Jeanette Hayes is a painter/multi-media artist based out of New York City, originally from Chicago who recently received a BFA from Pratt Institute. Her work addresses the traditional preservation of non-traditional technological imagery through her painting, video, photoshop work and internet collages. Hayes’ interests include cultural phenomena and the confrontation of conventionality and subject matter. She has shown with Half Gallery, the Hole and Bleecker Street Arts Club. Hayes has made animated GIFs and videos for Proenza Schouler, CHANEL and Opening Ceremony and is currently doing an artist sponsorship with BlackBerry. ID Magazine put her on their 30 under 30 list, Complex Magazine chose her as an artist to watch in 2013 and most recently the New York Times featured her in their first “Up Next” column. Jeanette Hayes currently lives in Soho, New York. An Idea by Antonio Salieri and Federico Schott.
Curated by Antonio Salieri. Coordinated by Damiana Leoni. Press Office Luisa Bertoldo.
"After a particularly intense drug-hallucination (Salvia), I began to visualize a rich sea of yellow, so rich that I could actually taste it. I took a large piece of foamcore and traced what was inside my mind. That painting, "Bird Godhead" was my first yellow one.
I found an ominous feeling in the yellow flesh of big-bird - an ancient mummified cartoon where the yellow seeped in and out from background to foreground.
Since then I've been mining his golden skin and pink/blue eyes for digital coins, reconstructing the videogame-like Houseface world into a neoclassical civilization of generals, aristocrats, workers, and ducks."
Adam Aladdin Green, NYC
Having released eight solo albums in ten years Adam Green is already renowned around the globe as one of music’s most unique and prolific songwriting talents.
A New York native, Green was just 17-years old when he recorded and released his first album. As part of the downtown antifolk scene at the end of the nineties he made up one-half of The Moldy Peaches, the acclaimed duo with Kimya Dawson that enjoyed belated mainstream success via the Grammy-winning soundtrack of the 2007 Academy Award-winning movie Juno.
As a skinny and effervescently articulate teenager he was a regular fixture at East Village music clubs. His poignant and idiosyncratic song writing was matched by a contagious excitement and enthusiasm for his craft. Since then, the former troubadour wunderkind has become a notable figure to indie-pop fans around the world, making regular appearances in arts and culture magazines, television shows, music clubs and festivals. In Europe he established himself as a bone fide pop star with charts hits like “Jessica”, “Emily” and “Morning After Midnight”. When The Moldy Peaches belatedly found their place at #1 on the Billboard Charts, via the Juno soundtrack, Green had already enjoyed a string of successful albums under his own name and was deep into the creation of his films and visual art.
Recently his almost eruptive bursts of creativity have led him into the world of movies and visual arts, with writing/producing/directing and acting in The Wrong Ferarri,- a feature length “screwball tragedy” shot entirely on the iPhone and starring Macaulay Culkin, Alia Shawkat, Devendra Banhart, Francesco Mandelli, and Sky Ferreira - as well as the staging of four visual art exhibitions in New York City.
While on tour for his album Gemstones in 2005 Green exhibited a series of drawings called Animal Dreams at Loyal Gallery in Stockholm, Sweden. Following his debut NYC art show Teen Tech in 2010 Green became the first artist to show at Dustin Yellin’s Red Hook space, The Intercourse, with his Cartoon And Complaint exhibition. Cartoon And Complaint, inspired by such disparate characters as Garfield and Aladdin, was quickly followed by another solo exhibition, Houseface, at The Hole gallery in downtown NYC in August 2012. Exhibition A released 3 prints from that show in October 2012. Most recently he has formed an art collective 3MB with Macaulay Culkin and Toby Goodshank. Their first exhibit Leisure Inferno opened at Le Poisson Rouge Gallery in October 2012.
Green kicked off 2013 with “Medieval Businessmen,” an exhibit of drawings and paintings at Loyal Gallery in Sweden. In July he will show his visual art for the first time in Italy with “The Yellow Show”, a solo-exhibit at Motel Salieri in Rome.
