INTERNATIONAL MUSEUMS DAY at CACT Switzerland. 20 May 2012

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MOSTRIAMO CIÒ CHE È IMPORTANTE.

Giornata internazionale dei musei.

20 maggio 2012

In occasione della Giornata Internazionale dei Musei che avrà luogo domenica 20 maggio 2012, più di 180 musei in tutta la Svizzera invitano il pubblico a riflettere sul tema "Mostriamo ciò che è importante" e sul ruolo dell'istituzione museale in un mondo che cambia.

Cosa è dunque importante in un mondo che cambia?

Il MACT/CACT Arte Contemporanea Ticino risponde a questa domanda aprendo i propri spazi interni ed esterni per tutta l’intera giornata del 20 maggio 2012 con il progetto che segue.

MACT/CACT ARTE CONTEMPORANEA TICINO

The Living Museum.

L'esperienza e la condivisione tra spazi reali e virtuali

Il 20 maggio 2012, in occasione della Giornata Internazionale dei Musei, MACT/CACT sottolinea il proprio ruolo di mediatore culturale e di elemento di aggregazione in un epoca dinamica, caratterizzata dalle nuove tecnologie, dal ritmo veloce degli scambi e dai luoghi di riunione definitivamente surclassati dalla virtualizzazione.

'Less is more' è la nostra sfida nel capire l'identità di un museo fisico e virtuale. La programmazione del nostro spazio e del nostro museo si offre accessibile ad un pubblico eterogeneo per gusti e per età.

Ogni evento collaterale si integra perfettamente al programma tematico di mostre collettive e monografiche.

Grazie al Progetto CACTyou! la nostra istituzione offre approcci differenti per natura alla cultura visiva e non soltanto, attraverso percorsi fisici e virtuali all'interno della sua programmazione. È soltanto il visitatore che decide per proprio conto come interagire con la nostra istituzione.

Il CACTyou! Project è la vera architettura della nostra istituzione. Dopo un solo anno dalla sua creazione ci ha offerto l’humus ideale per aprirci a una nuova era agli albori dei nuovi cambiamenti sociali, economici e politici.

Questo il programma:

10:30-12:30, apertura e presentazione della giornata.

12:30-21:00, visite guidate alla mostra FLEUR DU MALE; personale di Fiorenza Bassetti.

12:30-21:00, VisualContainerTv: WebTv dedicata alla video arte internazionale. Ospita festival, monografie e progetti curatoriali da tutto il mondo. A cura di VisualContainer, Milano.

12:30-21:00, CACTyou! Project: collegamento internet per dimostrazioni di interazione del nostro sito istituzionale, i nostri blog, i nostri canali video e di social networking.

INGRESSO LIBERO

Il Consiglio internazionale dei musei (ICOM) è responsabile del coordinamento a livello mondiale dei circa 20'000 musei di tutto il mondo che il 20 maggio prenderanno parte alla giornata internazionale di quest’anno. Il coordinamento sul piano nazionale è curato dall’Associazione svizzera dei musei AMS, in collaborazione con ICOM Svizzera.

Il programma completo di tutti i musei che aderiscono è pubblicato su www.museums.ch

Gli enti promotori della Giornata internazionale dei musei in Svizzera sono:

• Associazione dei musei svizzeri AMS
• ICOM Svizzera – Consiglio internazionale dei musei
• Ufficio federale della cultura, Berna
• Mediamus, Associazione svizzera dei mediatori culturali di museo
• Kuverum, Mediazione culturale e pedagogia museale
• Diesseits, Kommunikationsdesign

Link utili:

MACT/CACT Arte Contemporanea Ticino

CACTyou!Blog

MACTMuseo d’Arte Contemporanea (Blog)

VisualContainerMilano

VisualContainerTVMilano

MACT/CACT Arte Contemporanea Ticino

Direttore Mario Casanova

Coordinatore Pier Giorgio De Pinto

Via Tamaro 3

6500 Bellinzona

Svizzera

Telefono +41 (0)91 825 40 85

info@cacticino.net

Come raggiungerci?

