Untitled (study for a portrait), 2012
June 22 - July 5, 2013
The video documents an entomologist's relationship with a few different species of butterflies. Gestures and experience create a narrative halfway between scientific description, playful language and choreography. A silent dialogue between man and the insect symbolizing metamorphosis. With close up shots the artist introduces us into a hypnotic flow, a balanced and respectful dance that becomes a hymn to beauty but also to transience and fragility.
Giovanni Giaretta was born in Padua in 1983; he lives and works in Venice. A graduate in Design and Production of Visual Arts at IUAV, Giaretta has taken part in various residency programs at the Bevilacqua la Masa Foundation in Venice, the Centre International d'Accueil et d'échange des Recollets, in France, and the Dena Foundation for Contemporary Art, in Paris, and in 2012 at the Macro in Rome. His works declined in video and installation language reflect his interest in scientific notions and principles.
QiuTian, 2013
Sept. 20, 2013
Qiu Tian by Moio&Sivelli inaugurates the visual season of the I.Q. and in particular is a tribute to the Settimana Europea della Mobilità Sostenibile.
Qiu Tian, (Autumn) is the video filmed on the trail of a recent trip made by the artists to China, a country that more than any other today hints at the speed of social, anthropological and environmental transformation. The four frames addressed, shot entirely with the sole use of cell phones, an iconic tool of contemporary technology and Made in China, empirically retrace the journey from Beijing to the South by car and train. The alienated gaze of the Westerner flows at a dizzying pace from urban realities choked by fine dust to thinning signs of civilization to natural scenery. The diaphragms of tinted car windows or billboards appearing on buses, along with the speed of transportation, prevent the focus of details, the contemplation of details.
Qiu Tian can be read as a cynical interpretation of the habits and customs of the world's most populous country. In a disenchanted and subtle way, the artists transfer to us their sense of confusion and the need to stop and reflect dragged instead into the obsessive spiral of supposed progress.
Luigi Moio (Naples, 1975) and Luca Sivelli (Naples, 1974) live and work between Naples and London. Moio&Sivelli move their research from the creation of borderline situations, bordering on the paradoxical, with the use of conceptual filters, such as the use of irony or misunderstanding, and physical through material diaphragms such as silicone spread on the photographic image and video. Moio&Sivelli have exhibited in Italy and abroad including recently in Shanghai in the International Television Festival and at the Project Room of the Madre Museum in Naples with the solo show Naked Lunch. Insegnano videoinstallazione ed elaborazione digitale dell’immagine all’Accademia di Belle Arti di Napoli. Due opere permanenti sono installate presso la Stazione di Mergellina della Metropolitana di Napoli linea 6 (Timeless) e al Porto del Granatello di Portici (Genius Loci).
Homo Homini Lupus, 2011
December 20, 2013 to January 20, 2014
In a desolate lunar-looking expanse, a pack of wolves contends for a flag as if it were the only source of life, provoking a frenzied and convulsive struggle. The central fetish cross-symbol of identity and power is eroded within moments by the brutal ferocity of the beasts, an ancestral allegory of an irrational and violent humanity. Referring avowedly to Hobbes' theories that man's actions are determined only by the instinct for survival and overpower, Berta returns a merciless picture of Italy today.
Filippo Berta (Bergamo, 1977) has exhibited among others at Jonkopings Lans Museum (Sweden, 2013), Pori Museum (Finland), Bremen City Museum (Germany, 2013), Madre Museum in Naples (2012). He participated in the 4th Thessaloniki Biennale (Greece, 2013), 3rd Moscow Biennale - Young Art (Russia, 2012), Prague Biennale 5th Edition (Czech Republic, 2011). He has taken part in artist residencies such as: Fondazione Ratti, Como (2012), Fondazione Spinola Banna, Turin (2009).