While creating visual art and film has become a fully realized passion for Green, his boundless energy for creative arts has most recently resulted in a brand new musical project. Adam Green & Binki Shapiro’s debut eponymous album will be released in January 2013. The bi-coastal friendship-turned-musical-partnership is one of tender duets, written by the pair in the wake of coincidentally simultaneous romantic disappointments.
His next project will be a film version of the Arabian Nights story "Aladdin," of which he will also compose the soundtrack.
Of his now multifaceted career Green, says: “You know how people are always looking for a unifying theory? I was looking for a unifying theory of artistic expression. I was trying to create some kind of fluidity within my music, art, writing. If you listen to my songs, you see they're kind of cartoonish. I try to make songs like my paintings. When creating my movie, I tried to create more of a song.”
Photo Exhbition and live performance curated by Carlo Benvenuto.Jandek: si è dubitato persino della sua esistenza.
Di lui si conosceva un recapito, una casella postale registrata con il nome Corwood Industries e una lunga serie di album in vinile di cui è unico responsabile; musiche, testi e immagini, interprete vocale e musicista.
Questi dischi si possono ordinare scrivendo a quel fermo posta e la Corwood Industries si occupa di spedirteli a casa, i costi di invio sono a loro carico.
Ma la cosa più fuori dal comune accade quando si riceve il pacco: la musica contenuta e le immagini delle copertine sono così straordinarie da lasciarti sbigottito: Jandek è nel mezzo di un viaggio unico e ci manda questi dischi che sono come cartoline postali. Lui velocissimo e concentratissimo, viaggia dentro di sé con un bagaglio minimo: se stesso, mente e carne. Prima di partire ha salutato tutti, persone e cose e, emozionato, ne ha sintetizzato il ricordo. La sua memoria è carica dello struggimento per ciò che ha lasciato, ne conserva la meraviglia, il tuffo al cuore, l'intima verità. Addio alla materia delle cose, al peso, addio alla superficialità, alla decorazione. Isolato con i suoi sentimenti ricostruisce le suggestioni che ha lasciato. Scarnifica il corpo poetico fino a raggiungerne l'osso e poi il midollo. Sottrarre tutto, togliere, sacrificare nel nome della purezza espressiva alla ricerca dell'arte.
Le canzoni come le sue fotografie sono svuotate di tutto, armonia, melodia, tecnica, vuote tranne che della propria visione, che, libera da ogni zavorra, è pronta a risplendere.
Nella sua personale ricostruzione delle emozioni del mondo di cui ha avuto esperienza, Jandek ha inventato un alfabeto di cui si serve per riprodurre giusto l'essenza, l'anima del nostro linguaggio.
E quando canta è la voce di un alieno con le idee chiare: la nostalgia per qualcosa che si comprende solo una volta abbandonato; la voglia di evocarlo perché dentro di sé la cosa è più vera quando raccontata di quando è vissuta. Le fotografie che ci ha fatto conoscere sono dei documenti della sua vita passata. Sovente sono angoli di casa, del suo giardino, ritratti di lui adolescente rinvenuti negli album di famiglia, o autoscatti frutto di qualche curiosità giovanile: guardarsi dal di fuori, come il mondo mi può vedere,
percepire. In seguito compaiono degli strumenti musicali, tra tende rosa o piccole scrivanie, abbacinati dal sole. Ne consegue che il soggetto è sempre lui medesimo, i suoi oggetti e i luoghi che ha abitato, fosse anche solo per poche ore. O c'è la sua immagine o c'è quello che per puro caso ha di fronte a sé nel momento in cui impugna la macchina fotografica, la prende dallo scaffale o la estrae dalla borsa e scatta. Non compaiono mai altri esseri umani, tavolta dei simulacri: manichini.
Nel 2004 Jandek, inaspettatamente, tiene un concerto a Glasgow. E si mostra in pubblico. Dal 1978 fino ad allora non si era mai fatto riconoscere. Ma chi osserva attentamente il corso cronologico delle sue fotografie poteva aspettarsi questa comparsa. A cominciare da circa 2 anni prima del concerto scozzese, di tanto in tanto, sulle copertine pubblica fotografie di paesaggi estranei alla sua interiorità, scorci di vicoli, vetrine di negozi, lui che cammina per Londra. Si poteva forse intuire da questi segnali che Jandek era ritornato dalla sua esplorazione interiore e ci stava portando qualche cosa di compiuto, qualche cosa di definitivo.
