Art Gallery – Via Mameli 187, Cagliari
Technical sheet:
untitled, oil on paper, cm70x100, 2019;
untitled, oil on paper, cm70x100, 2019;
untitled, oil on canvas, cm50x60, 2018;
untitled, oil on canvas, cm120x140, 2019;
untitled, diptych, oil on canvas, cm60x80 each, 2019;
untitled, oil on canvas, 160×190 cm, 2016.
critical text by Sebastiano Giacobello
photos by Marco Follesa
Roberto Follesa
Works on display (crayons on paper):
a capo marrargiu, cm 82×61, 1966
a capo marrargiu, cm 87×66, 2001
a capo marrargiu con de Filippi, cm 94×64, 1971
a capo marrargiu con Trotta, cm 82×72, 1973
a capo marrargiu con Staccioli, cm 98×68, 1973
verso capo marrargiu, cm 94×64, 1975
verso capo marrargiu, cm 100×70, 1973
nel sole subacqueo, cm 94×69, 2010
momento subacqueo, graphite on paper, cm 94×65, 1964
alle vasche con Marina, cm 99×68, 1988
subacquea, cm 90×70, 1966
subacquea, cm 91×70, 1969
subacquea, cm 100×71, 1969
subacquea, cm 90×65, 1984
subacquea, cm 100×70, 1994
subacquea, cm 80×60, 1999
Salvatore Esposito (Gallipoli 1937) lives and works in Milan and Alghero.
Tecnical sheet:
Gallegiante series # 1, collage, cm25,4×25,4, 2018
Gallegiante series # 2, collage, cm25,4×25,4, 2018
Gallegiante series # 3, collage, cm25,4×25,4, 2018
Gallegiante series # 5, collage, cm23x18, 2019
Swoop, oil and acrylic on paper, cm51x51, 2018
Swerve, oil and acrylic on paper, cm51x51, 2019
Swing, oil and shellac ink on paper, cm51x51, 2018
Skew, oil and acrylic on paper, cm51x51, 2019
Tilt, oil and acrylic on linen, cm94x94, 2019
Time is a Circle, oil and acrylic on linen, cm94x94, 2019
Topple, oil and acrylic on linen, cm94x94, 2019
Thinking of T , oil and acrylic on linen, cm94x94,2019
“Looking at Linda Schrank’s paintings is a complex visual experience. In this exhibition, she presents both paintings and collages where she works with oil, acrylic, inks and other drawing materials to create lightness, a floating world, breathing made visible. Material and gestural, emotional and analytical, her painting emerges from diverse, sometimes opposing,origins. What Schrank is searching for is to engage and expand the viewer’s perception over time. On first encounter, her paintings are a conversation among materials, but after spending time with them, they express the balance and tension between coming together and falling apart.”
Linda Schrank has exhibited nationally and internationally since 1978.
Her work is included in major private, corporate and public collections, among them the Brooklyn Museum; Museum of Fine Arts, Boston; Boston Public Library; Houghton Library, Harvard University; Library of Congress; Rose Art Museum,Brandeis University; Princeton University; Minneapolis Institute of Arts; Museum of Ceramics,Torgiano, Italy; Museo Regionale della Ceramica, Deruta, Italy; Pratt Institute; Rochester Institute of Technology; American University, Washington, DC ; The International Museum of the Woman in Art, Abruzzo, Italy; The Morgan Library and Museum; The New York Public Library; University of Houston; University of Iowa; Smith College Museum of Art.
Photos by Barbara Pau
Technical sheet
Installation room size: 3 vertical sheets metal cm210x75, grain for sowing, broken dishes, 312 tulle party favors with confetti, video.
The artistic production of Pietruccia Bassu renews the sense of belonging to a tradition, to a story, developing projects on the sense of continuity and re-appropriation of memory.
The basic idea is to find in the practices and languages of the contemporary the possibility of handing down gestures, techniques, details that are to the tradition of the Sardinia and one of his family in particular.
The artist from Sassari belongs to a current that sees in contemporary art the possibility of preserving anthropological data, customs, memories of past generations, exploiting art as an archive, deposit of traces. She use different expressive tendencies, from video to installation, making use of objects with a high symbolic content which in their works take on new aesthetic and conceptual modalities. She has made several personal and collective exhibitions.
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Pietruccia Bassu was born in Sassari (1969) and trained at the Academy of Fine Arts of her city.
Technical sheet:
n. 21 acrylic on canvans:
1- I have not seen you since I was born,cm30x30, 2018;
2- Path, cm20x20, 2013;
3- The sick pilot, cm24x24, 2019;
4- The gift was the book, cm40x30, 2019;
5- Blackboard, cm80x80, 2012;
6- Common cause, cm50x40, 2019;
7- Stronger than you, cm30x30, 2015;
8- The others, cm20x20, 2014;
9- Common cause, cm29,5×20, 2019;
10- A message to all of you, cm60x60, 2018;
11 – A better mother, cm40x40, 2018;
12- They answered you, cm30x30, 2018;
13- Relativity, cm40x50, 2017;
14- Handbook, cm30x40, 2016;
15- Feeding Charlie, cm30x30, 2017;
16- Things have to change, cm30x30, 2018;
17- When they start to sing, dittico, cm16x29 ciascuno, 2018;
18- Lifesaver, cm30x15, 2018;
19- Let me see, cm20x30, 2019;
20- All green lights, dittico, cm18x24 ciascuno, 2011;
21- The deserters, cm20x20, 2014.
