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PORTOPALO

Portopalo Frederick Baronello. A circumstantial photographic research on the relationship between landscape and modernity, under investigation on suspicion of the most important place in contemporary social history. From 40 shots on show in Gallery Gianluca Collica, resurface the track of the passage of modernity in an area where you write the pages of continuous immigration and testing the installation of technological equipment for observation. The sea receives the survivors of this el'estenzioni of progress: the video Nemo_ß. resurface the controversy over the sinking of the '96 Portopalo aftermath which took up the work at Documenta XI Solid Sea of \u200b\u200bMultiplicity. The research shows the importance of Baronello landscape photography of the beginning of "View from the Window at Le Gras" by Niepce and "Boulevard du Temple" by Louis wars, the poetics of modernism and the contemporary contain the ' obsession with memory, storing the real and its steady loss / return. The wrecks of barges and sculptures by Don took Palacino are traces of a collective elaboration, a way that the world should take, and that contemporary art had begun to show before sinking in the recurrence of glam.

Francesco Luciani

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design / photography Macc Museum of Contemporary Art Caltagirone

It is no coincidence that exhibition projects and the installation of a sign critical disquisitorio come from Sicily. Design / photography, edited by Domenico Amoroso and Sylvia Franks, in the Court of Capitaniale Caltagirone in collaboration with the MACC and the Foundation Antena. The show revolves around the two art forms that have long been compared in an attempt to seek strength and autonomy of language and unravel the opposition icon / index increased from CS Peirce. From Renato Barisani, Mirko Basaldella, Bruno Conti, Bice Lazzari, Ketty La Rocca Achille Pace, Gloria Persians, Gaetano Gambino, Salvo Falcone and Alexander Rivola winds intense critical reflection on the dichotomy between the symbolic reconstruction, feared by Rosalind Krauss, and realism that brings together the readymade, the Dada collages and assemblages. A view of the development of digital and continuous crossings Remains, as stated by Amoroso, the enormous and unresolved impact on the art of technology and machinery. Photography, Duchamp wrote to Stieglitz: "I want it to bring people to despise painting, at least until something else will make photography unbearable. And this is what we got. " Prophetic challenge.

Francesco Luciani

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Interview with Adalberto Abbate / Revolt

Interview ADALBERTO ABBATE

Edited by Francis Lucifora

often meet during the Adalberto Abbate My visits to Palermo. A few days ago I found myself at the opening of 'his' Revolt in the gallery of Francesco Pantaleone, but both have worked for an interview. Adalberto Abbate's work seems not to fear rivals, language and research are always consistent and are likely to cause instant and sharp reflections. It 'a revolt politically correct, but it is also important to follow and refined of all revolutions seem dormant in every individual and that a riot for all seems to pull off. Between the lines emerge all the revolutions that several generations have failed because there were, I think it is important to note that among the works open spaces where they survive these strange times lost, but present in various capacities in a common DNA, sometimes faded from easy allegiances and identities to buy cheap. Abbate is a shrewd prompter.

(immagini_courtesy francescopantaleone artecontemporanea)

fl Uprising is a strong and alluring title: what meaning, as indicated by dictionaries and Treccani Sandron, most expressed the total of your work for this staff?

revolt sf 1. sudden violent motion and lifting against the established order, usually not long lasting and even mild cases would also add ... right. / Ext. not necessarily an ideological rebellion expressed in tumultuous and violent actions. " rebellion "meant more like that feeling, that anger that dwells inside you for a wrong view, suffered or simply perceived. Citing this phrase in the poems of Peppino Impastato, perhaps I can explain the meaning closer to my idea of \u200b\u200brebellion. "Exorcise your needs wisdom and meditate violence and revenge." Peppino Impastato.

fl I would like to know which you have participated in riots and on what you wanted to take part?

I just did my personal struggles. Sicily is a continuous struggle to make things work and to gain their own space. As for the riots of the past ... I do not know ... I also had to live all those times in history. and what I know 'that readily take part in small but never addressed in great revolutions.

fl Your language from the outset refers to the dysfunction of society, the powers that be in groups and the human tragedy, the to name a few. The Your works what they trigger in the viewer?

Presenting a series of works in a space, and 'how to give a rise to a discourse and expose it to a disparate, readings and countless other applications and solutions. My projects are a bridge between me and the audience, and only the comparison with the works will be loaded with new meanings and thoughts. All of my previous projects are born as a result of lively discussions and exchanges.

fl If art is the mirror of a nation, believe that in Italy you are claiming, among other languages \u200b\u200bbased solely on the aesthetics of irony and parody this?