E ha intenzione di mostrarcelo di persona.
Questa è la prima mostra al mondo di Jandek, la prima di sempre. E ha deciso di esporre 7 fotografie originali, che hanno illustrato altrettanti album. Lui le ha scelte e le ha fatte stampare a Houston, Texas, ne ha deciso il formato e la carta. Ne ha curato la realizzazione e le ha spedite a Motelsalieri. Dove ha pensato di suonare accanto alle sue opere sommando, senza matematica, poesia a poesia.
OMMU is an Athens-based agency which focuses on the distribution of art publications. Founded and curated by Marina Legaki and Tasos Gaintatzis, the OMMU catalogue includes a wide variety of projects on paper: from magazines to monographs, exhibition catalogues, zines and artist's books, specializing on independent and self-published products.
In occasion of their temporary shop, OMMU will present a selection of the 100 titles which best represent their catalogue. a project by NERO
Curated by Giorgio Mortari and Gianluca Marziani. Dissonanze proudly present Tristan Perich: 1-bit show, solo exhibition of one of the most promising artists in the art and music contemporary scene, and winner in 2009 of the prestigious Prix Ars Electronica.
Tristan Perich: 1-bit show features 3 installations from Interval Studies and some Machine Drawings. On the opening night, the artists will make a special solo 1-bit performance.
Interval Studies are aluminum panels with around 50 to 100 speakers on each that each emits a single 1-bit tone. Cumulatively their pitches micro-tonally span musical intervals, like a half step, dividing it into dozens of slivers and presenting them at individual points in space, like a window on the spectrum of frequency. The Machine Drawings - pen on paper or wall drawings executed by a custom-built machine - use randomness and order as raw materials within a composition. Inspired by physics and math, the machine drawings are a combination of the delicacy of real drawings and the rigid, structured system of mechanics and code.
Pianist and composer, Tristan Perich is inspired by the aesthetics of math and physics, and works with simple forms and complex systems. The challenge of elegance provokes his work in acoustic and electronic music, and physical and digital art. His visual art and the music he writes combining 1-bit electronics and acoustic instruments are similar in aesthetics. Both use simple computer programs to dictate creative pursuits.
1-bit - the lowest possible digital representation of audio – is at the basis of his work. 1-Bit Music, one of his most renown projects, started off as an experiment with the foundations of electronic sound, culminating in 2006 in a physical "album," a music-generating circuit packaged inside a standard CD jewel case. The Village Voice calls the device “technology and aesthetic rolled into one” and Surface Magazine calls the 1-Bit Music boxes “profound throwbacks to the traditional album, a response to the intangibility of iTunes and mp3s in the form hand-held artwork.” Working with 1-bit music profoundly influenced his music for acoustic ensembles, resulting in dual compositions for musicians with 1-bit music accompaniment, pairing the performers with on-stage speakers. His new circuit album, 1-Bit Symphony, is a long-form electronic composition in five movements. Its music explores the intricate, polyphonic potential of 1-bit audio, uniting simple with complex and celebrating the virtuosity of electricity.
Less strict are the tracks and the shows Tristan does with his experimental music group, the Loud Objects (with Kunal Gupta and Katie Shima), who perform electronic music by soldering their own noise-making circuits, live, from scratch in front of the audience. They have performed and exhibited at festivals around the world, as SXSW and Sonar, and will be in tour in Europe this November.
His works for soloist, ensemble and orchestra have been performed internationally by ensembles including Bang on a Can, Calder Quartet and Meehan/Perkins at venues from the Whitney Museum, P.S.1 in New York to Los Angeles’ Zipper.
The WIRE Magazine describes his compositions as “an austere meeting of electronic and organic.”
As a visual artist, Perich has had solo exhibitions at bitforms gallery (NYC) and Mikrogalleriet (Copenhagen) in 2009, and Museo Carandente (Spoleto) in 2010.
The show is realized with the support of the Culture Department of the Council of Rome.