ASH, 2010
May 24-June 24, 2014
The central theme of MASBEDO's decades of research through video art is nature: a primitive, primordial, inhospitable nature in continuous duet with man. If the aesthetic grammar, dreamlike and refined, accompanies the vision in a suspended atmosphere, the narrative language underlying the works introduces us into a real investigation in which the loneliness of man, amplified by a technological humanism, seems to be the inexorable result. ASH, a work with which MASBEDO won the Cairo Prize in 2010, is a two-channel installation filmed in Iceland during the eruption of the Eyafjallajokull volcano that halted the skies of the world in 2010. Juxtaposed in the images are the sublime power of the volcano and the poignant helplessness of man who, as an astonished observer, embodies today's sense of incommunicability. Starting from a shocking news episode ASH is a manifesto of the power and fascination of nature rebelling against the material whims of man forced to take refuge in hope and prayer.
MASBEDO is a Milan-based artistic duo composed of Nicolò Massazza (1973, Milan) and Jacopo Bedogni (1970, Sarzana). The privileged language of video art is the result of a multidisciplinary and transversal artistic path that sees them participating in different artistic collaborations with writers, musicians, film and theater actors including Michel Houellebecq, Marlene Kuntz, Juliette Binoche etc... Their works have been exhibited in numerous Italian and international museums and festivals including Leopold Museum in Vienna, Castello di Rivoli in Turin, RomaEuropaFestival, Italian Pavilion 53rdBiennale in Venice and are in important collections including GAM in Turin, MACRO in Rome, DA2 Museum of Contemporary Art in Salamanca, CAAM Atlantic Center of Modern Art in Las Palmas, Junta de Andalucia, Tel Aviv Art Museum.
Establishing an ideal as well as terrifying dialogue between the two volcanoes, the MASBEDOs with ASH Are in their first appearance in Naples.
Blue, 2014
July 25-August 7, 2014
Maria Adele Del Vecchio's work crosses the aesthetic tension with the relational one, characterizing itself through the production of works that can either be "actions" on the territory - such as the performance "Qui sembra ancora possibile," which took place in 2011 in Rome's Pineto Park - or objects or projects in which she uses an often symbolic language that lets the echo of an autobiographical and constant questioning and interrogation of the signs of reality shine through. In both cases, overtly or covertly, the work asks the viewer to "take a stand," to get involved, to begin a journey of growth in one's own consciousness and awareness.
The work, realized ad hoc for the Intelligent Neighborhood, is a visual manifesto, a fixed belonging image that overturns the space of the city by bringing the sea into the historic center and above all by twinning two urban areas united by a void left by man: the area of Montesanto, and in particular the area where the I.Q. stands, and that of Bagnoli that still suffer from the immobility of the authorities. Far from easy political polemic, Blue - adjective that in English as well as referring to color qualifies the feeling of depression - is rather a melancholic salute of the artist to the summer and the city of Naples, a tautology, that is, a true statement because true are the elements that compose it, which temporally synchronizes the historic center with the post-industrial area.
Maria Adele Del Vecchio (1976, Caserta), lives and works in Rome. He attended the Staedelschule in Frankfurt in 2005/06, and the Fondazione Antonio Ratti in Como in 2003. Recent solo exhibitions include. Tonite let’s all make love in London, Supportico Lopez, Berlin, 2014, Qui sembra ancora possibile, edited by Maria Rosa Sossai, Pine Grove Park, Rome, 2011, No end is limited, curated by Stefania Palumbo, Galleria Enrico Fornello, Prato 2008; among group shows: Viaggio al termine della parola, curated by Antonello Tolve, Galleria Tiziana Di Caro, Salerno, Se il dubbio nello spazio è dello spazio, curated by Maria Adele Del Vecchio and Nemanja Cvijanovic, Museo MACRO, Rome, 2014, Die Dritte Dimension, Frutta Gallery, Roma, 2013.
Cosmic Dance Animated Paintings, 2014
Music by Heather Nova
December 20, 2014 - January 11, 2015
Alberto Di Fabio's work draws inspiration from the cosmos and the elements that make up the world of nature. His painting investigates chemical reactions, mineral fusions, atoms, DNA, and neuronal systems, magnifying them as if under a microscope. These often geometric forms spin and vibrate on his canvases in bright, pure colors, creating contrasts and harmonic scales, tonal variations and surprising juxtapositions. In his canvases macro and microcosms merge together in a painting that, although abstract, presents real elements.