Yes The watchword in the 'art and many times' but irony being careful not to disturb the sleeping dog too. This is what hatred of those who make 'irony. The worst, however, and 'that in Italy the art system is like the political system, is a large set of favoritism and winks. In many cases, certain artistic decisions are imposed by their political color ... see biennial awards ... ... museums ... etc etc ... .. Not to mention that the art in Italy and 'Economic Geography also .... ... North South Center ... The art in Italy and 'like the railroad tracks for the Italian south you travel with a track just to the north with high speed. And then ... we are still talking of distances and centrality of cities in the era of low-cost ... in Italy we still think with the mentality of the tracks. I do not know if you noticed but the Italian art and 'so as to create clones xenophile artists and galleries ... perfectly identical artists and galleries in London ... American ... .. etc etc. This is really sad.

fl Why use frames in the recent past often overlaps with powerful symbols and massively popular?

I ever need to draw from the past ... a certain "enthusiasm", the value of memory and especially the history of social evolution and involution. I look at this change of meaning and perceptions of reality and playing down to how you change the symbols, words, history, truth, holiness. We are living in a society increasingly in the balance between Dada and the Da-da-um-pa.

fl I think around there is less and less crazy and more and more artists and ordered pricked, what do you think?

I already ... 'I hate the ridiculous word artist more and more, worse still hate the figure of the manager himself with a legacy of white-collar milan to drink now have water in my throat ... then I hate the false folly. I hate a lot of actors and extras from the commedia dell'arte. In addition 'we should say that Italy' also full of art dealers and curators incompetent without character, but in Italy there is room for everyone and if everyone chooses to do what they should or what they feel.

fl Interest in the written on the walls of your Palermo lead to urban mapping and linguistic diversity of the city. What do you think of Palermo and the city as urban entity in connection with changing people?

E 'was difficult to store many of the inscriptions on the walls of Palermo. Difficult and dangerous as the police followed me and stopped trying to kidnap the photographic material. Even more absurd I had to give me a permit by Cristiana Perrella British Academy in Rome that still thank you. The most absurd thing is that the aid has come from Rome because no building cultural Palermo considered it important to sign a permission to continue working indisturbato.perché not ask her how and 'round? from this project and its' output a city divided into several parts that fight all the time. A part of the city and 'put down another but very angry, and while some of the Mafia is the other is the huge party. On the wall reads a Palermo without folklorists ... full of injuries and disappointments, where ignorance reigns bigot and a culture enriched by an extraordinarily singular genius and cynical intelligence.

fl What do you think need addressed in Europe?

All that and by all means necessary.

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Now I no longer hunger

Now I no longer hungry. With this license shall be submitted to the staff of Aldo Taranto sponsored by the Association Switch to Modica. Two buildings designed as hemispheres of the mind, a precious space, very intimate. Three pairs of televisions are sitting on chairs with legs extended in front of each coupling element and a cathode-ray mirror box with soap. Aldo Taranto asks the questionnaire of personal reflection and causes the dell'osservante: is the potential entry of a visual maze made multiple references and continuous. The artist is exposed Syracuse with an awareness of being in search of balance and discover that the feeling of existence and the hollow part of life, being hungry is no longer needed. From the bottom black Videosapone and Portrait with flour reveal the artist's self-image video portrait, are casual gestures, but weighed movements close to the dance and the reference is explicit: Taranto homage Kazuo Ohno, a fine exponent of contemporary dance theater, reaffirming its position within the maze / life as to be in constant search for balance in opposition to the loss. The point is - Aldo Taranto declares that art, like the dream is a way of life and now I no longer hunger is its syntax.

Francesco Luciani

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Canecapovolto

Otto audiovideo of Canecapovolto. Eight works to cover and steal a path. From the beginning of 1992 until 2004. The newly formed Platform Sicily South East Arts (Pass / o) devotes an evening event in the collective-Catania. The initial frames are linked all'insistere on Super8, which combines the reduced pitch dell'amatoriale Canecapovolto Factory trials of the Cyclops, Church dell'Elettrosofia and Roberto Nanni. Scraps Brakhage Stolen is ascribed to this identity, searching for the frame and all'astrattezza intervention. The move, which took place thereafter, to the combination of film and digital does not change the ideological basis starting the viewer and his discomfort perception are central. The project collects Plagium Canecapovolto increased willingness to reveal the shadows of mediated reality, religion and cultural industries. Pop Evil (Plagium 10) insists on the concept of 'abnormal brain wave' using the fake documentary. Pure 'found footage'. A continuous stream of pulses dissonant sound in the audio game warning. An abstract of cognitive anomalies prevailing in the essence of man-mass, not to be deceived.