Curated by Francesco de Figuero and Valerio Mattioli.
"Rainforest is an irregular gathering somewhere in Rome. It deals with
strange, weird, crooked and noisy sounds, from postnoise to new age
punk to freak psychedelia to hypna-dance: tons of pedals, bent people
howling into microphones, pagan rituals, intestinal ulcers...
To each event is related a limited edition zine from the same bands
that will perform that night. The name of the zine is, of course,
Rainforest." Valerio Mattioli
in collaboration with ZELLE ARTE CONTEMPORANEA.
artists: 108. Adalberto Abbate. Giuseppe Adamo. Sergio Amato. Andreco. Ango The Meek Dead. Francesco Balsamo. Orazio Battaglia. Alessandro Bazan. Jacopo Benassi. Zaelia Bishop. Massimiliano Bomba. Bombo. Marcello Buffa. Cristian Bugatti. Andrea Buglisi. Giuseppe Buzzotta. Mirko Canesi. Giancarlo Cappello. Jacopo Casadei. Marco Cassarà. Andrea Cerruto. Gabriella Ciancimino. Diego Cinquegrana. Gianni Colosimo. Giuseppe Costa. Francesco Costantino. Angelo Crazyone. Andrea Curti. Dario D’Alessandro. Francesco De Grandi. Giovanni De Lazzari. Dem. Demented Urania. Angelo Di Dedda. Claudia Di Gangi. Alessandro Di Giugno. Andrea Di Marco. Fulvio Di Piazza. Fada. Pierpaolo Febbo. Grace Fisher. Francesco Fontana. Simone Geraci. Massimo Giacon. Laura Giardino. Daniel Giordano. Daniele Giunta. Valentina Glorioso. Tommaso Gorla. Massimo Gurnari. Federico Gutierrez Schott. Leeza Hooper. Michael C. Hsiung. Adelita Husni-Bey. Emanuele Kabu. Laura Lamoratta. Giuseppe Lana. Andrea La Rocca. Filippo La Vaccara. Francesco Lauretta. Filippo Leonardi. Jorge Lopez. Tiziano Lucci. Anita Luperini. Federico Lupo. Maba. Luca Macauda. Pietro Mancini. Federico Mazzoni. Marco Mazzoni. Dario Molinaro. Moneyless. Ignazio Monteleone. Gianni Moretti. Sebastiano Mortellaro. Fabiola Nicoletti. Silvia Noferi. Andrea Nurcis. Pietro Palazzo. Simone Pappalardo. Danilo Pasquali. Lorenzo Passanante. Pastorello. Tuono Pettinato. Cosimo Piediscalzi. Dr. Pira. Nike Pirrone. Linda Randazzo. Elena Rapa. Giampiero Riggio. Stefania Romano. Marco Carli Rossi. Diego Ruggiero. Laboratorio Saccardi. Manlio Sacco. Antonio Salieri. Pietro Sedda. Raffaele Semeraro. Fabio Sgroi. Siva. Stefano Serusi. Vito Stassi. Stato di Famiglia. Francesco Tagliavia. Maria Francesca Tassi. Marcello Tedesco. Tellas. Alessio Tibaldi. David Tibet. Filippos Tsitsopoulos. Fernanda Veron. Daniele Villa. Sergio Zavattieri. Michele Zingales.
Curated by Valerio Mattioli and Massimiliano Bomba.The French publication NAZI KNIFE represents one of the key names of the outsider art of the past decade. Partly a fanzine and partly an artits graphbook, the 'creature' of Jonas Delaborde e Hendrik Hegray has published the best of the american and european dessin contemporain: around the Paris based ‘zine condensed a network of artists and illustrators ranging from Mat Brinkman to Shoboshobo, from Mike Diana to Leif Goldberg, from Christopher Forgues to Stephane Prigent; optical abstractions, crooked pen sketches, found photographs, naif recollections and childish Do It Yourself, the pages of NAZI KNIFE represent a manifesto of an extremely active and branched scene, with a geography of names from Paris to New York, from Antwerp to Helsinki, from London to Copenhagen.
