Dr. Barry & Ms. Hyde

Jan 10th 2025 - Mar 30th 2025

MOTELOMBROSO

DL Review — Ann Tracy at IMPULSE Gallery / Lucerne, Switzerland

𝙄 𝙬𝙖𝙨 𝙧𝙚𝙘𝙚𝙣𝙩𝙡𝙮 𝙞𝙣𝙫𝙞𝙩𝙚𝙙 𝙤𝙣 𝙖 𝙥𝙧𝙚𝙨𝙨 𝙩𝙧𝙞𝙥 𝙩𝙝𝙖𝙩, 𝙞𝙣 𝙖𝙙𝙙𝙞𝙩𝙞𝙤𝙣 𝙩𝙤 𝙤𝙛𝙛𝙚𝙧𝙞𝙣𝙜 𝙢𝙚 𝙩𝙝𝙚 𝙘𝙝𝙖𝙣𝙘𝙚 𝙩𝙤 𝙨𝙥𝙚𝙣𝙙 𝙪𝙣𝙛𝙤𝙧𝙜𝙚𝙩𝙩𝙖𝙗𝙡𝙚 𝙙𝙖𝙮𝙨 𝙞𝙣 𝙩𝙝𝙚 𝙗𝙚𝙖𝙪𝙩𝙞𝙛𝙪𝙡 𝙘𝙞𝙩𝙮 𝙤𝙛 𝙇𝙪𝙘𝙚𝙧𝙣𝙚 𝙖𝙡𝙤𝙣𝙜𝙨𝙞𝙙𝙚 𝙗𝙧𝙞𝙡𝙡𝙞𝙖𝙣𝙩 𝙬𝙧𝙞𝙩𝙚𝙧𝙨 𝙖𝙣𝙙 𝙩𝙝𝙞𝙣𝙠𝙚𝙧𝙨, 𝙖𝙡𝙨𝙤 𝙖𝙡𝙡𝙤𝙬𝙚𝙙 𝙢𝙚 𝙩𝙤 𝙞𝙢𝙢𝙚𝙧𝙨𝙚 𝙢𝙮𝙨𝙚𝙡𝙛 𝙞𝙣 𝙩𝙝𝙚 𝙛𝙖𝙨𝙘𝙞𝙣𝙖𝙩𝙞𝙣𝙜 𝙖𝙣𝙙 𝙙𝙧𝙚𝙖𝙢𝙡𝙞𝙠𝙚 𝙬𝙤𝙧𝙡𝙙 𝙤𝙛 𝘼𝙣𝙣 𝙏𝙧𝙖𝙘𝙮. 𝙏𝙝𝙞𝙨 𝙘𝙡𝙤𝙨𝙚 𝙚𝙣𝙘𝙤𝙪𝙣𝙩𝙚𝙧 𝙬𝙞𝙩𝙝 𝙝𝙚𝙧 𝙖𝙧𝙩 𝙨𝙥𝙖𝙧𝙠𝙚𝙙 𝙖 𝙨𝙚𝙧𝙞𝙚𝙨 𝙤𝙛 𝙞𝙢𝙥𝙧𝙚𝙨𝙨𝙞𝙤𝙣𝙨, 𝙬𝙝𝙞𝙘𝙝 𝙄 𝙝𝙖𝙫𝙚 𝙩𝙧𝙖𝙣𝙨𝙘𝙧𝙞𝙗𝙚𝙙 𝙞𝙣 𝙩𝙝𝙚 𝙛𝙤𝙡𝙡𝙤𝙬𝙞𝙣𝙜 𝙖𝙧𝙩𝙞𝙘𝙡𝙚, 𝙥𝙪𝙗𝙡𝙞𝙨𝙝𝙚𝙙 𝙤𝙣 𝘿𝙖𝙞𝙡𝙮 𝙇𝙖𝙯𝙮. ANN TRACY TRANSMISSIONS 17 October – 21 December 2024 IMPULSE GALLERY Haldenstrasse 19, 6006 Lucerne www.impulsegallery.com "Harmony, form, balance, plasticity, beauty. These concepts, though seemingly distant, are united by a common glossary that spans both the world of visual arts and that of holistic practices. Art thus becomes a mirror, a tool through which to observe ourselves more closely, an opportunity to explore the human soul and open ourselves to change, to the evolution of our ‘Self.’ In her works, the American artist Ann Tracy adopts these axioms through a system of symbolic communication that also employs the tools of investigative dynamics — allegorical codes and research mechanisms — to go beyond the surface of the given reality. An approach that places the artist within the coordinates of an authentic and personal vision, one that not only does not elude but, in fact, encourages confrontation with renewed analytical perspectives, directly resulting from a process of observational learning. In this context, the suspension of judgment becomes the distinctive trait, capable of opening up to a deeper and more impartial understanding of the restless identity of our times. The large-scale painting Adrianne and the Twins, a multi-panel work currently exhibited in the spacious and majestic halls of IMPULSE Gallery in Lucerne, dominates the scene with its imposing presence, evoking the imagery of Piero della Francesca, one of the primary sources of inspiration for the artist. His painting, characterized by harmony, geometric precision, and a carefully calibrated perspective, is here reinterpreted through a personal version of the famous Polittico della Misericordia (1445-1462), housed in the Museo Civico of Sansepolcro — a work of extraordinary mathematical precision in which every detail is measured with rigor. In this painting, one of the most recurring elements in Ann Tracy’s artistic practice also emerges: a keen sensitivity to color that makes extensive use of gold and silver, present throughout her artistic production as elements imbued with meaning. These chromatics not only evoke memory and the suspension of different times but also serve as an alchemical device that transforms the work, imbuing it with an aura of change and transcendence. In a historical context where society tends to devalue complex ideas, at the expense of a growing intellectual and spiritual impairment, the artist presents a reflection that invites awareness of the individual’s intrinsic ability to ‘enter within themselves,’ revealing an inner truth that dissolves layers and masks in favor of a shared feeling. From this perspective, artistic practice and self-exploration intertwine with the search for self-awareness through meditation, yoga, and pranayama, creating a fusion of elements that is reflected in the artist’s works themselves. The mysticism that permeates Tracy’s entire creative process highlights her deep connection to her formative path, which was not limited to academic studies, crowned by prestigious degrees and professional roles, including that of university professor of Fine Arts for about 16 years. It was, in fact, strongly shaped by both a practical and theoretical path that led her towards new modes of perception, so much so that she became a renowned Yogi and teacher of Kundalini Yoga, Meditation, and Yoga Therapy. In her professional practice, Ann Tracy has often addressed complex themes, embracing the egalitarian principle that all people are equal and entitled to the same rights and opportunities. A firm belief that, when applied to art, encourages a spiritual awakening aimed at discovering and nurturing what is essential for our inner balance, fostering the development of critical thinking