Francesco Luciani

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Cosmetics

Cosmetics. Two business travelers with unlimited mileage: Eva and Nicola Geatti Toffolini. An actress and a creator of visions. The territory is crossed by the multiple interventions, is the space within which occurs a progression that only theater can generate the necessary. The scene autogenerantesi eliminates the hierarchy of the show, each role as stated: the designed environment is filled with real-mediated transpositions of the meeting of thought and body-movement-sound-volume. Rare form of performative theater was so direct.

In signs of structural failure (2003), performing in a box is consumed at least the existence of this individual, born in a white cotton and the movement is that of someone who knows the area is safe, knowing that the darkness can overturn. Creation is a total immersion in twenty-four hours to lose and live, that flow, triggering visions of one day and another, accepting the absence. If the drama of space we can talk, its nature is surprising and bold interplay between visual art and plastics, architecture and music labels with detecting the unexpected scene. Disorientation.

Blonde, Internal 5 (2003) is the study being presented at the Foundry in London in the review ENtoPAN. For Cosmetics saccenza nor nor back-quotes, but that exists in the temporary theater, scanned, and voiced taken from reality. conditioning tests (2005) Award is presented to the scenario: in a position trying to sell a show or follow the movements of the body and mind put in place to live art. Makes its way I put out in the absence of means (2006), dark and sound are elements to denounce the inadequacy of the institutions towards the contemporary theater. In the same year the International Prize of the performance of Trento select donna_chi The first sowing wind storm gathers (2006) and Cumulonimbus at my door is presented in Contemporanea07. The near future is to project periodonero (2008) and in the development of The magnificence of the storm (2006) presented Santarcangelo Festival two years ago.

Francesco Luciani

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RESURRECTION MACHINE / Claudio Cavallaro

RESURRECTION MACHINE Claudio Cavallaro

The first machines are we

The first machines we are. Repetition and repetition of actions and behaviors are the soul our current relationships and our lives. With speed he slipped into a system with automatic controls that leave little room for spontaneity of action and thought. It 'difficult to accept more and more to resemble the machines that we have created almost in our own image and likeness, but it was not expected to gradually align the repetitive motion of a mechanism. The story tells of this too. The new millennium, celebrated almost ten years ago, is evidence of a biophysical change of pace, a frantic acceleration of daily actions to the detriment of a world less and less fiction and more automatic. In the meantime, we close ourselves gradually, in adoration individual and is only a plausible and consistent method of work and production work.

The resurrection of the machine is the paradox that the man is the protagonist and the means, the increasingly close relationship with visceral and the decreased distance between it and a mechanized process and our existence.

In response to a rethinking of this has already outlined a resistance that opposes the automation of meat mixed with the increased sensitivity of reflections and elaborations of thought. The art is certainly not to look, but has refined the tools and enter the far corners of reality as a liquid. Consumed in the performance and walked the streets historically known, the possibility arises of an aesthetic one another, of a diffuse creativity, un'estetizzazione of the newspaper, construction of participation as a network. These issues were, in large part addressed by the Futurists and the Surrealists and Situationists in the second round by trying to break the isolation of the individual in society and freeing the trivialization of ideas and behaviors, automation today.

So Debord pointed to the environment architectural sense, but not in the physical, mental and other cities and places become the plot of dynamic random intersections and coincidences illogical. So Claudio Cavallaro working on a symbol of labor and hard work by reflecting the connections, otherwise invisible, between the death of hazardous machinery and automatic rights. The specific work on the site can reveal objects, only apparently dead, who come alive with the artifice of the fluorescent light, placed in the deepest caverns of giant machines. The investigation into the mill and pasta factory in the County is developed by identifying the space as a great and fruitful ready-made, dying from the production point of view, but still able to communicate and convey messages. The Resurrection Machine language is produced from human interaction and context as an action that establishes a second trade intersubjective ethical and aesthetic double track which operates on a dynamic memory and takes into account the cognitive and increased responsibilities of ' artistic activity. Claudio Cavallaro advances with a direct method and investigative process aimed at seeking solutions disvelatorie also show that the dark side of the world or the things of the world that we prefer to ignore: the horror of war, ethnic conflicts and religious violence, poverty and misery of millions of people. Without this, complex, painful, uncomfortable, but real and often hidden the information that, long arm of the economic and political power, control and repress relegating the oasis of mass distraction. Art as a countervailing power, writes Bourriaud, and in this system, the artist confronts the "other". The work also comes from the roots in place, free from any manipulation and pointing the way identity against any kind of stereotype.