Questa giornata è resa possibile grazie a: Ufficio Federale della Cultura Berna, Repubblica e Cantone Ticino, Città di Bellinzona, Alfred Richterich Kastanienbaum, Amici del MACT/CACT, Immobiliare Bellinzona

LET’S SHOW WHAT IS IMPORTANT.

International Museums Day.

20 May 2012

On the occasion of the International Museums Day taking place on Sunday the 20^th of May 2012, more than 180 museums all over Switzerland invite their public to reflect around the topic “Let’s show what is important” and about the role of each of them within a changing society.

What is actually important in a changing world?

MACT/CACT Contemporary Art in Canton Ticino responds by opening its own exhibition rooms and spaces indoor and outdoor during the all Day following this programme.

MACT/CACT Contemporary Art in Canton Ticino

The Living Museum.

Experience and sharing between real and unreal spaces.

On Sunday the 20^th of May 2012, during this special Day, MACT/CACT emphasizes its own importance as cultural mediator and aggregation’s factor within a dynamic time strongly marked by the new technologies, by the very fast rhythm with which we all interact to each other and by the meeting spaces/venues, that are nowadays totally overcome by the virtualization.

'Less is more' is our challenge in trying to understand the identity of a real and virtual museum. The entire schedule of events and exhibition of the Centre of Contemporary Art in Canton Ticino remains accessible for an heterogeneous public, no matter their taste or age.

Each event perfectly integrates itself with the programme focusing on thematic exhibitions, both group or monographic.

Thank to the CACTyou! Project our Institution allows different approaches to visual culture (but not only) through physical and virtual routes analyzed and taken into consideration within its past and forthcoming events. The visitor only decides how to interact with our Institution.

The CACTyou! Project, created a year ago, is the real architecture of CACT. Since then this structure was able to offer us the right basis in order to open our activities to a brand new time marked by  social, economic and political changes.

What is put on schedule:

10.30 a.m., opening and presentation of the Day.

0.30 p.m.-9.00 p.m., guided tours of the show FLEUR DU MALE; one-man show by Fiorenza Bassetti.

0.30 p.m.-9.00 p.m., VisualContainerTv: WebTv entirely dedicated to the International video art. VisualContainerTv hosts festivals, monographic video shows and curatorial projects from all over the world. Curated by VisualContainer, Milan.

0.30 p.m.-9.00 p.m., CACTyou! Project: internet connection for demonstration about the interaction of our institutional web site, our blogs, our video channels and social networks.

ADMISSION FREE

The International Museums Council (ICOM) takes the responsibility of coordinating worldwide around 2’000 museums all over the world, which on Sunday the 20^th of May will take part of this year’s International Museums Day. The National coordination is curated by the Swiss Museums Association in collaboration with ICOM Switzerland.

The complete programme of all participating museums is published on www.museums.ch

The Institutions promoting the International Museums Day in Switzerland are:

• Association of Swiss Museums ASM
• ICOM Switzerland – International Museums Council
• Federal Office of Culture, Berne
• Mediamus, Swiss Association of Museums Cultural Mediators
• Kuverum, Cultural Mediation and Museum Pedagogy
• Diesseits, Communication Design

Useful tips and links:

MACT/CACT Contemporary Artin Canton Ticino

CACTyou! Blog

MACT Museum of Contemporary Art inCanton Ticino’s Blog

VisualContainer Milan

VidualContainerTv

MACT/CACT Contemporary Art in Canton Ticino

Mario Casanova, director

Pier Giorgio De Pinto, coordinator

Via Tamaro 3

6500 Bellinzona

Switzerland

Phone +41 (0)91 825 40 85

info@cacticino.net

How to reach us?