in a world with a volatile temperament, yet sustained by the unwavering force of a vital energy that underlies all things, ultimately permeating the entire universe. An art, therefore, in perpetual becoming, that does not yield to the vacuity of thought and is not afraid to explore the immaterial plane of human existence. In the very act of its becoming, it transforms the gaze of both its creator and the audience, who, through its presentation as a work of art, is invited to partake in it. Tracy intertwines art and her private life in a narrative that unfolds along the circumference of a single continuous circle, emblematic of infinity in the eternal alternation of death and rebirth, as evoked in the work Fire Fly, created by the artist in 2023, where at the upper and lower extremes, a dual symbol of infinity (∞), also known as the lemniscate in algebraic geometry, flutters, representing the idea of “without limits” or “without end.” Through the combined use of various expressive mediums, ranging from painting to sculpture and mixed media installations, the artist transforms her intimate and personal vision into a restitution that makes the whole observable and comprehensible. Her spiritual identity permeates the construction of her role as an artist, where every life event, every flicker of energy, becomes an aesthetic fact. The ‘aesthetic dialectic’ seems to be the key concept that best summarizes the artist’s formal approach to the sublime mysteries of the human condition and that skirts the periphery of our deep feelings, revealing their profiles in all their bare essence. The pieces that make up the extensive body of artwork on display emphasize the duality and contrast between various compositional elements. This narrative approach is constructed through symbols, signs, and references drawn from both the feminine imagination and the natural world in all its forms. It delves into the artist’s hidden nature, exploring her intimate relationship with the world and the myriad relational contexts she engages with. The exhibition path gathers the various visual stimuli of the representation, organizing them along a poetic trajectory that manifests as a vision of gentle and steadfast denunciation, unfolding through an “aesthetic activism,” whose intent is to stimulate a broader reflection aimed at imagining a different relationship with the planet and with the complex issues of the contemporary world. Through a free style, made of quick strokes and contextualizing brushstrokes, the artist invites us to embark on a spiritual journey. Her painting, swirling and dynamic, unfolds a narrative that develops across multiple semantic levels, rich in references that intertwine autobiographical dimensions (it is worth mentioning the inclusion in the exhibition of a painting made by the artist’s mother), echoes drawn from art history (from Neolithic cave painting and African sculpture, to Philip Guston and the aforementioned Piero della Francesca, through the Fauves and German Expressionists), as well as from the geography of her personal life (which has literally taken her to the most diverse places around the globe). Vivid colors seem to hover, almost suspended, in the pictorial space, coming to life on large-scale canvases, often made up of multiple panels. Here, the artistic gesture becomes a need for boundlessness, an expansion that crosses the entire expressive breadth of the composition, enclosed by wooden frames crafted by the artist herself. With this choice, Ann Tracy reintroduces her sculptural skills, expertly developed during her academic journey at Boston University, where she earned both a BFA and an MFA in Sculpture. Five on the Floor is a clear and complete demonstration of this concept. It is a site-specific installation with a predominant sculptural component, whose arrangement radiates, as suggested by the title, across the entire surface of the room that hosts it, as if it were destined for that specific place. Bathed in light that cuts through, in the daylight hours, the glass panels the gallery’s ceiling, it seems to invite its poetry to a restorative rest, in the shadow of the caress of a velvet as enveloping as a placenta. Here, the art releases itself into sleep, at the end of the toil of its work, and, in its slight fading into