The mill produces the raw materials essential to the livelihood: flour. With a few scraps of it mixes with the artist who created the ready-made cover and trigger questions about waste of 'over-consumption and dishonest and serious breakdown of food in the world. A map to identify places in the world who are denied food. Some machines are literally invaded by butterflies, a large number of scraps only operated by Claudio Cavallaro with the aim to reveal the relationship between the delicacy of the machine and the monstrosity of being. The artist pursues Syracuse, since the first inspection, common action and collective creative thinking of a time display supported on its own logistics and energy group, thus addressing the serious difficulties caused dall'esiguità fund for young artists.

The choice of exposure in a place like the mill in the historic district of Modica is rooted in the desire to reposition the art and direct involvement of the public mind that the city has seen the birth, a few months ago, the first library specializing in contemporary art The CoCA Center of Contemporary Arts, clear sign, among others, the strength of which belies the claim that contemporary art contemporary art, Modica, may be something to fear, but rather represents a wide range of sharing and revision of certain human attitudes too marked by cliches and false identities.

Francesco Luciani

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Well Darling, I

continues with brilliant consistency, valuable these days, the segment of the study design Matteo Boettger at the space-Adele C Studio in Rome. The second project room speaks to the world that is increasingly contaminated and the contaminant of contemporary art is clear and makes it a place as space-Adele Studio C, a borderland between art and research, design and cultural planning. Well Darling, Act I is the prologue summary of an exhibition that is rooted in a laboratoriogenerazionale. Six artists ideally distributed into three pairs: Enzo Cucchi / Mark Pope, Maurizio Mochetti / Donato Piccolo, Luigi Ontani / Gioacchino Pontrelli, three imaginary path that so many authors and indisputable signs that the art of this act. The reflection on the relationship between creation and fiction. The artist is an advocate of expected new world and by comparison with the ideal teacher forge works, vain and necessary at the same time, that between real and invaluable guide to knowledge. Pope, Pontrelli and small, in their speeches, appear to have experienced the otherness of the actor who reads and who pretends to unleashing the human desire to compose in new places of perception.

Francesco Luciani

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Act BESTIARY

Reading the Manual of Fantastic Zoology JLBorges and M. Guerrero, the feeling is that the visions refer to infinity. The snake biting its tail: the principle is the end. Pets = allegories. Roma, a former slaughterhouse in Testaccio, the former site of bloody slaughter of animals for meat: it materializes the Bestiary, a festival of performance events. In one of the hybrid spaces of the capital, the place of grafting and heterogeneous reality, turn out the lights and light and shade of the performing arts related to dance, theater research, music and visual arts. The attempt is to the survey, conducted with the artists, the hypothesis, to leave the box / theater to arrive at a composite event in context. Away with the body and the trial is, since yesterday, the sign of centrifugal tendency to move from narrow spaces to converge in areas that are a metaphor for the marginalization of the aesthetic into the mainstream dominant culture. The unknown, for a festival like Bestiary connector, a different relationship with the public, would be to yield a play mirroring of the contemporary anabolizzato showing similar signs of manipulation.

Francesco Luciani

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Francesco Simeti

E ' was chosen for the project by Francesco Simeti construction of the facade of Palazzo Belmonte Riso houses the Museum of Contemporary Art in Sicily. The committee, chaired by Joseph Ferrato and formed by Flavio Albanian, Antonella Amorelli, Daniela Bigi and Paola Nicita, declared an idea of \u200b\u200bSimeti winner of the competition for artists in direct on-line archive (5eventi) and SACS.

The prospectus of the Palace, overlooking Piazza Bolognini in the historical center of Palermo, the lights will be affixed to scrap the feast of Santa Rosalia, which show the work Artifice (2003-2005) by the same artist and a group colorful birds will be the unusual devoted viewer of the procession. Nearby is the memory of the most coveted race on the balconies during religious festivals that abound in Sicily.