Gianni Casagrande was born in Nuoro in 1963, where he lives and works.
Self-taught, he has been drawing since he was two years old.
In 1999, the design of a film based on his own script became the occasion for his first exhibition presented in Nuoro in 2004 with the title “Follow the war on this map of the world in Mercator projection”.
Since then he has never stopped drawing, devoting himself exclusively to painting.
https://giannicasagrande.homefabrik.com/
Technical sheet:
n.3 oils on canvas cm60x80 2018-19;
n.1 oil on canvas cm100x120 2018;
n.4 acrylic on canvas cm24x30 2016;
n.1 oil on canvas cm24x30 2016;
n.1 oil on canvas cm40x50 2018; FADE OUT installation: 8 elements in shaped oil-painted MDF, variable dimensions
FADE OUT, fading images, tells us how memories of moments lived consciously or captivated blindly from the eyes during our daily life are combined and confused in memory, to reemerge in flaps in new forms. In our time, where modernity is personified by the speed of the flow of everything, of the time, of the urban landscapes glimpsed by the sub-windows, of the music spread by a mobile phone or a running car, of a quick lunch break in a room crowded, of a succinct text message, the eye mechanically captures every moment of the day, postponing the act of analysis and awareness to future moments. In the uncritical absorption of all these images and activities of daily life we lose sight of what is true and what is not.
critical text by Fabio Vito Lacertosa
Ruggero Baragliu (Nuoro 1987), lives and works between Nuoro and Turin.
He is one of the founders, together with Samuele Pigliapochi and Angelo Spatola, of the indipendent Turin space IDEMStudio.
His reaserch starts from the deconstruction of the image, whatever the subject, up to a formal synthesis of the same.
The image stripped down to obtain the supporting structure, is reconfigured into another possible scene no less real or false than the original.
The slow dissolution of a given image allows the creation of another, original and pure.
Among the most recent exhibitions:
LACERTO, at the Galleria Alessio Moitre in Turin (2018);
AIR CONDITIONING, at IDEMStudio in Turin (2018);
PROGRESSIVE, at Edicola Radetzky in Milan (2019);
TARAPIA TAPIOCO, taken IDEMStudio (2019).
photos by Barbara Pau, Marco Fronteddu
Technical sheet: Forno, wall painting, 2019, environment size; Nuragic alliance, 6 lacquered iron stools, 2018, height 35.5 cm, diameter 32 cm; Paese bianco, plastic: vegetable cardboard, wall paint and acrylic paint, 2017, variable dimensions; Umbraghe, colored viscose, 2018, cm 245x195.
The Nuragic Alliance exhibition brings together the testimonies of some typical meeting places of Sardinian culture, with the aim of analyzing the importance of the spaces for dialogue in the construction of a community.
White Town is a model that evokes the main features of rural churches, which in Sardinia are, in some cases, built over the sites of nuragic sanctuaries. The result is a coexistence of architecture from different eras, that can be thus compared, such as the nuragic huts, whose fixed seats follow the internal perimeter, and the open spaces around the church, which also – thanks to the versatility of easily movable benches and chairs – adapt to different forms of assembly. The research on color, manifest in many works on display, comes from a direct sampling of the colors showed in Fiorenzo Serra’s documentary La novena (1967), about the holidays in the Sardinian shrines called novenari.
The image of a circular meeting, devoid of explicit hierarchies (a typical feature of nuragic contexts), is also present in the arrangement of a series of stools designed on the basis of the ones that the nuragic people represented in miniature in the votive bronzes. The installation implicitly invites the audience to sit down, thus creating a physical space for dialogue within the exhibition. The pink outline of a large oven is painted on a wall: it is another example of a fundamental community moment for the Sardinian people, the baking of bread, which is characterized by the use of particularly elaborate masonry ovens.
The set of these elements (the stools, the oven, the table on which the model is displayed) can be seen as a reference to a single interior space, like the kitchen of an imaginary ethnographic museum, while a suspended cloth refers to those that, in open spaces, are used to shelter from the heat of the Sun: another perimeter within which, once again, people can meet.
photos by Barbara Pau and Marco Fronteddu
Stefano Serusi (Alghero 1980) lives and works in Milan. From the beginning of his journey his work has developed almost naturally in site specific interventions, in which objects and installation works can contribute to a narration. Among the most recent group exhibitions: “Teatrum Botanicum”, PAV, Torino (2016) and “Progetto Città Ideale presents Edicola Radetzky”, at the PAC Contemporary Art Pavilion, Milan (2016) Among the solo shows: “MVS € 0 “, At Display (Parma, 2018),” Sleeping giant “, at the Casa Manno Museum (Alghero, 2017) .In Milan he is one of the founders of Edicola Radetzky.
