7.30 pm conversation with the artists.
Io vado dove sto tornando, 2018
(I’m going where I’m coming back from)
“If man were never to fade away like the smoke over Toribeyama, but lingered on forever in the world, how things would lose their power to move us. The most precious thing in life is its uncertainty”, Kenkō Yoshida.
Besides that many people have nothing but negative emotions. All their «I’s» are negative. If you were to take negative emotions away from them, they would simply collapse and go up in smoke. What would happen to all our life, without negative emotions? What would happen to what we call «art», to the theatre, to drama, to most of the novels? P. D. Ouspensky.
Nothing would happen. They would not exist. This travel called research then where do we plan to lead it? Does there really exist our will? No, it does not exist. This myth of a personal search for identity should be dispelled: in the nature in which we are, of which we are a part, it happens. Our effort is to support its energy, not to use a volitional sense of duty and to be able to change things. I go where I’m coming back. In a line that is not straight, rigid. It’s a circular line – maybe spiral, I do not know … I just go where I’m coming back. What happens during, before or after, I have to try only to hire him. To live with it and let it go. (Luigi Arpini)
Luigi Arpini graduated from the Alessandro Fersen Theater Academy in Rome; is part of the Cricot 2 company run by Tadeusz Kantor (1980-1992); collaborates with Yoshi Oida, actor of the company of Peter Brook, at the staging of texts on classical Japanese theater; with some members of Cricot 2 he founded the Alkahest theater; he is a playwright at the Center of Experimentation and Theatrical Research of Pontedera (1994-1997); collaborates with the Studio Nabu Literary Agency of Florence; collaborates with the ArtSpace group. Since 1997, his literary activity has been added to the theater. He publishes “The illusion of life, travel and theater with Tadeusz Kantor” (Titivillus Edizioni 2002).
MARC CAMILLE CHAIMOWICZ
Café du Rêve, 1985
installation, 2 photographs , book, textThe influence of Chaimowicz’s work is hard to pinpoint, but everyone familiar with his art agrees that it is substantial. Is it his imagined rooms, so evocatively furnished as to suggest a story? Or his classic drawings, suggestive of abstracted body parts or fractured parentheses that appear on everything from wallpaper to murals to fabric? His persistently joyous sense of color? Most likely, it’s Chaimowicz’s anarchic lack of distinction between public art and private life that makes him a pioneer and also an enigma. (from Gaby Wood, This’s Artist’s House is Not a Home, “The New York Times Style Magazine, 15th March, 2018).
Marc Camille Chaimowicz (Paris, 1947) was born in post-war Paris from a Polish Jewish father and a French Catholic mother. When the artist is eight years old, the family moves to London, where he still resides. His work (painting, drawing, collage, sculpture, installations, furniture, lighting, ceramics, textiles and wallpaper) challenges the category divisions between art and design. His works can be found in the collections of the MOMA, the Tate Modern and the Victoria and Albert Museum. His first solo exhibition in a US museum is now on display at the Jewish Museum in New York.
Casa Azul, 2016-2017
Casa Azul is a socio-visual project on the life story of five trans women held in one of Mexico’s male prisoners. The project shows the process of identitary construction and the bodily practices of people whose bodies are considered doubly abject because of their identity and their condition of isolation. The trans inmates, forced to dress in blue, nicknamed the prison “the blue house”, evoking the imprisonment suffered by the bodies themselves. Through printing processes that allow the use of the stereotypical colors of the genre (the blue that evokes passive identification and the rose that speaks of the self), Casa Azul shows the eternal binary struggle that these people must face to be what they are: women.
Giulia Iacolutti is a documentary photographer and visual artist. Her works is mainly dedicated between Italy and Latin America. Dedicated to narrative research, in addition to photography, she uses different languages and supports to explore political-socio-cultural themes related to the struggles of identity resistance. Her work has been exhibited in Argentina, Colombia, Italy, Mexico, Spain and the United States. The latest awards include nominations for the Joop Swart Masterclass, the 6×6 Global Talent Program and the Foam Paul Huf Award.