a gentle breath, that faint glow opens the path to the passage of darkness, leaving it to a setting with an almost dreamlike quality, thus entrusting it to a renewed call of consciousness. How is it possible to transfer knowledge between different systems and cultures? How is technology modifying communication processes, and how does the individual relate to the world? Tracy does not merely linger on the threshold of the image; her purpose is to convey a message, exploring the aspects of lived experience to uncover the principles that govern them and give them meaning. It is based on this circular vision that the title of the exhibition, TRANSMISSIONS, takes shape. It restores meaning to words like “connection,” which have been nearly emptied of their original significance due to the growing and pervasive semantic reduction imposed by the communicative infrastructures of the network. The title of the artist’s solo exhibition, rich in nuances, evokes cultural models of knowledge transmission, paradigms of communicative exchange between different cultures, and forms of understanding. It also suggests a vision of transmission as the equitable redistribution of vital energies among individuals. In a context where the imbalance of these energies hinders the desire for unity, Transmissions invites the possibility of reconciliation with a rediscovered meaning, offering the opportunity to finally experience — in her own words — “the unity we are in seeing ourselves as one.” The entire exhibition path unfolds as a flow of migratory energies, leading to the synthesis of a whole, a space in which rediscover and reconnect with a lost unity. At times, this experience is transferred into seemingly confined spaces, where the inviting geometry of a vestibule becomes the ideal location for a multi-sensory, site-specific installation like They Never Died, Seven Roses. Here, the viewer is invited to pause, to surrender to a moment of rest and “slowing down” within a warm and enveloping atemporal capsule, whose almost uterine texture results from a refined collaborative effort. This project also takes the form of a publication titled They Never Died, involving multiple collaborators in the creative process, such as poet Amy Hosig and composer Marcello Toledo. His soundtrack for Two Piano accompanies the spoken word recording by Amy Hosig, a suite of seven poems that explore delicate yet powerful reflections on life, death, and rebirth. In this scenario, artistic practice is defined by a synchronous relationship between the idea and its material representation, rejecting a predetermined chronological sequence and instead constructing itself as an open dialogue where idea and form are never separated but continuously influence one another. Art thus manifests itself as a permanent tension between what the artist wishes to express and the medium through which this expression takes shape, in search of a point of fusion: a balance between the concept and its vehicle, between the artist’s intention and the material that adapts to his vision without force, following its own intrinsic laws, until it reaches a point of convergence between what is intended to be communicated and what the material is capable of expressing. Thus, while the artist explores their vision, striving to reduce the gap between thought and manifestation, they inevitably confront the uncertainties and ambiguities arising from the very process of translating abstraction into something tangible. This process concerns not only the resolution of a formal problem but also touches on an ontological dimension of art itself, where the artwork becomes a continuous reflection on existence and the way our perception of the world and our “being” intertwine and are revealed. The artist, therefore, far from a reductionist view that depicts them as a solitary creator, asserts their identity as a conscious individual, living and acting in the world in deep connection with themselves, others, and the surrounding reality. Their practice thus becomes a privileged means to explore and understand this interconnection, where any notion of separation fades into a fluid continuum, and where every gesture, choice, or thought conveyed through their expressive mode also becomes a process of knowledge". — Marialuisa Pastò

