• Short Exhibitions

    Fabrizio Ortu – Mumble

    3-5 October 2018

    Technical sheet: n.13 acrylic, enamel and felt-tip pen on paper, 7 acrylics on canvas, 1 chalk sculpture and inserts of enamelled acetate.

    In this short exibition, we will talk about writing,  the most abstract art that exists par excellance.

    In fact, only the obligation of a long discipline, i.e. school education, gives us the image of a dog, when we read these curved lines that are sometimes interrupted, and allows us the vision of abstract concepts such as prudence or perseverance.

    We can even see the ”broken“ dog, that is the d, o, g, and without any correspondence to the parts of the same, legs, nose, snout, but as to weave and combine reeds.

    So what do the figures of Fabrizio Ortu tell us, these elaborations of graphic signs imagined as alien writing where colors and signs develop according to rules unknown to us?

    But above all, do we really want norms and explanations that reveal the enigma, depriving us, at the same time, of the fascination of mystery and mortifying our imagination and our intellectual efforts?

    I have always wondered if the annoyance that we experience when someone reveals the name of the murderer prematurely is not the same one that dwells in the art when you simplify the work of an artist in a simplified way, attributing it for example to an artistic current, depriving the viewer of the originality of the discovery.

    Biography: Fabrizio Ortu (Nuoro 1977) lives and works in Nuoro.

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  • Short Exhibitions

    Roberto Falchi – I’ll tell you a tale

    6-8 June 2018

    Technical sheet: 7 paints on paper for food, 2 ink and watercolor on glossy paper, a moleskine booklet with water-colored paper inserts.

    Ti racconto una storia (I’ll tell you a tale) is an intimate tale, partly an autobiographical one, about the conquest of awareness and the achievement of adulthood.

    With images close by taste to the illustrations of fables, Roberto Falchi accompanies us through the choices, experiences, joys and disappointments that mark our existence up to self-(in)consciousness.

    It is difficult to establish when this happens: we can only be sure that, at a certain moment, the world of childhood and adolescence no longer belongs to us. Pragmatic urgencies are superimposed on idealized projects, programs to be implemented according to the available means and immediate feasibility and usability, even if devoid of poetics and imagination.

    And, on the possibility of recovering the age of innocence, this work invites us to find, by isolating individual episodes, the memory and the taste of discovery, the indeterminacy and indefiniteness of feelings, the freshness of emotions.

    One for all: being in love.

    Biography: Roberto Falchi (Cagliari 1980) lives and works in Quartu Sant’Elena. After studying at the Liceo Artistico of Cagliari, he continued his training at the Academy of Fine Arts in Florence, achieving with the highest marks the degree in Painting with the prof. Renato Ranaldi, with the correlation of Radu Dragomirescu. From 2001 to 2004, he collaborated at the Ceramic Laboratory of the artist Claudio Pulli in Selargius, CA. In 2004 the artist Bertrand Lavièr asked him for a collaboration to do a job at the Pecci Museum in Prato. In 2004, he collaborated with Radu Dragomirescu for the realization of the preparation of an exhibition at the Church of Barnabiti in Florence. In 2011, he specialized in visual arts and performing arts. He currently teaches Image Art in a secondary school.

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  • Short Exhibitions

    Roberto Randaccio – Fake Papers Lacerations

    2-4 May 2018

    Technical sheet: 5 mixed technique (acrylic and graphite) on paper (japanese Moleskine).

    Lacerazioni is a series of works in acrylic and graphite belonging to the Carte False (Fake Papers) project, a cycle of works characterized by the representation of sheets of paper on real paper.

    The paper, continually cited and depicted in its different styles – folded, cut, torn –, becomes an instrument of investigation to reflect upon appearance and reality, negation and figuration, as well as becoming, with its simple presence of open white paper, a witness and a critic of the works of other artists.

    Lacerazioni is a series of reflections freely inspired by the Dead Christ by Holbein.

    Biography: Roberto Randaccio (Cagliari 1958) lives and works in Cagliari.

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  • Short Exhibitions

    Elisa Desortes – Middle Earth

    14-16 March 2018

    Technical sheet: n. 9 drawings with rapidograph 0.1 postcard size, installation: white table, white chair, interior plan, notebook, pencil.

    In the short-exibition Middle Earth, Elisa Desortes takes us to a no-man’s-land where stereotypical structures and places, destined for the use of a mass audience, have become the new cathedrals of the 21st century.

    Renamed by Marc Augè “non-places”, every day, consciously or not despite the uninviting definition, we voluntarily look for them and attend them, dedicating to them part of our time.

    We look at them, seeking the forced light of every hour of the day, the food and the manufactured goods to meet the taste of everyone, the right ambiance to celebrate personal recurrences, the occasional meetings to socialize and the company to travel.

    And if the recognizability of the structures promises the certainty of the content, the secret desire is to remain a unique individual well distinguishable within them, not confused with the millions of faces that meet intent in the same research with similar motivations.

    Thus, the education to the use of these massively frequented places pushes the community in the opposite direction of empathy, towards an exacerbated individualism.

    Still, we are far from requesting affection through these channels but – who knows – with the progress of online sales on Amazon, the new virtual frontier of “non-places”, perhaps soon enough we will be able to order a surrogate mother, a brother, a faithful pet, and a Prince Charming.

     Biography: Elisa Desortes (Sassari 1974) lives and works in Sassari.

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  • Short Exhibitions

    Raffaello Ugo – Painteque

     7-9 February 2018

    Technical sheet: 15 drawings in colored pencil on paper.

    A series of portraits of domestic life are an opportunity for Raffaello Ugo to invite us to reflect upon the concept of memory.

    Starting from common subjects, daily gestures and actions that are repeated without apparent variations, small episodes that for an instant alter the daily routine, this is an exhibition of individual memories, focused on the suggestion of memory and its reworking, the sum of analogous episodes, making it an opportunity to search for one’s own self, an invitation to self-awareness and self-knowledge.

    The non-exceptionality of the subjects means that they become a common ground of everybody’s memory, a sort of family lexicon, where the collective memory of friends, relatives, animals and places is transformed into a paean.

    And the suggestion or invitation that seems to spring from the memory of our memories, both affectionate and ironic, that stares us from the walls is that the most courageous action we carry out in our existence: heroism is learning to know each other.

    Biography: Raffaello Ugo (Empoli, 1957) lives and works in Monserrato.

    Homepage: www.avvoltelinverso.org

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  • Short Exhibitions

    Marco Pautasso – The children are watching us

    18-20 October 2017

    Technical sheet: 8 oil paintings on canvas, 1 oil painting on paper.

    I bambini ci guardano (The children are watching us) is the title of a 1944 film by Vittorio De Sica, but also a common expression often used by adults when, due to a regrettable situation, they feels embarrassed in front of their children.

    But is it so true that innocence is a maiden and the adult world is an ogre?

    The presumed innocence of the young age is nothing other than the self-evident will, without veils and hypocrisies, of one’s own desires when one is still unaware of having to moderate them in hers or his relationship with others.

    A long education, given by adults above all by example, teaches rules and subterfuges, principles and shortcuts, to transform childhood caprices into needs, the desire for ownership in control and the will to coerce in sharing objectives.

    The right thing, the whim to change and scaling up childish games, including their consequences.

    And it is in such circumstances, in the construction of the scaffold of existence, made of conveniences, compromises, subterfuges and betrayals that it may happen that children watch us, and the king is naked.

    Biography: Marco Pautasso (Cagliari, 1980) lives and works in Cagliari.

    Homepage: http://pautac16.wixsite.com/marcopautasso

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