During the years the artists of NAZI KNIFE have collaborated with publishers like Nieves and had exhibits in the most important centres of contemporary art and in the usual spaces of the european 'off' scene as well (Nog Gallery, Motto Berlin, Un Regarde Moderne…). Moreover it is impossible to not mention the bond between NAZI KNIFE and the underground music galaxy, in particular the noise/weird/experimental scene (collaborations with Wolf Eyes, limited edition tape and cassette releases, works carrying the names James Ferraro and Spencer Clark…).
From May 8th to the 29th, Motelsalieri will host first italian exhibit of this collective born in Paris four years ago. The two founders Delaborde and Hegray will present the new issue of the paper magazine (now at release number 6), within guest at, the project of “temporary art exhibitions” which has already involved other key names of the world's outsider culture like Daniel Johnston and David Tibet. The spaces of Motelsalieri will host a collettive exhibit with original works coming from the most known contributors of the ‘zine; among them: Andy Bolus (also known as Evil Moisture and long time collaborator of the transnational collective Le Dernier Cri), Shoboshobo (creative studio with collaborations ranging from the New York Times to global clothing firm H&M), Kérozen (aka Stephane Prigent, the 'old master' of French dessin contemporain and founder of Frèderic Magazine), and others.
To complete the exhibit, the schedule of the opening on May 8 includes a music performance with Helicoptère Sanglante, and a wall drawing designed especially for the occasion by Delaborde and Hegray themselves.
Curated by Pericle Guaglianone. Having to choose if to be on the world side or on the language side, Cristian Bugatti would go for the second option. Visual art as semiotic practice doesn’t thrill him, it leaves a bitter taste of formalism, in many works assembled as precision mechanisms he only sees a manufactured urge, which doesn’t emanate directly from mind and heart. On the contrary, the calligraphy of those traditionalists who show off a certified but craft competence appears totally alien to him. Here the world is excluded in another sense, because as in any other profession, even the creative artefact has got its own secrets. On both fronts the sacred attitude of specialized visionary guards is lurking. Neither in one case nor in the other there is room for an artist like Bugatti.
The correlated dichotomy is between the truthfulness of living and the speed of thought, categories which seem to belong to two incompatible spheres, precisely from the point of view of rhythm. On the one hand there is the slow pace of witnessing, of life experience turned into story, of the narrative to believe to; on the other, the mental structure which lives self-content, more movable, which takes shape through lightning and pirouettes. Here again Bugatti doesn’t fit in any framing: he can’t stand the stiffness of this broken timing and consequently he shuffles the cards, he wants to tell the existential side of visible reality but he aims to do it with the least suitable tool, a darting intellect. The intention is to build bridges between the opposing concepts of hospitality and swiftness, to get the break of a witty idea in touch with the emotional imaginary of rational dimension.
“In Rome I feel everybody’s eyes on me”. In this way Bugatti, in the middle of a conversation, offers his vehement and confidential cipher in a condensed statement. There is quite a lot of unsteadiness in an assumption which is open to be translated in an emblematic picture like this, a daze which invests the calming character of meeting as a concept, by connecting it to a Bacchanal imagination. This is an excitement of human contact constantly on the point to reveal an alienating twist, an attitude towards a hallucinatory loop resulting from dwelled environmental situations. This is also the same quality which can be found in his contextual installations, in his videos and performances. His universe is made up of mirrors, of pictures within pictures, in which not only expressive codes relating to opposite temporal rhetoric cohabitate, but in which also dialogue and disorientations are presented as reflecting items. A credible artist is always willing to shake assumptions, to scratch trends, to explore marginalities. A tendency of art in between the last two decades is the collective dimension of events structured as utopia moments, platforms for temporary and casual communities of people, projects based on tautology in which being there is the interaction itself. Even Bugatti’s sensitive spatiality underpins a paradigm of everyday life centred on a ready-made process. Only that his point of view, focused on psycho-physical object, prefers a pulsing interrogative dimension, by admitting traumatic cruciality. For Bugatti the work of art exists within the contradiction between the concept of socialization and an introvert skyline marked as a setback. As far as results are concerned, his bet is to expel pathetic accents and ritualistic moods from the extemporaneity of vision, without relating to so-called statistic aesthetics.