The results of the competition saw the reporting of projects Federico Lupo, Francesco Spampanato and Laboratorio Saccardi. The intent was to create a connection between the museum space and the surrounding urban and in reality the idea is fascinating and could have possibly extending further developments with residences for artists not from Sicily in Palermo.

Francesco Luciani

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Interview Antonio Presti / edited by Francesco Luciani ARTAPARTOFCULTURE.ORG

aftermath of the long legal battle for the permanence of the artworks in Castel di Tusa, Antonio Presti takes yet another great action and artistic foray. In the district of Librino stands a door, the door of beauty created by local children and artists. It has some things to say and a lot of others waiting to take him to turn them into future action.

Francesco Luciani: May 15, 2009 was a memorable day of consecration of years of effort and work, how did you live now?

Antonio Presti: I felt happy because it was a gift shared with the whole neighborhood, with children and mothers represent a great job of planting and as wants another crop sowing the seeds of beauty may fail to recapture values \u200b\u200bto all citizens and children through the rediscovery of inner beauty. The beauty of I'm talking about has nothing to do with recovery, but turns to the future and can educate the new generations to a practice of doing and not ask.

Francesco Luciani: I'd like to know what it represents to you the district Librino and future goals which are contained in the "Terzocchio / Meridians of Light?

Antonio Presti: The neighborhood of the so-called periphery Librino is at risk, the utopian city that in the years '60 and '70 were made in Italy and satellite towns and utopian have been relegated to bedroom communities. Small book has 100,000 inhabitants and 10,000 children and can not remain inert to his "being at risk." So choose the path of art and beauty also means choosing the way of important tools such as that of knowledge. The donation of the Third Eye-Meridian Museum of Light wants to contribute to the position of a new consciousness and awareness. The Museum will acquire value every two years and two years will help to make Librino a district famous in the world because there is a willingness to exploit the proximity of the airport, creating a cultural and tourist-induced transformation of the territory.

Francesco Luciani: taking account of your long experience with art and artists, what is or should be the function of the artist in society today?

Antonio Presti: Unfortunately, the Arts, in the last twenty years, was approved against a system that was in the economic logic of its value in being, the artist has lost his ceasing to be a witness conductor of beauty and has less of a commitment to political, social and civic life. My biggest criticism of the art world has to stop to be self-respect to your system, but also to choose the way of "doing" that can find places on the outskirts of the true contemporary. The art would thus have at its disposal all the major suburbs national regaining a role not only aesthetic but also social. The artists should get rid of this "system be" free itself from a limited condition that comes from the creative industry critics, art dealers and museums. Under this, all that has been theorized in the past twenty years, I think, speaking of contemporary, he has no reason to exist. The artist has to regain its respect for the sacredness of their time as the art and beauty should not be touched by that money, but spending by major acts of devotion. If there is a system that speaks of beauty and appearance can be no other system is the artist that his testimony may recontact emotional states. An art that does not go for information, but for emotional states. All those present were excited to Librino confirming the manifestation of art in its honesty regaining the things of the soul and spirituality in our society that, unfortunately, have imploded.

Francesco Luciani: The Gate of Beauty has seen the involvement of young artists: the children. What are your intentions with respect to young artists, those who begin their path and increasingly need to be supported?

Antonio Presti: My intention is the value of planting and growth in the future that is its raison d'etre of the one part and then the children and other young artists to share the achievement of work in aesthetics and ethics. I can support young artists with my testimony a commitment to honest and creative acts that not only must represent themselves as sculpture, pitta or any other language, but it must surely be an event of recapture of a common spirituality.

Francesco Luciani: public art and contemporary art in general is often misunderstood by society, what do you think?

Antonio Presti: I think this speech is part of the old system that was and did not manifest itself. Let me give you an example: it's like to work, an Librino monumental sculpture of a great artist and is said to the inhabitants that this is the beauty and art and that this will change the neighborhood. Does not exist. The district would have a violent reaction and ask the meaning wondering if that action is the art and beauty and are convinced that nothing will change. Following the work is attacked or not recognized as the value of beauty. B Instead, we have represented in the art that is art Librino shared people's hearts is a way of being and expression, social art that is the beauty of sharing.

Francesco Luciani: Despite your long and courageous struggle for the affirmation of art and beauty, because the relationship between institutions and languages \u200b\u200bof contemporary art is still so difficult?