DAILY LAZY — NEW WEBSITE

We’re thrilled to announce that our new website is now live! Visit us at www.daily-lazy.com. We’d love to see your photos featuring the new site—feel free to share them with us!✨ ABOUT DL: Daily Lazy’s curation encompasses a broad spectrum of contemporary art, ranging from intimate artist-run spaces to renowned galleries and museums. This inclusive approach firmly establishes Daily Lazy as a welcoming online repository, open to contributions from every corner of the art world. Co-Directors: Stelios Karamanolis, Irini Miga, Tula Plumi Editors: David Attwood, Anaïs Castro, Tamara Dinka, Oscar Häggström, Irini Miga, Pedro Matos, Àngels Miralda, Emma Papworth, Marialuisa Pastò, Giacomo Pigliapoco, Giuseppe Pinto, Tula Plumi, Marius Quiblier, Nina Wiesnagrotzki, Wisrah Villefort, Tiange Yang. Founder: Stelios Karamanolis

JUROR | Prisma Art Prize - New Edition

Daily Lazy Printed Edition #1 - Special Edition for Liste Basel Art 2024

Thrilled to announce our collaboration with Liste Art Fair Basel 2024 (@liste_art_fair_basel)! The Daily Lazy #1 PRINTED EDITION is now available! Grab your copy in the Liste goodie bags or visit the publication’s stand at the fair (10 - 16 June 2024). A heartfelt thank you to everyone involved: Vivian Caccuri (@viviancaccuri), Anaïs Castro (@anaiscastro), Héloïse Chassepot (@heloisechasse), Peggy Chiang (@peggy_wendy), Laurel Gitlen (@laurelglitlen), Rowena Hughes (@rowena_hughes), Olivia Jia (@oliviacjia), Stelios Karamanolis (@stl_kar), Gallery Eli Kerr (@elikerrhq), Julie Marmet Irini Miga (@irini_miga), Àngels Miralda (@angelsmiralda), Parliament (@parliamentunlimited), Marialuisa Pastò (@mluisa_past), Tula Plumi (@tulaplumi), Marius Quiblier (@marius.qui), Curtis Talwst Santiago (@talwst), Sasha Streshna (@sasha_streshna), Maja Vukoje (@maja_vukoje), Ian Waelder (@ianwaelder), Gauli Zitter (@gauli_zitter) Daily Lazy Printed Edition #1 Published by: Stelios Karamanolis, Irini Miga, Tula Plumi Direction: Irini Miga, Tula Plumi Design: George Theodorakakos Printed in Athens by Panagiotis Makrygiannis - Printing - Graphic Arts Proof-reading: Anaïs Castro Editors: Anaïs Castro, Julie Marmet, Irini Miga, Àngels Miralda, Marialuisa Pastò, Tula Plumi, Marius Quiblier © 2024 for all texts and images: the artists, galleries, authors and Daily Lazy