I’ve always found it impossible to resemble myself from one day to the next, Philippe Ricord.
Whether inside your own skin or beyond, the more one tries to be perfect in the world, even for one moment, the less he will be. (Ian McKeever)Ian McKeever started painting in 1969 in London, renting a studio from SPACE after graduating in English literature. His first solo exhibition came four years later at the ICA in London. In 1989 he received the prestigious DAAD scholarship in Berlin, followed in 1990 by a major retrospective exhibition at the Whitechapel Gallery in London. In the early years his work is on the landscape, reflecting his many trips to places like Greenland, Papua New Guinea and Siberia. The direct references to the landscape are reduced in the mid-80s when his work becomes more abstract, growing interest in the human body and architectural structures. Over the years, the quality and the presence of light become increasingly important in his painting. He has held various teaching positions: he was a guest professor at the Städel Akademie der Kunst in Frankfurt and art teacher at the Royal Academy Schools in 2006-2011; since 2001 he has been a visiting professor of painting at the University of Brighton.
Through Our Eyes, 2018
Shocked by the way in which the Syrian war is reported in the West, I asked myself how close we ever get to the true human stories of those caught up in the war. For me, the suffering of the Syrian people brings back so many memories of the war in Bosnia 20 years ago. As a young young man growing up in the Bosnian war zone between 1992 and 1995, I was likewise shattered by war. At that time I experienced daily bombings, being cut off from basic supplies, seeing young people and children injured and killed. I still feel traumatised today by those memories. When I arrived in Edinburgh with my theater company in 1995, my basic human instinct for survival proved stronger than my desire to return home.
I became a illegal migrant. I was scared, hiding like a mouse, scared of being sent back to the war zone.
I remember a September day walking the street of Edinburgh as a genuinely homeless person while the Scottish rain seeped into my bones.
For me that day was harder than three years in the war zone. I spent most of the time loitering in a shopping centre, being questioned b security guards, feeling hungry. Finally, late in the evening, I found a good person who took me into his home. He advised me to register as a refugee, and thereby I became a member of UK society.
This explains why I felt such a strong urge to make it possible for today’s refugees to tell their stories, and why I felt compelled to make this film,Through our eyes. (Samir Mehanović)
Samir Mehanović is a film and theater director, producer and screenwriter. Born in Tuzla, Bosnia, he lives in Scotland since 1995. He shoot this film in three years after making Silent War in Beqaa Valley in 2014. After his MA in Film and TV at the College of Art in Edinburgh, he started a career with the short -filmThe Way We Play, BAFTA 2005 Award. He made the documentary film about the Srebrenica massacre The Fog of Srebrenica on commission from the BBC, IDFA 2015 award.
CRISTIANA MOLDI RAVENNA
My identity is identify in the shape of my head, of my skull. Round like my grandfather’s skull, the paternal grandfather, with the head of a Roman, descending his family, farmers and horse merchants with Hungary, over the centuries by groups of Romans who had settled in the Po Valley and to Annone Veneto perhaps at the time of Julius Caesar.
The skull is a revelation of the life-death transition. In my ‘making art’ I always tend to a circularity, a movement within words or texts that I write, that reproduces a complexity or a novelty of thought that must find synthesis in various forms of expression.
I have collected images of my family where the native identities from my grandfather is clearly seen. I collected an image from the 1600s in which a plaque is surrounded by particularly round skulls. It is located in the cloister of Santo Stefano’s church in Venice. I recently found, with love, a little coat of when I was a year old and my head, as seen in the photo, almost shaved revealed the spherical shape: my first coat, light blue and the lining pink and light blue squares round buttons of golden metal. I remember exactly the touch of that lining. The senses guide us, the memory of the senses is the track of our identity. (Cristiana Moldi Ravenna)Cristiana Moldi Ravenna’s research is mainly focus on linguistic coding both visual and literary. Between 1978 and 1985 she was co-author with Guido Sartorelli of several exhibitions on the decoding of cultural messages in the cities (only in 1984 the researches Semiopolis, The city as an advertising medium, The city as an instrument of communication). She publishes books of poetry, texts for the theater – including Primo grillo Secondo grillo, which mixes mathematical symbols with onomatopoeic annotations and wins in 1996 the National Theater and Science Award in Manerba del Garda – and books on Venice (among others, Giardini Secrets in Venice with Tudy Sammartini and Gianni Berengo Gardin, Arsenale,1989).