Antonio Presti: It 's difficult because there is a power that the masses prefer to have free thought, but only polite to spend and borrow and have debitit the only problem. E 'in place an economic dictatorship that wants to deconstruct the value of thought rather than the need to recontact the conscience and give new generations the tools of freedom passing through the culture. Institutions and politics have a duty re-design the future that is unthinkable without conscience and without culture.

Francesco Luciani: field of your actions is Sicily, you see the new and emerging generations of artists in Sicily?

Antonio Presti: I see a positive future generations of Sicilian artists only hope they understand that their way of "doing" should not run aground on the economic factor, but must be developed regardless of the money and taking account of the civil and social and be witnesses of a society that now need numerous refunds. Young artists need to understand what is their meaning and value in this contemporary world, and we must stop talking of contemporary thinking tools, languages \u200b\u200band way older than thirty years

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Steps in Sicily for the collection of rice and over

The lack direction in the presence

of persistence. Steps in Sicily

collection of Rice and beyond, edited by Paul Falcone

and Valentina Bruschi for Palazzo

Rice with an appendix at the Palazzo

Sambuca, confirms the determination of

Art Museum contemporary Sicily

active container as the cultural and social

the last sixty years. In

consequence, intended or not, the show

inaugural 1968-2008 Sicily who

intertwined history, art and collectibles,

Steps to the roots of Sicily tells

project until the gates open on the future.

Paul Falcone's enthusiasm in recalling

the first steps of collection and clarity

Valentina Bruschi

on overcoming cultural and political hesitation to reproduce

map of the steps

materialized in the choice of artists and not easy

aim to return traces the evolution

cultural and contemporary

Sicily. Start to overcome the resistance of a

vocation culture in archaic and opinions

love on account of an island that is now

land of someone and to which, even

thanks to the artists in Sicily, history

of contemporary art is in debt.

mean Pietro Consagra, Carla Accardi and

Antonio Sanfilippo who supported, among other

, the group made a contribution,

in the fifties, the evolution of

with new language of visual codes:

clear break from the realism thus contains

Sicilian impact, the urgency of

testing as a symbol of struggle

for ideas and the tenacity of a people. The

collection of Sicilian artists opens on

new generation such as Alessandro

Bazan, Francesco De Grandi, Andrea Di Marco

and Fulvio Di Piazza,

closely related to painting and protagonists with

Francesco Simeti, Domenico Mangano and

Laboratorio Saccardi of continuity through

to and from Sicily. Acquisitions

watch the transit of major Jannis

Kounellis, Richard Long, John

Christian Boltanski and Anselm, to name a few

, when the aftermath of the massacres, the

civil society is eager to discovering a

renewed culture that could give other

images of the territory without stagnating in

tragic visions and television. The exhibition continues

with the help of major loans,

speak of Marina Abramovic, Rosa Barba,

Vanessa Beecroft, Maurizio Cattelan, Tony

Cragg and Anri Sala converging among

other, indicating an exhaustive panorama

of the contemporary international

plus the strong link to Sicily

that, more Yesterday, a vivid and extreme

need to know its recent history,

consolidate the identity of the future and avoid

dispersion.

Francesco Luciani

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Seb Koberstädt - Zero

Within the city we live in, space is one of the aspects more than others is the masses who inhabit it, reflects the use made of it and affection towards it: sometimes zero. So the measure of zero indicates a complex relationship between people and places, or at least a degree of departure. Urban sprawl in the aftermath of the years 50-60, has already become cult issue, the interest from some places in large cities has shifted on the outskirts and on the 'industry of restoration and recovery did not bet when the building of some ships made of concrete. The center, the downtown and the adjacent areas known today new details of degradation and above all remain at the mercy of inattention. There is no contemporary art that takes the installation of fly tipping, for one thing, works are a continuous cycle, a collaboration unconscious and especially maintain an average growth rate incomparable to others. Zero is also the title of the second exhibition of the project Fortino 1. Seb Koberstädt, invited by Helmut Friedel, John Iovane, Salvatore Lacagnina, in residence in Catania, has developed the exhibition spaces work of the Foundation Brodbeck. The German artist makes a personal revelation of the relationship between inside and outside not reported immediately to matter, but also the spaces of the former factory of licorice to help bring in plastic form the feelings and thoughts that indicates the outside. Brodbeck The Foundation is located in St. Christopher, a low density neighborhood walks, and with problems common to other cities. The works to implement a process of translation Koberstädt environment even when attention is focused on materials: the light and the heavy influence in the work as evidence of problems solvable with two measures of intervention. The cartons of beer pop, Zero, support a heavy and cool as marble, and the reference to contemporary art that suggests behavior, is palpable. All one unifying song indicates the color of that part of Sicily littered with lava stone, a material that gives the unmistakable smell to the area and makes the landscape asphalt and dark, is the severe form of those who want to extract the chaos to calm gaze. The Foundation Brodbeck, with the help of Gianluca Collica and curatorial trio, published the second act of a fort, part of a larger project that at the time, successfully catalyzes the energies of art and the emergence of a territory . The choice of extra national artists, first met with doubt, proves to be a clear attempt to create relationships between different cultures and unfamiliar as to Seb Koberstädt his speech will be readable over time. Environmental transformations and crossings confirmed the central nodes for the art of this, in fact witnessing a new relationship between contemporary art and the metropolitan area included in the concept of landscape assets expressed by the art historian who focuses Viviana Gravano value relationship between the peoples of the mutations induced by the artists, not identification of the place as a land of unchanging membership.