MIA PHOTO FAIR

Apr 10th 2024 - Apr 14th 2024

MIA Photo Fair XIII edition: the theme of Change expressed through the different points of view of the invited curators and committee members.

MIA Photo Fair 2024 will see Marialuisa Pastò as Committee Member, as Project Manager of the Beyond Photography - Dialogue section and among the Curators of the Cultural Program. Marialuisa Pastò is an independent curator and writer living in Milan, Italy. After graduating in Advertising Techniques, she held a master’s degree in Photography and Visual Design at Naba - Nuova Accademia di Belle Arti in Milan. Her publishing collaborations include Corriere della Sera and, since 2018, the contemporary art platform Daily Lazy. She is also a member of the jury of the Prisma Art Prize in Rome. She works closely with international artists, galleries and magazines. Her vision of Changing narrates how she embraces new challenges. MIA PHOTO FAIR XIII EDIZIONE 11 – 14 APRILE 2024 ALLIANZ MiCo MILANO CONGRESSI VIA GATTAMELATA 13, MILANO

In The Studio #202 Simon Foxall / Asti, Italy

"In The Studio” column is the DAILY LAZY special section feauturing artists from around the world and their studio practice. Our #202 #studiovisit is dedicated to the British artist Simon Foxall, born in Saudi Arabia in 1983 and based in Italy (near Asti) since 2020, where he has his studio. Find out more here: https://www.daily-lazy.com/2023/11/in-studio-221-simon-foxall-asti-italy.html

FOUDRE MAGAZINE | BLOOM Issue N.5 (contributing writer, supporting with definition of the concept and the mise en page)

«A flower must bloom inside first before revealing its beauty to the world.» ― Matshona Dhliwayo Singularity, when breathless and unvoiced, is like a tree vegetating lonely in the garden of knowledge. A magnolia bud cut before its time is kind of like a movie without an ending. Every intuition stifled under the weight of a warm uncertainty is meant to disappear like candles burning in the night. But the poetic truth of one's own way of being in the world struggles to slip into oblivion; if real, it's not necessarily withered when it remains unspoken, it just hasn't blossomed yet. Its potential is still in the ground soaking in sunshine. In the same manner as daylight comes into the dark interior of shrubs, when we are confident in our own intimate thought and we let it internally glow, it simply obeys the laws of its own dynamics that feed the essence of who we are. It’s in that fertile silence that the intuitions acquire consistency, turning into ideas.
 Artistic making follows its natural course of life like the roots of a tree that sink into the ground, shaping and consolidating the material into new visions. Chaotically swinging, albeit with a playful rhythm, they are like the discreet dance of flowers that finds its melody in the silence of nature that surrounds them. In a society that makes the flat chromatism of trends out of its most precious resource, it’s necessary to close our eyes for a moment in order to wake up and saturate the pale color of reality. Need for approval is like those flowers, seductive, yet deceptive, which conceal in their bright tones the infesting power of poisons. Stopping for a moment on the summit to enjoy the view helps make us the narrators of our visions rather than the executor of the expectations of others. An enveloping feeling of satisfaction comes the closer we get to becoming directors of our thoughts. Even dopamine enters the circulation in higher quantities in the phase immediately preceding the moment of the final exposure, identifying the willing accomplice of our fulfillment in our own inner meta-narrative. It is in the spring of our intimate visions that the seed grows and bears fruit, by pollinating the garden of our subjective gaze. Our blooming comes from freeing ourselves from our obsession with "likes" gratification, which we manure every time we decide to turn a blind eye. But if the flowers did the same, they wouldn't open up to the world. Uniqueness wears the dazzle of the small throbbing lights. ―essay by Marialuisa Pastò COVER: Juju Michelle Di Domenico shot by Federica Belli EDITOR IN CHIEF: Serdane Messamet CREATIVE DIRECTION: Maria Mollica CONTRIBUTORS: Christophe Martinez, Domenico de Chirico, Federica Belli, Jeremy Beaudet, Johan Lin, Marialuisa Pastò, Vera Palsdottir FOUDRE MAGAZINE est une publication sur la mode et la culture basé à Paris. foudremagazine@gmail.com @foudremagazine Stocklist: PALAIS DE TOKYO, Les Mots à la Bouche, OFR, Cahier Central et Smith&Son Paris. https://foudremagazine.bigcartel.com/product/foudre-magazine-n-5

