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curated by Marco Tonelli and Bruno Corà
Almost twenty-five years later, Gianni Asdrubali (Tuscania, 1955) is again a protagonist in Spoleto, with a solo exhibition that takes stock of the work of one of the most interesting contemporary Italian painters, who established himself on the national and international scene as an innovator of abstract, aniconic and gestural research since the 1980s.
The exhibition, curated by Marco Tonelli (Director of Palazzo Collicola) and Bruno Corà (President of the Foundation Palazzo Albizzini Collezione Burri and member of Palazzo Collicola’s Scientific Committee), is a retrospective of his work through the most representative and enigmatic as well as evocative cycles of paintings such as Aggroblanda, Trigombo, Malumazac, Zeimekke, Azota, Stoide, Azotrumbo, Tromboloide.
Scheduled for 21 March, suspended due to the Covid-19 lockdown, the exhibition vibrantly announces the reopening of Palazzo Collicola and its activities, albeit with many changes in programming due to the pandemic.
The exhibition’s title Surfing with the Alien (one of the most famous tracks by American virtuoso and brilliant guitarist Joe Satriani), means to communicate the unstable balance, dizzy leaps and acrobatics in the void of a dynamic painting that looks like fluctuating in the dimensions of space, each time generating new plots and surprising trajectories.
As Asdrubali himself once wrote: “Surfing is an action generated by absence. But this surfing is not smooth, it is contrastingly bumping, it is running away, going away, to then return and bang into its own beginning, but every time it returns and bumps into itself it deforms and opens the structure, transforming the ‘figure’ of the image, which is never the same. The interaction is the figure of this struggle, of this contrast between surfing and the alien”.
Asdrubali’s figure is an extreme one, an artist whom critic Filiberto Menna listed in the Astrazione povera group, Flavio Caroli in that of Magico primario, and that Giovanni Carandente invited at the Venice Biennale in 1988.
At Palazzo Collicola, the exhibition unfolds through the rooms at the ground floor, which once housed the permanent collection of the Modern Art Gallery (since 2019 rearranged at the museum’s second floor), where two other works by Asdrubali are kept, including a spectacular Tromboloide from 1992. An interactive project, ZUMBER, by the ORAMIDE research group, has been realized on this work and will soon be available on the museum’s website http://www.palazzocollicola.it
The exhibition will be open to the public from 27 June to 13 September 2020, it has been realized with the collaboration of Galleria Giraldi, Galleria A Arte Invernizzi, Galleria Matteo Lampertico, Galleria Consorti. During the exhibition, a catalogue with texts by Marco Tonelli, Bruno Corà and an interview with the artist Davide Silvioli will be published.
June-July: Fri-Sun 10.30-13.00 / 15.30-19,00
August-September: Thur 15.30-18.30 | Fri-Sun 10.30-13.00 / 15.30-19,00
Open to the public from 4 July (15.30) to 13 September 2020
Appartamento Nobile, Palazzo Collicola – Spoleto
Project realised thanks to the Exhibit Program | Directorate General for Contemporary Creativity of the Ministry of Cultural Heritage and Activities and Tourism
July: Firday-Sunday, 10.30-13.00 / 15.30-19.00
August and September: Thursday 15.30-18.30 – Friday-Sunday 10.30-13.00 / 15.30-19.00
Although all of Paolo Canevari‘s work can naturally be said to be “in black” and has always been conveying obscure contents, no one would ever think to relate it to disturbing facts of our existence exactly when we experience them. But art has a role in history, especially when it tells us something profound about the times we live in, like them or not; in this sense Canevari’s work is as relevant as ever.
The black hole of the pandemic that has shaken the world’s economy, affections, social relations, vision of public and private life, is in some ways an integral part of the tragic and recurring stories that characterize our global era: Canevari’s work lies exactly in this flow.
An articulated exhibition at Palazzo Collicola, in a path that winds from outside the museum with a real symbol (a sculpture unpublished and specially made for the occasion) of the freedoms suspended during months of lockdown around the world and of the many losses that have made the US the nation with the highest number of victims (100.000 at the time of writing): the Freedom of the Monuments of Memory cycle (the statue that illuminates the world, better known as the Statue of Liberty) landed on the external base of the sculpture in Piazza Collicola. While waiting to get up again in a definitive way, the work presents itself as a monument not to forget, to remember and to overcome a collective mourning and an evil that is not yet defeated.
A sign that contemporary art can and must at times confront us with the hardest and most tragic reality, communicating the violence of our times without rhetoric, without false embellishments, even at the cost of posing as an anxious, perturbing object.
Materia oscura (Dark Matter) unwinds then inside the Piano Nobile of Palazzo Collicola, following a path that sees the exhibition of more recent works (sculptures and drawings) from the Monumenti della memoria cycle created between 2016 and 2020 (Vasi, Altare, Tappeto, Landscape), historical sculptures such as Lupe Romane, ThANKS, Colossei and J.M.B. and a selection of video works from the 2000s inspired by the theme of fire such as Burning Skull, Burning Gun, Burning Colosseum, Burning Mein Kampf.
In the contrast between the magnificence of the Appartamento Nobile, the 18th century residence of the Collicola family, rich in antique paintings, gilded frames, frescoes and precious marbles, and Canevari’s “dirty”, cathartic work, a mechanism of alarm, emergency, surprise is intentionally set in motion, keeping the conscience of history awake, in a continuous, interrupted flow back and forth between past, present and future.
Paolo Canevari (Rome, 1963). After graduating from the Academy of Fine Arts in Rome, in 1999 he participated in the XIII Quadriennale in Rome and in 2000 he had solo exhibitions in Rome at the Stefania Miscetti Gallery and the Center for Academic Resources in Bangkok. In 2001 he held solo exhibitions in Siena at the Palazzo delle Papesse and many others between 2002 and 2019 at the Christian Stein Gallery in Milan. In 2004 he held the solo show Welcome to OZ at P.S.1 in New York curated by Alanna Heiss, in 2006 A Couple of Things I Have to Tell You at the Sean Kelly Gallery in New York and presented the work Rubber Car at MART in Trento and Rovereto as part of the exhibition Mitomacchina, and also participated in the Peace Tower project at the Whitney Museum of American Art Biennale in New York.
In 2007 he exhibited at MACRO in Rome with the solo show Paolo Canevari – Nothing from Nothing, and participated in the LII Venice Biennale curated by Robert Storr with the video Bouncing Skull, which will become part of the permanent collection of the MoMA in New York. In 2008 he held the solo show Decalogo at the Istituto Centrale per la grafica-Calcografia Nazionale in Rome, while in 2010 he held the solo show Paolo Canevari – Nobody Knows at the Pecci Museum in Prato, curated by Germano Celant and the solo show Odi et Amo at the Galleria Nazionale d’Arte Moderna in Rome. In 2011 the solo show Decalogue at the historic institution The Drawing Center in New York is curated by Brett Littman and in 2015 it is included in Arts&Foods. Rituals since 1851, curated by Celant at the Triennale di Milano, as part of the events of Expo Milano.
In 2015 the permanent work Souvenir is presented at the Olnick Spanu Art Program space in Garrison (New York) and in 2018 he is invited to the first Bangkok Biennale. His drawings from the 1990s series Memoria Mia are published in the book of short stories I tacchini non ringraziano by Andrea Camilleri. In 2020 he participated in the following exhibitions: Selfportrait of the artist as a clown at the Gallery Antwerp & Knokke, La Rivoluzione Siamo Noi Collezionismo italiano contemporaneo and Urban Landscapes Human Code at Dip Contemporary Art in Lugano.
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06049 Spoleto (PG)
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