Francesco Luciani

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DRY AS DUST

beyond the intention and the work by artists exhibition, an event of contemporary art shows, sometimes the need to clear the field of hostilities legendary and inventions of cultural conflicts sit comfortably on which many, perhaps forgetting that the era of the blocks has been permanently closed. Dry as Dust is a title that has the hardness of a piece punk and firmness to declare any land border, breakable. The project is a collaboration of Gate 21 and Zelle Arte Contemporanea, reality independent operating in Catania and Palermo, the common purpose to know each other's art scene, to suggest directions and report on the rapid emergence of the contemporary. The idea is a shared temporary gap generated by the comparison of different methods of research, which reveals the quality and quantity of the guidelines that live today in the territory of art overflowing, with no presumption of comprehensiveness. Dry as Dust houses, Palermo, Lidia Tropea, Antonio Pylades, Mortellaro Sebastiano, Francesco Insinga, Alice Grassi, Claudia Gambadoro and Tiziana Contino, Catania, Vito Stassi, Joseph Stassi, Fabio Sgroi, Adriano Persians, Daniel Franzelli, Gianni Moretti, Federico Lupo and Stefano Cumia.

Francesco Luciani

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Lorenzo Passanante / Do not Look under the bed / Zelle Arte Contemporanea

Do not look under the bed is much more than the title of staff Lawrence Passanante. The adjacency to the present by artists sometimes seems to be confined to tight layers of meaning and mechanical testing on the images. The Sicilian artist moving from painting, from the void of narration up to a scathing, ironic speech. The level of the narrative is revealed with the iconography of brutal dell'ilarità who knows the value of the power of images on the history of man and the relationship between unresolved grief and the individual. Passanante created the insert visual of a book that is not there, the book on the fiction of the world made of stories and heights of meanness or resizing. Small Satyricon and Your Grace, work of 2009, visual acts razors to cut their eyes and pour out visions that recognizes the mind: the reason I paint their dreams and Passanante recovery. Cycle returns to the world to believe the prophecies, the author reveals the Palermo: Cangufo, opera 2003, the animal is no longer home and continues to watch the man and Ex-Voto revived the commodification of women. Under the bed is all that you can not sort or maybe the surplus which breaks out of the closet. Read a surreal pretender.

Francesco Luciani

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REASONS FOR ISLAND

The reasons for an island

by Francesco Luciani

March 20-April 18

CoCA Center of Contemporary Arts - Modica

in collaboration with Laboratory A.utonomo P.otenziale.

City of Modica

Province of Ragusa

PRESS

On 20 March 2010 h. 20 inaugurated the exhibition "The reasons for island" at the CoCA Center of Contemporary Arts in Modica. The exhibition, curated by Francesco Luciani, sees the presence of the works of Rosario Antoci, Claudio Cavallaro, Silvia Giambrone, Francesco Lauretta, Concetta Modica, Sebastian Mortellaro, Mauro Romito, Stefania Zocco. In the aftermath of alternatives and documented facts that the territory of Sicily as the star of a general cultural and artistic renaissance, the inquiry shifts from the historical and geographical facts land for other reasons and points of knowledge. The common denominator is the piece of personal data, but the diversity of languages \u200b\u200band of contemporary approaches to define a geography stratified by individual reflection, generational, linguistic and existential. Among the areas of stratification we read the reasons in the form of thought that every artist cultivates and expresses a common origin from which this data is not the only reason, but the departure counter, the permanence and landing. "The reasons for the island" are not confined to Sicily, but as a land surrounded by sea to which it is to relate the multiplicity of these artists. The amazement regarding the origin sicula now is unjustified and the reasons are not an island to search the island, but in languages \u200b\u200bthat live and develop in new places and temporary membership. The exhibition highlights a constellation of reactions and decisions reached in different times and contingencies. The speed of life and the instability of the circumstances does not differentiate between those coming from the island and those coming from the mainland, the relationship between art and its origin is a concept that is constantly rewriting and breaks should not know, cliches and boundaries.