Cosmic Dance Animated Paintings is Alberto Di Fabio's first video experiment born out of his desire to add the fourth dimension to his painting, to "live the dream of cinematography, becoming scenography of the mind, mental landscapes for an elevation of the spirit" (Alberto Di Fabio).
The search for time and movement always present in her poetics becomes explicit, evoking in the viewer extrasensory kinetic visions aimed at indulging in a dreamlike journey and achieving spiritual elevation. The movement of cells, impulses sent by neurons, and rays of photons are guided by the voice of singer Heather Nova: animations originally created to accompany the singer-songwriter's performance on her European tour have been translated into an 8-minute video installation.
Alberto Di Fabio Was born in Avezzano, Italy, in 1966. He lives and works between Rome and New York. His most recent solo exhibitions include. Paesaggi della mente, edited by L.Cherubini and E.Viola, Castelbasso, Teramo, Alberto Di Fabio per Sant’Elmo – Galassie sul castello, edited by Angela Tecce and Pier Paolo Pancotto, Castel Sant'Elmo, Naples, Alberto Di Fabio Gagosian Gallery, Geneva, Realtà parallele, GNAM, Roma, Gardens of the mind, Galleria Umberto Di Marino, Napoli.
Urformen, 2014
Courtesy The Gallery Apart, Roma
April 25 - May 16, 2015
Urformen - literally the archetypes/original forms-is a cameo that the artist dedicates to the German master photographer Karl Blossfeldt (1865 - 1939) who argued in his "sculpture" lectures that plants should be evaluated as totally artistic and architectural structures. With an elementary close-up sequence, Perilli translates into video the principle that all sculptural forms already exist in nature. Nature is thus the archetype of art. The sharpness of details, the perfection of forms and the saturation of colors establish an ambiguous short-circuit between natural and artificial, between ordinary and extraordinary. A tension between culture and nature played out sensorially: the close gaze dilates the perception of archetypes and projects a sense of construction and formal artifice (LP).
La ricerca di Luana Perilli (Rome 1982) focuses on the relationship between nature and culture. Through different media he tends to trace the connection between the natural universe and the artifact world both in his investigation of eusocial animals, such as ants, and the relations of their community patterns to human societies, and in his latest production of ceramic sculptures with organic forms conceived as inhabitable and functional works. Exhibitions include. Janela, New Goa Museum, Kochi, India, All for One , Medium Galerie, Bratislava, SK Internaturalità, PAV Torino, RE-generation MACRO, Roma; Patria Interiore, Golden thread Gallery, Belfast, Premio Fondazione VAF Stadtgalerie Kiel, An intimate story, Cotroneo Collection, MAMM Moscow; Cairo Prize, Palazzo della Permanente, Milan. He also participated in the residencies Pan Studios Program, Naples (supervisor Daniel Buren), Art Omi Grant of the Dena Foundation in New York, Cité Internationale des Arts, of Incontri Internazionali D'Arte, Paris.
Monument, 2015
Monument is a poetic-experimental documentary composed of a series of nine portraits of imposing anti-fascist concrete memorials commissioned by the former Yugoslavia. During the 1990s war in the Balkans these "guardians of history," built to honor the victims of World War II, were partly destroyed because they were perceived as mere monoliths of an outdated communist ideology. The attempt to erase these constructions is the basis of this work, which thus aims to reread in history the echoes of political issues in the Balkans. The artist emphasizes the unexpected fragility of these monumental structures by filming them in a natural setting of passage, of seasonal change, also metaphorically highlighting the role and cyclical nature that has witnessed a series of traumas and radical changes. In an almost spiritual atmosphere, the artist lets the monuments tell their own story while triggering a questioning of the value and meaning of the monument today.