The turmoil under contemporary art sky is not so big. If in a way it looks unlikely to come back to ingenuously referential processes, on the other hand it is important to point out that meta-linguistic tendencies have produced mannerism. In this scenario it is convenient to follow the least exposed and classifiable artists; or those affected by a tendency to strabismus. Bugatti is a German expressionist which has been looking at Duchamp, some kind of Schmidt-Rottluff coping with site-specificity. (translate by Silvia Colaiacomo)
"I paint apocalypse cartoons and call prayers to God. I use coloured pastel and white ink on black paper. I have depicted how I see and love and fear the world around me and the world to come for me. I have pictured the back of the stars tremble and fall. I have written all the night and its names. I have turned cats into comets. I have stood at the Hallucinatory Mountain, full of trouble and colours, and seen the Kingdom of Heaven roaring like a lamb."
God is Love,
David Tibet, Hastings, September 17, 2009.
DOCETICA! is a LUPUS/SALIERI experiment in collaboration with the ISIS gallery of London. Special thanks to PRE.
Curated by Emanuela Nobile Mino. AMACI Giornata del Contemporaneo. Special Guests: Carmelo Chiaramonte - cuciniere errante, Comme des Garçons Parfum - Incense, Raffaele Buscema - music composer. This new project hosted by Motelsalieri, by Orazio Battaglia Sicilian artist based in Rome, it is founded on the necessity of verifying and analyzing the dualistic nature of reality, by putting in comparison two different fields of human culture, the anthropological one and the religious one, trying to find out some common points of identification.
The artist derives on the art language an ideal and neutral platform to start investigating the concept of the double both in nature and in life, as a acceptable paradox. By reconstructing – iconographically - the life of the Christ in a series of images and elements (like cermic sculptures, painting, sound and smells), he tries to bring back in deep contact the dogmatic assumption of west spirituality with the objective reality and everyday life.
He takes the figure of the Devil as the principal incongruence in human history (deriving directly from the Christ as his own counter part) and as the device of the main scission, caused by the famous betrayal, and as the emblematic symbol of ambiguous conjunction between the opposite sides of the same coin: the good and the bad, the black and the white, the front and the back.
The bind between these opposites is developed by the artist in form of a narration that starts as iconographical to end up as uniconic, presenting the transformation of the body from life to death, from its physical presence to its evanescent trace: the passage from life to death of the Christ is consumed on the white surface in ceramic of two opposite realistic portraits, the one representing Christ alive and quite, the other showing his face as a fleering skull. This marks erasing process becomes total annihilation in the black monochrome painting of the Deposition where the signs of expression and the figurative element leave the place to new states of abstract materiality: the sound and the smells. The different and contrasting fragrances (incense, sulphur, jasmin, passion-flower) invade the whole space becoming the counter part, and at the same time, the counterbalance of the icongraphic apparatus of the whole exhibition, as a crucial element of interaction with the audience and the space, in this enigmatic path between holy and profane. (Emanuela Nobile Mino)
The universe of Nikola Tesla, half a conjurer of the 1800 and half a severe man of science of the 1900, is the subject of Simone Pappalardo’s work.
The idea is to built up the ideal room of the brilliant scientist, an environment where the symbolic elements of his imaginative world (spheres and antennas) being stimulated by random people’s presence turn into sound generators.
Project titled Room 3327 –under the suite at the New Yorker Hotel where he has lived last time of his life, aims for a simulation: a place, which is both cerebral and not, can be the paradigmatic studying and working room where the illusionist’s witchery earns into scientific dignity of electromagnetism phenomena.
Room 3327 is a Lupus/Salieri experiment.
Nikola Tesla (1856-1943) was born in Serbia but works all his life in US acquiring American citizenship. He was an inventor, a mechanical and electrical engineer, best known for many revolutionary contributions in the field of electricity and magnetism in the late 19th and early 20th centuries. His patents and theoretical work formed the basis of modern alternating current electric power (AC) systems, including the polyphase power distribution systems and the AC motor. After his demonstration of wireless communication (radio) in 1894 and after being the victor in the "War of Currents", he was widely respected as one of the greatest electrical engineers who worked in America. Aside from his work on electromagnetism and electromechanical engineering, Tesla has contributed in varying degrees to the establishment of robotics, remote control, radar and computer science, In 1943, the Supreme Court of the United States credited him as being the inventor of the radio. Many of his achievements have been used, with some controversy, to support various pseudosciences, UFO theories, and early New Age occultism.