Rosario Antoci

Born in Dubrovnik in 1966. He graduated from the Art Institute of Comiso and then he graduated in sculpture at the Accademia di Belle Arti in Florence, the city where he lived from 1986 until 1992. E 'Professor of Artistic Anatomy and Anatomy of the Image at the Accademia di Belle Arti di Catania. Its large size installations made by assembling concrete, mortar, resins and glass fibers, are the series of silent gardens. In more recent years moves the creative thinking to environmental and coexisting opposites, increasingly probing into the camera lens.

Claudio Cavallaro

Born in Syracuse in 1976. The research report focuses on visible / invisible with respect to objects, images and situations of daily living a second life The use of light materials, and color pigments that react to special lights are used to accentuate the idea of \u200b\u200bthis research. The concept of resurrection is designed almost like a transformation into something else. The subjects are not raised in the previous essence but in s-object-art, whose purpose is to stimulate reflection so that the work will transmit (radiate) love, and contributes in some way, to the betterment of society.

Silvia Giambrone

Born in Agrigento in 1981, lives and works between Rome and Berlin. He works mainly with video, photography and installation process by touching the theme of language as a political tool and the relationship between indivisuo and space. He is a founding artist of space 26cc, Rome.

In 2006 she was selected for the Young Artists Award, Fondazione Agnelli, Torino. In 2007/2008 he held the seminar "Art and Feminism," at the chair of the Phenomenology of Contemporary Arts of Professor Cecilia Casorati, Academy of Fine Arts in Rome. In 2009 she was selected by the Ratti Foundation for the Advanced Course in Visual Arts.

Francesco Lauretta

to Ispica Born in 1964, lives and works in Florence. The sphere of memory and visual memories tied to the land of origin are central to the paintings and videos of Francesco Lauretta. The detail and color are the most potent symbols of an unrealistic view of real life. The base is represented by those images that give security to the common eyes, traditions and habits of the recent past, however, enveloped by the sharpness and cleaning. In the work of Lauretta is central to the relationship between the stored images from the memory as those that are part of this.

Concetta Modica

Born in Modica in 1969, lives and works in Milan. Total attention to the overturning of codes and meanings historicized object attributes belonging to the Sicilian culture and beyond. Use the many different artistic mediums, such as videos and installations to implement deconstructions, processing and anthropological connections between distant worlds of the points under investigation by a contingency. The objects give the identity to buy another.

Sebastian Mortellaro

Born in Syracuse in 1974, lives and works in Syracuse. The search for Sebastiano Mortellaro uses multiple artistic mediums, especially video and installations. Applicant is the central reference to his homeland, Sicily, which are always highlighted different aspects: the traditions, the beauty of the countryside, local people become the protagonists of works that often masks a bitter component, with insistence on the transformations undergone by the region over the decades.

Mauro Romito

Born in Milan in 1980, lives and works in Rome and Madrid. The gaps and spaces of silence are central to the creative curiosity of Mauro Romito. The video medium is used to create actions that conceal an ironic love some human truths. The survey also turn to the relationship between the sexes, and especially on the cultural transformation of will and actions to maintain and legitimize the power of that agency. He is a founding artist of space 26cc, Rome.

Stephen Zocco

Born in 1980 in Ragusa, Modica and lives and works in Palermo. The central need of his works explore the human findings, the result of everyday practices, the object does not proceed out to dismantle a number of practical thinking, real and intellectual space to return. It uses a variety of mediums including intervening on the nature of the media. The unceasing flow of human paradoxes, Stefania Zocco has indirect interest in the more that go unnoticed causing huge gap.

INFO

CoCA Center of Contemporary Arts

Corso Umberto No. 420, Modica

opening: March 20, 2010 h . 20:00

period: from March 20 to April 18 (Mon to Fri h. 10:00 to 12:00 / 5:00 p.m. to 7:00 p.m.)

Contact +39 3384628557

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