Tecnical sheet: THE WAY OUT IS THROUGH, 2019, Painting, chalcography and silk-screen printing on cotton, 150 x 700 cm; AIR FAME # 3, 2019, Screen printing and manual impression on play dough, 20×20 cm, 3 pieces; HALO 1/3, 2019, Stereo sound, 130″ approx.
Synopsis
…..
You: «You’ll fail, you’ve never been good (that good) at it.»
Me: «How come, then, I got to you?»
You: «I was bringing you here, but you stopped.»
Me: «You said that I never stop.»
You: «I thought it was normal to remember you.»
Me: «And also leaving me here, halfway, instead?»
You: «I never brought you further than where you deserved.»
Me: «I never went further than I wanted to.»
Biography: Alberto Marci (Cagliari 1985) has completed his studies at the Academy of Fine Arts in Florence in the Graphic Art section. His training in the areas of experimentation and engraving languages took place in the atelier Casa Falconieri, where from 1999 to 2009 he took part in experimental and research masters. Presented at the Estampa art fair, in the young section of Casa Falconieri from 2004 to 2009, in 2004 and in 2005, he obtained two scholarships from the Fundaciòn CIEC. Artist reported in the 2006 edition of the “Pietro Parigi graphics prize”. In 2008 and 2009 he took part in the residencies on the artist’s book “Reinventare gli Spazi” and “Laboratorio dell’Inquietudine” at the Stazione dell’Arte Foundation in Ulassai, Sardinia. Presented by Casa Falconieri at the 2010 “IKASART II” festival in Bilbao. In 2010 he is the beneficiary of a Master & Back scholarship of the Sardinia Region. Artist invited for the “1st Encuentro Alfara-CIEC” at the Alfara studio in Salamanca. Selected, paired with Maria Penela, for the artistic residences of the “Bienal de Cerveira” in Portugal. Currently he develops his own research work and at the same time he dedicates himself to teaching the printing techniques and publishing for other artists. He has participated in various group exhibitions, his works are present in Italian and foreign public and private collections.
Scheda tecnica:
Lucio Pozzi, Difraction, acrylic on flashe on board, 2 works, cm30,5×22,8×2,2, 2016
Lorenza Sannai, acrylic on panel, Rientro cm15,2×15,2,4, Regola, Destinato, Fenomeno cm15,2×15,2×2,4 2017, Doppio Peso, Clinamen cm50,8×40,6,2,2, Scarti dell’equilibrio cm40,6×30,5×2,2, 2018
Linda Schrenk, Il barone rampante, archival pigment print 5/10, n.6 cm150x50 2015.
Lynn Umlauf, Senza titolo, wire mesh, plexiglas, acetate sheet, metal wire, 2000
Adriano Orrù, Sarabande sketches, double bass, 27.12.2018, 19,40
Giacomo Salis & Marco Ferrazza, Improvvisazione, drums and electronic music, 28.12.2018, 20,00
A gift from the artist is the annual appointment that begins immediately after the Christmas holidays and ends on the last day of the year. This year, from the 27th to the 29th of December, seven artists will offer you a moment of their poetic research.
Lucio Pozzi, Lorenza Sannai, Linda Schrank, Lynn Umlauf, with their pictures, Adriano Orrù on December 27th – from 7.40pm – with his double bass, Marco Ferrazza and Giacomo Salis on December 28th – from 8.00pm – with their electronic music and percussions.
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www.luciopozzi.com www.lorenzasannai.com www.lindaschrank.com, www.lynnumlauf.com www.adrianoorru.com salis & ferrazza duo
Technical sheet: n. 12 acrylic on flashe on board, 30,5×22,8×2,2cm. 1 installation – 2 banners: digital photos in black and white, pvc gr. 500, 360x90cm; 2 slabs of wood 170x80x1,5cm painted with glossy yellow enamel; Tulip, 11 Sept. 2018, 76x57cm, acrylic on paper; Moonsong, 12 Sept. 2018, 76x57cm, acrylic on paper; 8 nails.
GAP is divided into two parallel lines: on one side there are twelve small paintings of the Diffraction/Diffrazioni series and on the other one a new installation called Fortuna. The paintings are very colorful acrylic paintings in which two color strips never meet. The installation has black and white drawings on two slabs of wood painted in yellow that are placed on digital photos 3.20 meters high. In a controversy with what he calls the “virus of explanation”, Pozzi does not explain his works and wants to stimulate the spectators to recreate the art piece in their mind as they please.
Biography: Lucio Pozzi was born in 1935 in Milan. After living a few years in Rome, where he studied architecture, he arrived in the United States in 1962, a guest of the Harvard International Summer Seminar. He immediately established himself in New York and took American citizenship. After a while, his art began to be exhibited in galleries such as Aries, Bykert, John Weber, Gianenzo Sperone, Yvon Lambert, Leo Castelli. He lives and works in Valeggio sul Mincio (VR) and Hudson (NY). Pozzi is a painter who loves to paint and, at the same time, pursue his interests even in contexts that are not exactly pictorial.
Homepage: www.luciopozzi.com