The International Museums Day is kindly supported by Federal Office of Culture Berne, Repubblica e Cantone Ticino, City of Bellinzona, Alfred Richterich Kastanienbaum, Fiends of MACT/CACT, Immobiliare Bellinzona

DEEP INSIDE. DISSOCIATIONS al CACT Svizzera

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DEEP INSIDE. DISSOCIATIONS.

Kisito Assangni, Katia Bassanini, Martin Disler, Uri Gershuni, Csaba Kis Róka, Elke Krystufek, Andrea La Rocca, Simone Loi, Mustafa Sabbagh

Vernissage__sabato 9 giugno 2012 dalle 17:30

9 giugno – 15 luglio 2012
Ve-sa-do_14:00-18:00

 

Mustafa Sabbagh, Vergine Nera, 2012

 Il CACT CENTRO D’ARTE CONTEMPORANEA TICINO apre il prossimo 9 giugno 2012 la mostra collettiva DEEP INSIDE. DISSOCIATIONS.

Il tema nasce da alcune riflessioni attorno alla definizione di nuove espressioni linguistiche, che si modificano in rapporto ad una società in totale cambiamento, allo sviluppo delle tribù telematiche, in grado di sovvertire il concetto d’estetica e delle modalità comunicazionali: ciò tocca giocoforza anche un istituto e un museo d’arte. La caduta di due blocchi contrapposti quali il Comunismo e il Capitalismo e la rimessa in seria discussione del concetto di avanguardia, che – lo si credeva – bene avrebbe potuto coniugarsi con quello di Modernità, pone l’artista e il creatore di pensieri al centro di un dibattito che li riconfigura attraverso nuovi posizionamenti societali e culturali. La transmedialità ha ormai sostituito la multimedialità e l’identità di un museo è pure in via di ridefinizione.

Csaba Kis Róka, The Familiarity Breeds Contempt, 2011 (Private collection, Switzerland)

È oltremodo interessante constatare come negli ultimi anni la società si sia trasformata da corpo concettuale, animato da modalità collettive, a identità tattile eterogenea, laddove ogni singolo cerca la propria personale identità e collocazione entro una rete di codici collettivi. Il ritorno al tattile rappresenta il ritorno al ‘reale’, sia in arte che nella società di tutti i giorni, laddove le mistificazioni del pensiero filosofico, sociologico e/o analitico hanno fortemente perso il loro impatto concettuale e ideologico sull’idea di gruppo sociale, ridando ossigeno alla persona libera e ai suoi valori. Il ritorno al tattile pone in forte analisi il museo non solo come giardino del vedere, bensì anche come luogo d’azione. Ecco che l’applicazione dell’idea ‘performativa’, preconizzata qualche anno fa quale ritorno ad una psico-geografia della persona artistica come condivisione tra oggetto e soggetto, la si scorge nell’approfondimento della figurazione attraverso l’espressionismo e la sensualità del corpo sensuale e psichico.

Katia Bassanini, Untitled (Dirty Hand), 2003 (Private collection, Switzerland)

Ribadire, cercare la propria identità e peculiarità al di fuori di un interesse collettivo, così come la definizione del proprio Sé di uomo, piuttosto che l’Io dell’artista, sembra una delle priorità di oggi.

Gli artisti in mostra sono Kisito Assangni (Togo/UK), Katia Bassanini (CH), Martin Disler (CH), Uri Gershuni (IL), Csaba Kis Róka (HU), Elke Krystufek (A), Andrea La Rocca (I), Simone Loi (I), Mustafa Sabbagh (I).

Uri Gershuni, Untitled (Ori) out of the series Selective Mutism, 2009 (courtesy Chelouche Gallery)

La transmedialità è sicuramente una delle outline che segnano la scelta degli autori in mostra; non già l’affermazione di un mezzo di produzione, quanto piuttosto la sua negazione attraverso un’estetica dell’uso del linguaggio artistico, non già il desiderio estetico di un mezzo di produzione. La favolosa ed incerta libertà che contraddistingue la società contemporanea priva(ta) di riferimenti ideologici, pone ognuno di noi di fronte all’analisi dell’immagine e all’enigma della rappresentazione nell’universo artistico. Il passaggio a una dimensione esistenziale più tattile, concettualmente meno mistificata, eterogenea e disincantata vs un modello storico-sociale che chiude il millennio e due secoli di approccio borghese al societale, spinge necessariamente verso forti forme di espressionismo umano.