PRISMA ART PRIZE | FIFTEEN LEAVES – 3RD YEAR EXHIBITION

Extremely proud of having been involved with this surprising project as a member of the jury. The jury - composed of Marco Crispano, Domenico de Chirico, Giuseppe Cotroneo, Alessia Cuccu, Marialusa Pastò, Giacomo Guidi, Gio Montez, Giuliano Sacchéro, Heidi Brueckner, Hong Ji-young, Nayanaa Kanodia and Philip Tyler - has chosen the winners of the ninth quarterly edition. The first classified wins a €500 cash prize, the Artuu Prize and the ArtRights prize. The second classified is the winner of the VivivaColors Prize, the Artuu Prize and the ArtRights Prize. The third classified is the winner of the Artuu Prize and the ArtRights Prize. Three finalists win the Biafarin Prizes, chosen directly by the company. The jury has decided to also assign honorable mentions to one artist. “Fifteen Leaves” is the exhibition of the third edition of the Prisma Art Prize to be held at Contemporary Cluster in Rome from 18 to 28 July 2023. This exhibition presents the works of the 15 artists selected during the four calls of this edition of the award. Curated by Domenico de Chirico, with the artistic direction of Marco Crispano, the Prisma Art Prize exhibition offers a wide variety of artistic styles and backgrounds: 23 pictorial works are exhibited, the result of the creativity and inspiration of artists from different parts of the world. Artworks by Simon Foxall, Vittorio Bianchi, Simon Kubik, Alessandro Giampaoli, Yanqing Pei, Lucia Dibi, Calin Dumitrascu, István Bába, Arthur Hengeli, Eleonora Rinaldi, Francesca Miotto, Mitko Karakolev, Silvia Rosa, Sara Pacucci and Prisca Baccaille. Venue: Contemporary Cluster, Palazzo Brancaccio, Rome Dates: 18 - 28 July, 2023 Partners: Contemporary Cluster, Artuu, Art Rights, Biafarin Inc, Viviva Colors, Atelier Montez. Prisma Art Prize is produced by Il Varco Creative Hub. 
https://www.prismaartprize.com/ https://www.contemporarycluster.com/