Igor Grubić (Croatia 1969) is known for his political and moral activism and for his operations in public spaces, often born in a mysterious atmosphere of anonymity, which aim to generate new meanings such as the series 366 Liberation Rituals (2008) or Angel with dirty faces (2006). Active since the 1990s his work includes performance, photography, and video, and since 2000 he also began working as a producer. His works have been exhibited in numerous international exhibitions and institutions including Manifesta 4, Frankfurt; Tirana Biennale 2; 50.October Salon Belgrade; 11. Istanbul Biennial; Manifesta 9, Genk; Gwangju Biennale 20th; 'Zero Tolerance', Moma PS1, New York; Palais de Tokyo, Paris. In Italy among others, he participated in Present Future at Artissima in 2001 and the exhibitions Il Piedistallo vuoto and Gradi di Libertà at Museo Civico Archeologico and Mambo in Bologna in 2014 and 2015 respectively. He works with La Veronica gallery in Modica.
The project is carried out in collaboration with theAmbasciata della Repubblica di Croazia a Roma, l’Istituto Italiano di Cultura di Zagabria, with the support of the Ministero della Cultura della Repubblica di Croaziawith Patrocinio dell’MSU di Zagabria and Matronato della Fondazione Donnaregina per le arti contemporanee.
Supernatural, 2010
realized in collaboration with Bianco-Valente
music by Clap Rules
Courtesy Galleria Umberto Di Marino, Napoli
Supernatural is ironically conceived as a commercial for an unlikely luxury bathhouse created to "meet the needs of a nomadic life." Drawing from his investigations into social issues, Tibaldi truly creates Supernatural by drawing inspiration from the life of Roma camps, where there is no running water, and hybridizes natural and artificial, reality and fiction, and, as often in his work, art, architecture and design. The paradox of the installation reverberates and reiterates in the video in which blink-and-you-miss footage with a typically commercial style is accompanied by a tinny narrative voice of clear foreign origin along with minimal sound that helps transport the viewer's imagination to an otherworldly environment. This work, while not among his usual media, contains in nuce the distinctive aspects of the artist's modus operandi such as the study of "minimal housing architecture," the fine line between legality and illegality, between public and private spheres.
Eugenio Tibaldi (Alba, 1977) lives between Naples and Turin. Internationally known for his research straddling art, urbanism and architecture Eugenio Tibaldi is considered among the most accomplished Italian artists of his generation. Using mixed techniques, the artist records the changes of reality, its aesthetic stratifications of living in which human intervention often becomes a survival strategy. Major exhibitions include: Second Chance, Museo MEF, Torino, e Capri B&B-Behind and Beyond (con Raffaela Mariniello) Certosa di San Giacomo, Capri, nel 2016, Questioni di Appartenenza, progetto speciale Museo Madre, nel 2015, Red Verona, Studio la Città, Verona, nel 2014, Archeologia Contemporanea _02, Museo Archeologico Statale di Ascoli Piceno, Bubo, Galleria Umberto di Marino Arte Contemporanea di Napoli, nel 2013, Transit – 4, State Museum of Contemporary Art, Salonicco nel 2011- Project Room Museo MADRE Napoli.
Still Life, 1998
Still Life is a revisitation of a 1998 work by Raffaela Mariniello. In the same vein as her iconic shots on the decommissioning and degradation of everyday life, these images draw their inspiration from the assimilation of reality and its waste into contemporary "fossils." The decomposition proper to organic matter is associated with the immortality of packaging that now belongs to our collective imagination. With a bitter reflection on a consumerist society, food and its container rise to symbols of our present.
Talk with Helga Sanità, anthropologist
Food told by artists
MedEatResearch Project Presentation
Center for Social Research on the Mediterranean Diet directed by Marino Niola - Active laboratory at Suor Orsola Benincasa University.
Screening of interviews
L’appetito vien guardando with Mimmo Jodice
La Natura delle cose with Antonio Biasiucci
Storie di Vita with Riccardo Dalisi
English 
Italian