Durante la mostra vi sarà una perfomance di Andrea La Rocca dal titolo HEY BOY! in loop dalle 18:30 alle 20.00

Il MACT/CACT è sostenuto finanziariamente e culturalmente da Repubblica e Cantone del Ticino, Città di Bellinzona, Alfred Richterich Stiftung Kastanienbaum, Immobiliare Bellinzona, amici del MACT/CACT.
Si ringrazia Caterina Ruju dell’Associazione Marco Magnani Sassari e Chelouche Gallery Tel Aviv.

 Elke Krystufek, It's Unfair, 1992(Private collection, Switzerland)

DEEP INSIDE. DISSOCIATIONS.

Kisito Assangni, Katia Bassanini, Martin Disler, Uri Gershuni, Csaba Kis Róka, Elke Krystufek, Andrea La Rocca, Simone Loi, Mustafa Sabbagh

Vernissage__Saturday 9 June 2012 at 5.30 p.m.

9 June – 15 July 2012

Fri-Sat-Sun__2.00-6.00 p.m.

 

On 9 June 2012, the CACT CENTRE OF CONTEMPORARY ART IN CANTON TICINO is opening the group exhibition DEEP INSIDE. DISSOCIATIONS.

This topic was inspired by thinking about the definition of new linguistic expressions, which are transformed in relation to a society that is undergoing total change and to the development of internet tribes, who are capable of overturning our conception of aesthetics and how we go about communicating. And there’s no getting away from it: no institute or art museum is immune. The fall of the two opposing blocks of Communism and Capitalism and the renewed serious questioning of the concept of avant-garde, which – as was thought – could have combined rather well with that of Modernity, put the artist and the originator of thinking at the heart of a discussion that reshapes them both by adopting new societal and cultural positionings. Transmedia has already pushed multimedia to one side and the identity of the museum is also in the process of being redefined.

It is truly fascinating to observe how society has been transformed in the last few years from a conceptual corpus, driven by collective methods, to a heterogeneous tactile identity, in which each individual seeks his or her personal identity and place in a network of collective codes. The return to tactile constitutes the return to “reality”, both in art and in everyday society, where the mystifications of philosophical, sociological and/or analytical thinking have lost the vast majority of their conceptual and ideological impact on the idea of the social group, offering a breathing space to the free individual and to his values. The return to tactile obliges us to embark on a thoroughgoing analysis of the museum, not only as a garden in which we see, but also as a place in which we act. Hence we find the application of the idea of “performance” – ventilated a few years ago as a return to a psycho-geography of the artistic persona, as a sharing between object and subject – embodied in the development of figuring through Expressionism and the sensuality of the sensual and psychic body.

Reiterating, seeking one’s own identity and peculiarity outside the bounds of a collective interest, like defining one’s Id as a man, rather than one’s Ego as an artist, seems to be one of today’s priorities.

The artists taking part in this show are Kisito Assangni (Togo/UK), Katia Bassanini (CH), Martin Disler (CH), Uri Gershuni (IL), Csaba Kis Róka (HU), Elke Krystufek (A), Andrea LaRocca (I), Simone Loi and Mustafa Sabbagh (I).

Transmedia is unquestionably one of the outlines that mark the choice of the artists in this exhibition: not so much the affirmation of a means of production, as its negation through an aesthetic of the use of artistic language, rather than the aesthetic desire of a means of production. The mythical and uncertain freedom that sets contemporary society apart, deprive(d) of ideological benchmarks, obliges every one of us to face up to analysing the image and the enigma of representation on the art scene. The passage to a more tactile existential dimension, conceptually less mystified, heterogeneous and disenchanted with an historical social model that closes a millennium and two centuries of a bourgeois approach to the societal dimension, must of necessity drive us towards vigorous, stark forms of human Expressionism.

