlights each artistic personality, bringing out its features of form and content. A visit to the show thus opens up moments of discussion, of sharing and debate, from which interesting convergences and divergences of themes and poetics can arise.
Issam Darwich, a refined realist, gives voice to the poetics of “presence of absence”, which gives the title - Presence of Absence – to his room, where the absence of the person has been replaced by clothes which hang or are laid down, often fitted into the memory of experience. This painter, whose creativity focuses on clear aesthetic figures, uses oil on canvas to represent clothing devoid of any real human presence, yet able to reveal the corporeal substance of suggested anatomic traits.
“Light generates Form, when it is connected to my knowledge and my individuality, until sight is turned off and intuition lights up to see in the dark” is how Yasser Hammoud describes his work Ishraqat (Illuminations). The artist thus paints the soul of abstract material, the dynamics of introspection, the marriage of light and colour in trembling shadow. The working gesture thus becomes the bearing strain of an informal abstraction which, as it develops in curved or straight lines, parallel or overlapping, intends to follow the inner impulse – conscious or unconscious – towards a vibrating formal construction, able to express the hidden contents of artistic processing.
Gastone Biggi, present at the Syrian Arab Pavilion with his work, Give me a place to stand and I will paint the world, is an artist who is always consistent with a work which is full of originality, often centred on the active poetics of the “point”, the source of every creative and exploratory experience. His choice is entirely personal, rigour seems to be his axiom, his mark is determined, I would say almost solemn, the colours are the non colours of the mind: grey, black, white. His “continuous” points obsessively fill up the canvas, creating an effect which is of a mathematical, yet at the same time musical, order. This is how Gastone Biggi expresses himself in this Biennial, setting a comparison between his famous Continui and his more recent Puntocromie, which are simply an evolution of the same work, read in a way which is more consistent with the reality of today.
The artist comments the essence of his sign: “I do not find, I seek: seeking one’s sign is seeking oneself. A quest which at times is strenuous, almost disorderly, at other times is more lucid and rational, but is essentially a quest”.
The work of Salvatore Emblema Detessere la tela reveals the discovery of an “other” dimension. The warp of the fabric, made evident, and the constructive blinding of light, shade and colour, call the spirit to settle and reflect on the changing optic results. The outcome is a work with such a high profile that Giulio Carlo Argan, talking about it, said: “We have managed! You have succeeded in making the space behind the painting throb with life!” The dewoven canvases, represented here in creations dating back to the 60s and later, are evidence of the inner conquest achieved by the artist.
Mappe stocastiche is the title Sergio Lombardo has given to his “Chamber”. The artist explains: “these are thoroid maps: complex and meaningless forms, created using exclusive mathematical procedures”. Psychologist, artist and mathematician, Sergio Lombardo carries out a profound and meditated investigation into the architectural structure of the pictorial surface and on composing elements which harmonize the geometrical and chromatic scanning of apparently abstract intarsios. Actually, the chance nature of the artistic event rests on firm mathematical algorithms, permeated by the poetic wisdom of equilibrium of tone and defined by the dynamic and formal sign of “stochastic painting”, the founding parameter of the creative, psychological and formal action of the painter. The significant corpus of works exhibited here are entrusted with the eloquence of an original and noticeably sharp expressive language.
Hannu Palosuo, of Finnish origin but of Italian culture and education, has created None of them is the truth for the Venice Biennial - a pictorial installation which fills the whole space dedicated to him, with the intention of swallowing the onlooker up into the work itself. He thus becomes the craftsman of a modern figure which reveals how such as recurring theme as a floral composition may turn out to be absolutely up to date. By evoking memory and remembrance, the artist makes the flower into the main actor of his paintings – a flower which is developed on two contrasting yet mutually agreeing shades, in order to highlight the positive and the negative of the image, its presence and its emptiness. In this way, a modular installation is born, where the sequence of the canvases amplifies the meaning of implicit artistic projection.
Il Giardino delle Forme by Franca Pisani is an intervention consisting of a bronze sculpture, Anima primitiva, and a many-matter installation, La macchina del tempo. The works find their ideal setting in the fascinating garden of Ca’ Zenobio, where they fit perfectly into the rich nature of the place. A versatile and poetically strict artist, Franca Pisani makes wise use of different materials, blending them to the breath of innerness and nature, as well as to the investigation of the individual and social essence. A kind of sensitivity which tends to analyze the primitive and prehistoric archetypes which arise in monumental sculptures, where culture, instinct and rationality penetrate into each other in a temporal process of action which emerges from deep knowledge and exalts the universal sense of life.
In 2008, she played a leading role in prestigious exhibitions, which were decisive for her artistic recognition: the Museo del Mare in Genoa, the Casa del Pane in Milan, Palazzo Cerretani and the Museo Marino Marini in Florence.