[…] under one sky […] the Torah, the Gospels, and the Koran whisper their truths amid ancient stories. It has been this way for ages, and it is this way today.[…] …and I do not know of another city as such, which would be as controversial as it is desirable in the history of humanity. […] …when I lived on Mount Zion, I was completely paralyzed. Gehenna was down the road, and on the horizon, the Sacred Grove where Christ once taught. Golgotha was located four hundred meters from the house where I lived. …and how to paint in such a situation, how to find yourself in such a reality? …I walked the ancient streets for a long time, gathering my thoughts, avoiding various people, […] I felt like a child deceived by the iconography of Orthodoxy and by the sacred images of Catholicism. …because here, I did not find any dark chiaroscuro icons against a golden background, or Roman blue shades. Everything was saturated with the mystical warmth of yellow and orange, and the shades were complementarily purple. …this moment caused me to revise my imagination, and the F I got for a drawing I made for religion class no longer taunted me; during my chidhood, I painted the Red Sea using a red crayon, because how else could I have possibly drawn it?
(Leon Tarasewicz, June 2018)
Leon Tarasewicz (Waliły, Podlasie region, Poland 1957) is one of the leading contemporary Polish painters. Despite the identification with his place of origin, evident in the references to nature and the landscape of his early works, the artist systematically covers the tracks that could indicate the genesis of his work. Gradually, the structure of his paintings inspired by nature becomes a captivating and sensual playing area of pure, intense colors, spread out in parallel strips. On the surfaces of his large-format works the only determining elements are color, texture and light.
ANDRZEJ and TERESA WEŁMIŃSKI
Esse est percipi 2
installation, paper, resin, monitor, video
Several cardboard boxes (5-7) are placed in non-significant places in the exhibition space: in the corner, under the stairs, etc. Each box has a hole from which an observer’s eye follows us. The installation refers to the early work of the Polish duo on the themes of identity, individualism, unstable conditions of the viewer (from observer to voyeur), and is also inspired by the Isolate Systems and issues related to the impartiality of the observer (Schrödinger: we are not neutral looking at reality, but we influence it). The title refers to the George Berkeley’s investigation of “being observed” (the existence of something depends on being perceived).
Teresa Wełmińska is an actress and director. She graduated from the Medical Vocational School of Cracow, in 1976 – 1990 she collaborated with Tadeusz Kantor and performed in the Cricot 2 Theater; since 1992, together with Andrzej Wełmiński, she realizes artistic projects, shows and theater workshops.
Andrzej Wełmiński is an actor and director. He worked with Tadeusz Kantor from 1973 to 1990 and participated in all productions and tours of the Cricot Theater 2. He graduated in 1977 in Graphic Arts at the Academy of Fine Arts in Krakow. As an artist he uses various media (drawing, painting, photography, objects and installations) and is associated with Foksal Gallery and Krzysztofory Gallery. With his wife, Teresa is co-author of numerous shows represented in European theaters and festivals, including Pages from the Book of … (2012), awarded as best actor and best production at the Istrapolitana Festival in Bratislava.
Trieste, Studio Tommaseo, via del Monte 2/1
from 7 to 22 February, 2019
opening hours: Tue.-Sat. 5-8 pm
info: firstname.lastname@example.org +39 040 639187
all images: courtesy by the artists and Trieste Contemporanea
tutte le immagini: courtesy l’artista e Trieste Contemporanea