Mario Casanova, 2012 [translation Pete Kercher]

During the exhibition there will be a performance by Andrea La Rocca entitled HEY BOY!; looped from 6.30 p.m. until 8.00 p.m.

 

MACT/CACT is financially and culturally supported by Repubblica e Cantone del Ticino, City of Bellinzona, Alfred Richterich Stiftung Kastanienbaum, Immobiliare Bellinzona, Friends of MACT/CACT.

A special thank goes to Caterina Ruju of Marco Magnani Association Sassari and Chelouche Gallery Tel Aviv.

YESTERDAY'S SUN by Uri Gershuni at Chelouche Gallery Tel Aviv

YESTERDAY'S SUN

Uri Gershuni

10 May – 23 June 2012

Chelouche Gallery

7 Mazeh St. Tel Aviv 65213

Tel: 972.3.6200068

www.chelouchegallery.com

 Uri Gershuni, Lacock Abbey in Wiltshire, 2012 (courtesy Chelouche Gallery)

Poet Wisława Szymborska, in an imaginary conversation with Ecclesiastes, challenges him with cunning shrewdness: "'There's nothing new under the sun': that's what you wrote, Ecclesiastes. But you yourself were born new under the sun. And the poem you created is also new under the sun, since no one wrote it down before you. And all your readers are also new under the sun, since those who lived before you couldn't read your poem." (1)

The series of photographs featured in Uri Gershuni's exhibition - in itself, a contemplation of the notions of newness and sun in their photographic context - lacks the reconciled innocence underlying Szymborska's statement. It is imbued with an antithetical despair, and its conclusions transpire on the verge of an abyss, as it were. Gradually, however, their proximity will be revealed.

The exhibition seems to be underpinned by the realization that the sun that shines on us is, in itself, rather ancient, and that in an irreversible process which cannot be altered, it will evolve within about five billion years to a star unable to produce warmth and light. Sharp fluctuations in temperature would cause the sun to shed its outer layers, forming a planetary nebula moving around the nucleus of the shrinking sun slowly cooling in space. The sun too will cease to exist.

There is no artistic medium like photography so inseparably tied with the sun. Its idiosyncratic language is distinguished by its dependence on natural astrophysical processes originating in sunlight. When these processes are imprinted in the chemistry of the photographic paper, the photograph transforms into a perfect melting pot between the technological and the living, a contact point between man and the stars, mediated by a light-registering apparatus. The act of photography is a desperate attempt to fish out something illuminated in an infinite universe, to leave a hint of our being; the camera as a box for capturing tiny physical occurrences, the "Pencil of Nature" as per the ever so accurate title of the book by the pioneer of photography, William Henry Fox Talbot. (2)

Gershuni's photographs appear as though they have been created in a world struck by a process of extinction, under a disappearing sun and its gradually waning light. His journey to the village of Lacock in Wiltshire, England - Talbot's hometown - which spawned these photographs, essentially calls to mind worshippers swarming holy sites on the eve of an apocalypse.

The photographs in the exhibition document Talbot's habitat as it appears in the present. Some of them contain objects and places which were the subject of the first photographs in history. Gershuni's new photographs blend with the memory of Talbot's photographs - especially the oriel window at Lacock Abbey, the earliest known surviving example of a photographic negative and a photogenic print - like a chemical collision between beginning and end. It is as though in Gershuni's fusion of his photographs with the memory of Talbot's photographs, we witness a nuclear occurrence, a catastrophe which melts epilogue into prologue, while everything between them burns and melts away.