Woven Memory

L’Istituto Italiano di Cultura di Belgrado, in collaborazione con Drina Gallery e a cura di Nataša Radojević e Domenico de Chirico, presenta la mostra '𝑽𝒊𝒕𝒕𝒐𝒓𝒊𝒐 𝑩𝒊𝒂𝒏𝒄𝒉𝒊: 𝑾𝒐𝒗𝒆𝒏 𝑴𝒆𝒎𝒐𝒓𝒚', presso gli ampi e prestigiosi spazi dell’Istituto. Exhibition statement & Press by Marialuisa Pastò 16/06 - 28/08/2023 Opening Day: venerdì 16 giugno 2023 - 4.30pm 𝘾𝙎 / 𝙄𝙏𝘼: Vittorio Bianchi (*1982) agisce nella dimensione spaziale della superficie del tessuto, suo medium artistico privilegiato. Nel farlo, ne oltrepassa i limiti attraverso un’azione gestuale di raschiamento che aggredisce la materia, in un modo che ne sconvolge la struttura senza tradirla: non un atto di rottura infatti, ma di rivelazione, volto ad assecondare l’urgenza dello strato sottostante di irrompere sulla superficie dalla profondità che lo trattiene. L’artista indaga gli spazi della memoria dormienti che scorrono dentro le fibre, rianimandoli nel sollievo di un respiro che torna a riappropriarsi del suo legittimo intervallo. Il suo è un gesto sordo in cui echeggiano i fraseggi intessuti nella storia muta della materia. La superficie si fa pelle sensibile, accarezzata dall’irruenza rivelatrice dell’azione che ne espone i filamenti, quasi fossero la nervatura dell’anatomia dell’eterno flusso della storia. Così facendo, ripristina una tregua nella contrapposizione tra tradizione e innovazione, una calma che invita a una delicata riconciliazione nel rapporto di interdipendenza tra la persistenza di un’identità culturale collettiva e quella dell’ordito che l’ha generata. 𝙋𝙍 / 𝙀𝙉𝙂: Vittorio Bianchi (*1982, lives and works in Milan) acts within the spatial dimension of the surface of the fabric, his privileged artistic medium. The artist goes beyond its limits through a gestural scraping action that attacks the material, in a way that upsets its structure without betraying it: not an act of rupture, in fact, but of revelation, aimed at supporting the urgency of the underlying layer to break onto the surface from the dept that holds back it. He investigates the sleeping spaces of memory that flow inside the fibers, reviving them in the relief of a breath that regains possession of its legitimate interlude. His is a deaf gesture in which the phrasing woven into the voiceless history of the material echoes. The surface becomes sensitive skin, caressed by the revealing vehemence of the action that exposes its filaments, as if they were the rib of the anatomy of the eternal flow of history. In doing so, he restores a truce in the opposition between tradition and innovation, a calm that invites a delicate reconciliation in the relationship of interdependence between the persistence of a collective cultural identity and the one of the warp that generated it. 𝙎𝙖𝙤𝙥š𝙩𝙚𝙣𝙟𝙚 / 𝙎𝙍𝘽: Vitorio Bjanki deluje unutar prostorne dimenzije površine tkanine. Umetnik prevazilazi granice ovog privilegovanog umetničkog medijuma kroz gestualno grebanje koje napada materijal na način koji remeti njegovu strukturu, ali je ne izdaje: to nije čin prekida, već otkrivanja skrivenog sloja da izbije na površinu iz dubine koja ga zadržava. On istražuje i oživljava uspavane prostore sećanja koji teku unutar vlakana. Njegov je gluv gest u kojem se prepliću fraze utkane u nemu istoriju materijala. Površina postaje osetljiva koža, milovana otkrivajućom žestinom akcije koja izlaže njene niti, kao da su rebra anatomije večnog toka istorije. Na taj način, on uspostavlja vezu između suprotstavljenih tradicija i inovacije, poziva na pomirenje delikatnog odnosa međuzavisnosti između postojanosti kolektivnog kulturnog identiteta i tkiva koje ga je stvorilo. Italian Cultural Institute of Belgrade, Kneza Miloša 56, 11000 Belgrade The exhibition Woven Memory is held in collaboration with Drina Gallery Partners:The Apartment by KDA Special thanks to Confindustria Serbia and ID Consultants