Due to his eccentric personality and his seemingly unbelievable and sometimes bizarre claims about possible scientific and technological developments, Tesla was ultimately ostracized and regarded as a mad scientist. Never having put much focus on his finances, Tesla died impoverished at the age of 86.
AVANTINDIETRO / COMME DES GARÇONS / FINAL HOME / FQR / (I.S.) TAILORING / KOSTAS MURKUDIS / PASSARELLA DEATH SQUAD / ZUCCA guest at
from 21st February 2009
Curated by Antonio Salieri. AVANTINDIETRO, COMME DES GARÇONS WALLET, COMME DES GARÇONS PARFUMS, COMME DES GARÇONS PLAY, FINAL HOME, I.S. TAILORING, FQR ROOM, KOSTAS MURKUDIS, PASSARELLA DEATH SQUAD, YD, ZUCCA ROUTINE, ZUCCA TRAVAIL, ZUCCA MAIN LINE. Clothing, Shoes and Accesories for Men. Ready to Wear and Tailoring. Vintage Corner. MON 14.30-19.30 TUE-SAT 11-13 14.30-19.30.
The selection of clothing of the online shop MOTELSALIERI.COM will be shown at MOTELSALIERI - meaning you can actually see and try all pieces as long as you like and even buy them!! Selection includes unique pieces from designers CAROL CHRISTIAN POELL, CARPE DIEM and FQR.
MOTELSALIERI in collaboration with Milan’s ANTONIO COLOMBO ARTE CONTEMPORANEA welcomes “Hi, HOW ARE YOU?” an ART exhibition of Daniel Johnston –a naif figure in the US underground scene.
Better known as a low fi creator of weirdo rock songs, Daniel Johnston is also a regarded figurative artist (his works has also been exposed at the New York Whitney Biennial in 2006).
A typical exponent of Art Brut he illustrates a puerile cartooned universe where the innocence of childhood is always mixed and conflicting with the worst fears of adulthood; and Hulk, Captain America, Casper –the ghost, odd mutant characters, have to face with a intimidating maturity.
Further a documentary film will be shown by the independent filmmaker Jeff Feuerzeig, The Devil and Daniel Johnston (USA, 2005, Tartan DVD). The film, based on the memories of his parents, siblings, ex-manager Jeff Tartakov, journalists, friends and musicians, retraces the tormented existence, the illness and the artistic career of this veritable cult
hero. A winner in 2005 at the Sundance Festival. By Sam Paolesi.
C-print, bevelled glass, wood. Curated by Emanuela Nobile Mino. Reflection seen as the photographic reproduction of reality and the doubling of images as the study of the subject (whether this is a face or a glimpse of a landscape), has always been the basis for Stato di Famiglia’s research and identified their works as authentic iconographic experiments, with the intent to deconstruct the perception of reality – though keeping the image effect highly realistic – as well as amplify the identity of the subject involved. The techniques adopted with the use of partially screening faceted crystal elements, give the printed image a three dimensional quality.
These guidelines take on greater significance in their new production (photographic portraits under bevelled glass), as well as the aesthetic/functional trick of the screening technique, aiming not only at artificially emphasizing the kaleidoscopic effects on the picture, but also at underlining, in a mythological extremism, the idea of sacred image and the ambiguous and deceptive value of a reproduced image.
The formal aspect of the new portraits gallery intentionally refers to the “hall of mirrors”. Each of the works, presented as a sequence of mirrors, provides an image that appears as a crystallised reflection. The succession between presence (the human subject being portrayed) and absence (the portrait showing only the exposure background), induces to reflect on the symmetrical doubling of the projected image, its reversed perception, its fleetingness, the optical illusion, leading to a sensation of facing different entities suspended in a thinner time and space dimension. At the same time the mirror, while representing the passing of time and the inability to halt the unpredictable mutations it causes, leads to an almost organic continuity between man and his own transient and precarious nature.