 Uri Gershuni, Mr. Kronnagel (Bambi), 2009 (courtesy Chelouche Gallery)

 

Had the universe suddenly reversed the direction of its expansion, it would have turned backwards, toward the Big Bang, and disappeared anew into the void. Gershuni does exactly that: a deep despair with photography's ability to innovate and excite, as well as thoughts about the dying sun on which photography as a whole is dependent, have motivated him to embark on a journey back to the starting point, to the realms of the "Big Bang" that gave rise to the pristine act of photography, perhaps in an attempt to be swallowed up by it and disappear into a black hole.

To prove that only the moment in which things - universes, planets, or human beings - are born and die has any meaning, Gershuni proposes to erase and destroy everything ever photographed, except for the first photographs ever taken by man; to try to assimilate into them so as to experience the sense of revelation embodied in Talbot's work, which is still concealed in his photographs. Subsequently, one must die out with the sun, never to photograph again.

Much has been written about the "devalidation" of the photographic act in this overly mapped era which is inundated by images. It seems, however, that Gershuni not only laments the devaluation of photography; he also dares to do what other photographers don't: to catalyze and to be present at its very moment of execution, while voicing a great cry of despair.

Gershuni's journey to Lacock is like a pilgrimage to a shrine to experience or see something that Talbot saw, before the end comes. A closer look at what Gershuni saw there in the moments of truth, however, reveals a less terminal answer than we might have expected. Despite the morbidity and the attraction with cessation simmering in the black, grainy photographs on view, they secretly emanate a wonderful yet silent hope. The first photograph in the exhibition features Talbot's tombstone. While at first sight, it is an image which declares the death of the inventor of photography, and with him, perhaps, the death of photography as a whole, and as such - it invokes a sense of bowing to dead ancestors, on second thought it is also a photograph featuring a sculptural object made of a durable material which symbolizes the death of a man, while the stone itself lives on.

Thus, in his very first photograph here, Gershuni declares the ability of a given substance to survive long after the materials from which our bodies are made. The series of images continues. From the dark surfaces of his photographs, trees, stone paths, ancient gates, bridges, tables, and latticed windows pop out - an assortment of objects that existed before Talbot's time and continues to exist years after his death.

Do these photographs, despite the withering images of mildew and damp and the bubbling, burnt photographic paper, in fact symbolize survival, subsistence, attesting to Gershuni's secret belief in the chance to be saved? Perhaps even a belief in a form of new life after the end of days? If an object, a piece of furniture, a structure, or a plant, can survive and still leave an indelible impression of the person who created it or came in contact with it, even after the latter's death, can not an art work do the same?

Gershuni's renewed belief in photography's ability to form a memory, a material incarnation of a former life, erupts from his surprising photographs of a human figure - Mr. Kronnagel - whose gaze is penetrating and direct. While observing the photographs depicting objects - which are akin to an invocation of ghosts, knowing that they are unaware of our observing them, as if we didn't exist, and that they are oblivious of us since they will long outlive us - is disconcerting, Mr. Kronnagel is well aware of our presence; he knows that we breathe on the other side of the camera, hence he constitutes an image which is all a living, breathing, present presence, much more than the sacred past around him. Thus he deserves to leave behind photographic evidence of his existence.

Uri Gershuni, Mr. Kronnagel (Bambi), 2009 (courtesy Chelouche Gallery)

Now behold the photograph of a vehicle moving swiftly in a field (perhaps it is an ambulance, hence an image of resuscitation?), implying more life within the desistence, life moving from here to there, eternally frozen by the camera. When has a photograph last elicited such basic excitement in its ability to intervene with the flow of time and treasure life in light?

Talbot and Gershuni are indeed absent from the photographs, because in their destructive encounter both have been annihilated, whether physically or metaphorically. But photographs of other people, akin to survivors from a disaster zone, bespeak a life found which is yet to be documented, and life yet to be documented is still a belief in something new under the sun.