Concetto Pozzati, artist with a many-faceted personality who is taking part for the fifth time in the Venice Biennial, establishes a deep physical and mental contact with the Time parameter and with inner listening to Tempo sospeso, the title of the cycle of paintings on exhibit in the Syrian Arab Pavilion. Here the artist resets the usual chronological scanning, projecting himself into a timeless dimension of the present. Pausing over the “here”, the creating spirit vibrates on the rhythm of memory, on the soul of time, on the perception of the voice of a still clock. An intrinsic notion of “still life” thus pervades the time of the painting, impressing itself onto the exhibited paintings, blended with a meditated sequence of little collages, declared to be indicative studies.
The title of the room “Ritmi, accordi e sequenze per una ‘pittura’ dello spazio” by Turi Simeti perfectly grasps the meaning of the works which are exhibited: simple words which are extremely explanatory of a conceptual reality made of notes of light and shad and of space and time relations.
A historic work, dating back to the 60s, where the light of white highlights the concept of purity, appears along side recent paintings, made on red hues, from which the perception of existence springs out. The surface painted by Turi Simeti trembles at the slightest touch of light on homogeneous chromaticisms, often with vivid monotonal results. Meditated shaped “protrusions” give tactile and optic vibrations which interact wisely with the direction of the light source.
The show is accompanied by a detailed catalogue in Arabic and Italian published by Christian Maretti Editore with texts by Marzia Spatafora, Enzo Dall’Ara and Christian Maretti.
The historic Palazzo Ca’ Zenobio, located in the Dorsoduro area, in a place steeped in poetic atmospheres, is a monumental patrician family building, put up between the end of the 17th and the early 18th century for the noble Venetian Zenobio family. During the 19th century, the Loggia – built in the garden according to neo-classic rules – was added on to the original Baroque structure. The 18th century interior of the main construction has rooms rich with stucco and fresco decoation, including the Hall of Mirrors, with painting by Giambattista Tiepolo.
53rd International Art Exhibition – Venice Biennial
Pavilion of the Syrian Arab Republic
Title of the show Artist’s Chamber
Coordinated by Marzia Spatafora e Enzo Dall’Ara
Commissioner Christian Maretti
Location Ca’ Zenobio – Dorsoduro 2596, Venezia
Date June 7 – November 22, 2009
Catalogue Christian Maretti Editore
Public Information AGG Communication: Nicoletta 327.2071964
Press Office Irma Bianchi Comunicazione
tel +39 02 89404694 - +39 02 89400732 fax +39 02 8356467
www.irmabianchi.it - firstname.lastname@example.org
Latvia Pavilion at the 53rd International Art Exhibition - La Biennale di VeneziaTitle of exposition: "Fragile Nature"Artists: Evelīna Deičmane e Miks Mitrēvics
Open to the public: 7 June – 22 November 2009; opening hours 10.00 am – 6.00 pm; closed on Mondays Venue: Spazio Ferrari, Calle Castelli, Cannaregio 6096/A, 30121 Venice
Key aspects of the exhibition
The exposition is featuring two separated mixed media installations by artists Evelīna Deičmane and Miks Mitrēvics. Their works, presented in the first-person narrative, are not based upon something preconceived, but upon their own experience.
Fragile Nature by Miks Mitrēvics
Miks Mitrēvics’ installation is composed of various scenes in miniature, exploring manifold manifestations and perceptions of the sun. Its warmth and light is viewed as a source of emotions, associations and energy which is essential to implement a range of transformations in the nature. The scenes staged by the artist appear fragile and sketchy.
Season Sorrow by Evelīna Deičmane
Evelīna Deičmane presents a work which provides the viewer with great deal of questions. She is researching the process of surviving the winter and the amount of human energy necessary to deal with the coldness. It is hard to distinguish which is the most important element - idea, sound, personal stories or emotions. Some invisible motor that is aided by gear-wheels spins these notions, thus creating the specific visual meaning of her work.
Information about artists
In recent years, Evelīna Deičmane and Miks Mitrēvics have frequently attracted attention at international events such as the, the exhibition Manifesta 7 in Rovereto Buket at NCCA in Moscow and 15th Biennale of Sydney. They both succeed in activating a versatile repertoire which transforms their ideas into convincing and suggestive images .Evelīna Deičmane (1978) lives and works in Riga, Latvia and Berlin, Germany. Her major fields of work aresound, video, photography and multimedia installations. In 2005 she had a solo exhibition Breathing Prohibited in Riga. Since 2003 Evelīna is participating in various international group shows.Miks Mitrēvics (1980) lives and works in Riga, Latvia. His majorfields of work are photography, video, sound and multimedia installations. Since 2003 he has organized solo exhibitions and participated in various international group shows. Miks has received several art awards, including Swedbank Art Award, Estonia (2008), East2East Commission, England (2006) and UNESCO-Aschberg Bursary, Austria (2006).Commissioner and curator: Līga MarcinkevičaCo-curator: Norbert WeberOrganizer: Society „Biennāle-2005”Supported by: Ministry of Culture of the Republic of Latvia, Culture Capital Foundation of LatviaCoordinator in Venice: Arte CommunicationsContact for press inquiries: email@example.com; firstname.lastname@example.org; email@example.comURL: www.biennale.lv