The power of the mirror at the same time deceiving and seductive and the involvement of passions that puts the human being in Narcissus’s position, is the foundation used by the artists to transform a fleeting reflection in a permanent one, that is to represent the features through that reversed appearance that we get recognised and perceived from outside, photography.
The subject on the portrait finds a way to return his vital breath to the world in a perpetual and distant form, paradoxically through the most meaningful symbol of the ephemeral and through the oldest catalyst of the individual energy (the mirror), leaving trace of its features in the form of unchanging image. MONDAY - FRIDAY 14 - 19.30
Curated by Gianluca Marziani. The event for Motelsalieri will “gift” an installation of incredibly power and energy, an environment distorting the special dynamics through quality contemporary contents. The dollar will be the only element with whom redefine the expositive container. The money par excellence, symbol and archetype for capitalism, will be the whole off guard wallpaper : a series of dollar bills will cover floor, ceiling, walls, doors, all the surface. Many are the translation of the project such as the value of the money, the covering as active decoration, the visual and olfactory short circuit, the real status of the money and its virtual trip, the pop tenacity of the icon, the antagonism with whom Colosimo links art to society..
0,66, OR RATHER
The cipher in the title refers the exchange forecast at the opening day of the show. The sentence in the title invites to take off one’s shoes to let in the place. An experience of sacral suspension where the absolute fullness coincides with the absolute emptiness of the place. It’s the entrance in the creative limbo of mental postcapitalism, a multisensorial experience, where the work and the place melt in strict empathy.
FotoGrafia International Rome's Festival VII edition. Curated by Carlo Benvenuto. Grace T.W. Fisher´s energetic eye uses a vintage photographic camera armed with black and white film: this is where the photographs attain a supended, timeless quality.
It´s difficult to date her images: faces, bodies and things seem to bear witness to the nostalgia of something disappeared, but without a trace of melancholy; on the contrary they react full- on to their destiny of modernity.
The show harmonizes with the general theme of the festival " La Quotidianita" (Day to day life) by approaching it with pictures all taken during the last 7 years of the photographer´s work, travels and private life.
The title of the show " Abstract/Contact" reveals a reality: the photographer was born in London, to parents of Canadian and Dutch nationality and grew up in Belgium. She went on to live in the USA, New Zealand, France and Italy. By this I mean to say that she has developed a certain familiarity with the world and contemporaneously a certain distance from it or rather a sense of non belonging which leads her to both participate and bear witness, near and far, inside and out; this the Contact, this the Abstraction.
"Abstract/Contact" talks of an unusual day to day, opposed to the comfort gained by repetition, to the mantra of habits: it is a dynamic day to day made up of phrases spoken in different languages, long days, of unexpected meetings and continuous contacts. MONDAY - FRIDAY 14 -19.30
Curated by LUPUS. Or when the memorials notes down the penitent’s trail. A path among wooden boxes of memories –small containers of suspended faces, chimeras emerging from hallucinated worlds and further static devices. The black and aseptic area of MOTELSALIERI gets into a super alchemic box containing the magic boxes and phantomatic creatures which face the penitent in his (useless) expiation trip. Original soundtrack by the German electronic KLIMEK. LUPUS curates the event, as one of its “experiments” on artistic pluralism and sounds, words and images combination.
After graduating at the Savana College of Art and Design (US) he moved to California Directing video clips and publicity spots for Plastilina Mosh, Nortec, Dazed & Confused, Sleazenation, MTV and NBC/Universal he also collaborated as art director for the magazine ‘Wired’.
His work has been exhibited in the United States, Japan and Mexico and will show for the first time in Italy.
Curated by Antonio Salieri. Temporary selling designer stock of past seasons at reduced prices coming from the clothing store 'degli effetti' in Rome.
The selection includes pieces from FQ R, Comme des Garçons , Yohji Yamamoto, Carol Christian Poell , Dior, Soft Core, Carpe Diem, Zambon, The Great China Wall, Gilles Rosier, Gregory Parkinson, Volga Volga, Martin Margiela…