Gershuni has fulfilled the most basic commandment of photography: to offer evidence of the photographer's journey, whether inward or outward, into the distance; to constitute proof of the photographer's discoveries and revelations, whose photographable texture he perpetuated for us. Had every person been given the unique chance to travel in time, his choice, whether to move forward or back, would greatly attest to his sources of curiosity, his beliefs, and his hope. Gershuni chose to travel back in time to the nascent moment of the photographic medium, which is also the beginning of its expiration, hence a point of destruction. He plunged into a dark, suicidal crisis of faith that had taken over him, and looked straight ahead. He experienced within himself powerful moments of contradiction, a split between the faithful and the heretic within him: Is there an "afterlife"? Does the photographable imply eternity? Is there anything left in this expendable world worthy of being photographed? Is there a merciful Great Father capable of explaining our disappearance from the world virtually without leaving a trace? And if the moments of birth

and death are the essence, is it not vital that we meet the propagator, who is supposed to die before and in front of us, at the moment of his death?

Gershuni's photographs are like souvenirs from a voyage to the end of the world taken by a believer who has lost his path and now tries to find it again. He has found it in the masturbation photograph: Even if it might appear like sacrilege, as defiance against "wasting

of one's seed," even if it celebrates the physical, the flesh, the corporeal, the expendable, this photograph is nevertheless blended with a different spiritual sanctity, the sanctity of the Blessing of the Sun and Sight, because we are observing a new man before us, under the sun, in a moment of vitality.

Sometime in 1839 - a temporal view which is emptied of meaning vis-à-vis infinity - Talbot exposed a negative to the sun. All of a sudden, light was rendered dark and black, while darkness transformed into whiteness. This is what Gershuni discovered under yesterday's sun.

Amir Kliger

Notes

1. Wisława Szymborska, "The Poet and the World: Nobel Lecture 1996," in Poems: New and Collected, trans. Stanisław Barańczak and Clare Cavanagh (New York: Harcourt, 2001), p. xvii.
2. William Henry Fox Talbot, The Pencil of Nature (1844) (New York: Da Capo Press, 1968).

MACT/CACT COLLECTION. Videoarte dal Centro Arte Contemporanea Ticino di Bellinzona (Svizzera)

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MACT/CACT COLLECTION. Arte video dal Centro Arte Contemporanea Ticino di Bellinzona (Svizzera)
a cura di Mario Casanova (Direttore MACT/CACT) in collaborazione con Pier Giorgio De Pinto

Vernissage 9 – 10 Maggio 2012, 18:30 – 21:00
9 – 31 Maggio 2012

Mirko Aretini, A Quiet Moment, 2009

[.BOX] in collaborazione con VisualContainer hanno il piacere di ospitare una selezione antologica di opere video a 1 canale provenienti dalla collezione del MACT/CACT Arte Contemporanea Ticino, Svizzera.

La selezione, dopo un’accurata scelta, rappresenta un piccolo spaccato e un résumé delle scelte del MACT/CACT effettuate dagli anni ’90 fino ad oggi.

Gli artisti in mostra: Mirko Aretini, Shahryar Nashat, Paolo Ravalico Scerri, Silvano Repetto, Valter Luca Signorile, Marco Villani, Massimo Vitangeli.

Il CACT Centro d’Arte Contemporanea Ticino è stato fondato nel 1994 con lo scopo di organizzare esposizioni d’arte contemporanea internazionale, nonché realizzare pubblicazioni tematiche. L’istituzione, nel 1996, di un tesseramento combinato con riviste d’arte specializzate ha incentivato le collaborazioni tra spazi d’arte e musei, così come la diffusione della produzione artistica delle nuove generazioni. Nel 2009 è stato creato il MACT Museo d’Arte Contemporanea Ticino, le cui finalità sono di indicare nuove modalità di presentazione di opere provenienti da collezioni d’arte contemporanea private.

www.cacticino.net

MACT/CACT Arte Contemporanea Ticino
via Tamaro 3
6500 Bellinzona
Svizzera



OPERE

Mirko Aretini (1984)
Life and shadow, 2009
Video, 4’53’’

Mirko Aretini (1984)
A quiet moment, 2009
Video, 1’30’’

Mirko Aretini (1984)
The Body Identity, 2010
Video installazione composta da 7 video
2.    1’32’’
4.    1’31’’

Shahryar Nashat (1975)
Décompensation (break-down), 1999
Video, 4’00’’.

Paolo Ravalico Scerri (1965)
Prova di forza, 1998-2004
Video, 11’30’’

Paolo Ravallico Scerri (1965)
Escape, 2006
Proiezione a 3 canali

Silvano Repetto (1968)
Il Soffio, 1997
Video 6’00’’

Silvano Repetto (1968)
Presenze trasparenti, 1999
Video 30’00’’

Valter Luca Signorile (1965)
Jerusalem #1, #2, #3, 2007
Installazione video a 3 canali o 3 video, 1’12’’, 1’09’’, 1’10’’

Marco Villani (1973)
Lexotan poem, 2008
Video

Massimo Vitangeli (1950)

Morning Star 2, 2004
Video 1’40’’

Massimo Vitangeli (1950) 

Sublime Clandestine, 2005
Video 1’22’’

Massimo Vitangeli (1950)
Terribly Sweet, 2005

Video 4’24’’






MACT/CACT COLLECTION. Video art from the Centre of Contemporary Art in Canton Ticino, Bellinzonacurated by Mario Casanova (Director MACT/CACT) in collaboration with Pier Giorgio De Pinto

Vernissage 9 – 10 May 2012, 6.30 - 9.00 p.m.
9 – 31 May 2012

Marco Villani, Lexotan peom, 2008

[.BOX] in collaboration with VisualContainer are pleased to present on the 9th of Mayan anthological selection of single channel video works from the collection of MACT/CACT Contemporary Art in Canton Ticino, Switzerland.

This range, after a strict selection as far as the length and the possibility of projecting them, represent a small split and a résumé about the choice MACT/CACT made from the 90s until now.

The featured artists are Mirko Aretini, Shahryar Nashat, Paolo Ravalico Scerri, Silvano Repetto, Valter Luca Signorile, Marco Villani, Massimo Vitangeli.


The CACT Centre of Contemporary Art in Canton Ticino was founded in 1994 to organize international contemporary art exhibitions and to issue thematic publications. When membership was combined with subscriptions to international art magazines in 1996, the result was to provide further incentive to art spaces and museums to work together, while also improving the diffusion of young artists’ output. In 2009, the MACT Museum of Contemporary Art in Canton Ticino was founded to identify new ways of presenting works from private contemporary art collections.

www.cacticino.net

MACT/CACT Arte Contemporanea Ticino
via Tamaro 3
6500 Bellinzona
Switzerland

WORKS
Mirko Aretini (1984)
Life and shadow, 2009
Video, 4’53’’

Mirko Aretini (1984)
A quiet moment, 2009
Video, 1’30’’

Mirko Aretini (1984)
The Body Identity, 2010
7 channels video installation
2.    1’32’’
4.    1’31’’

Shahryar Nashat (1975)
Décompensation (break-down), 1999
Video, 4’00’’.

Paolo Ravalico Scerri (1965)
Prova di forza, 1998-2004
Video, 11’30’’

Paolo Ravalico Scerri (1965)
Escape, 2006
3 channels projection

Silvano Repetto (1968)
Il Soffio, 1997
Video 6’00’’

Silvano Repetto (1968)
Presenze trasparenti, 1999
Video 30’00’’

Valter Luca Signorile (1965)
Jerusalem #1, #2, #3, 2007
3 channels installation or 3 videos, 1’12’’, 1’09’’, 1’10’’

Marco Villani (1973)
Lexotan poem, 2008
Video

Massimo Vitangeli (1950)
Morning Star 2, 2004
1’40’’

Massimo Vitangeli (1950)

Sublime Clandestine, 2005
Video 1’22’’

Massimo Vitangeli (1950)

Terribly Sweet, 2005 (16:9)
Video 4’24’’