A Day in The Art Life of Marialuisa Pastò | Interview by Collecteurs

The ‘A Day in the Art Life’ series by Collecteurs - The Museum of Private Collection is meant to convey a sense of the life of art world figures; a taste of their routine or an ideal day in their life, sprinkled with some philosophical musings. Marialuisa Pastò is an art writer and independent curator living in Milan, Italy. She is associate curator at Bienvenue Art Fair in Paris and project manager at MIA Fair in Milan. She is an editor of Daily Lazy contemporary art platform and one of the jurors of the Prisma Art Prize in Rome. She has previously collaborated with publications including Corriere della Sera and she has been co-owner and curator of the exhibition space Soyuz. My day begins with: I’m not a very routine kind of person but I’ve learned that taking some time for yourself is the best way to get in harmony with the day that is about to begin. The intimate space of morning solitude is a necessary moment for me to focus on ideas and to find the right concentration, thus allowing creativity to flow. The day starts better after a night of dreaming. I pay a lot of attention to what I’ve dreamed and, as a matter of fact, my day usually starts with me writing down fragments of my dream sleep on a notebook I always keep on my bedside table, in order to fix the transient contents passing through my mind. And only then I go about my day by checking my email. When I need to feel inspired, I: Nothing opens up the world of imagination more than doing new things, or even the same in a new way. I am the type of person who rearranges my workspace everyday or so because I can get bored with the layout if it stays for a long time. I also like working in different places, such as the lovely bar I LOFT cafè & bistrot, next to my home in Milan (located in a former Coca-Cola factory, today converted into a residential complex), which has practically become my second office, and the enchanting setting of a bucolic place in Tuscany very dear to me called I Farivi b&b, where I take refuge whenever I can and where I can write undisturbed. But inspiration is not just an unexpected flash of light, something that suddenly comes along. I think it's more a matter of mindset. More than anything, it's the way of being attentive to your surroundings, a receptive way of perceiving the world and accepting the stimuli it offers you at any moment. It lies in the little things that others may overlook and in welcoming challenges that force you to try new approaches and think outside the box. I take mental notes of my ideas anytime, but also on my phone or on pieces of paper that I love to keep between the pages of a book and forget them, in order to rediscover them accidentally after a time. Some of my best ideas come: From my passions and curiosity. I strongly believe in the value of a cross approach to knowledge as a source of investigation: I often get inspiration from something from my past experiences, my background in photography, my humanities studies and my interest in the themes of ancient Greek literature, my expertise in advertising… Likewise music, Antonioni, Buñuel and Godard films, new reading, good talks and above all traveling: not only do they open up the world of the imagination, but they help me learn new information. Every detail can conceal a story that is begging to be told. The art spaces I enjoy going to: Pirelli Hangar Bicocca, to name but one, where I especially like to go alone to take a pause and enjoy the intimate and enveloping experience of the visual narratives that unwind through its huge spaces. Known for its immersive large-scale installations, it is, indeed, one of those kinds of venues that manage to freeze time. I like to experience new art places and all the ones abroad I manage to visit throughout my travels and that I used to know only from a distance. The place that means a lot to me: Prague. I went there about ten years ago for the first time to work for the historical drama television series Borgia at the art department of Barrandov Studios and I was totally ravished by the magnetic and timeless atmosphere that characterizes it. I try to go there whenever I can and I always come back with a lighter spirit. I have a collection of: My collection basically consists of artworks from some of the contemporary artists I’ve worked with, such as a beautiful drawing that Lenz Geerk gift me, a big UV print on PVC curtain by Andrey Bogush, a ceramic sculpture by Benny Van den Meulengracht-Vrancx, but also a photograph by talented Rhomi Martens, a print by Anouk Kruithof, a lithography by Dalì that a very dear friend of mine gave me years ago… The artwork/object/thing that I could never part with: My old writing-book of poems from when I was sixteen; I still happen to recognize myself in the temperament of those thoughts. If I could, I would collect: All the ones that captured my attention through an impalpable sense of connection. Those artists whose work conveys the authenticity of a distinct entity, without the need to give in to the lure of expectations easy to please and which also invited me to reassess my own interpretation codes a bit: The Divorce from the series True Stories (The Autobiographies) by Sophie Calle, Lisetta Carmi, Kounnellis, Brancusi, Martin Soto Climent, to name a few. Some of the ones I've got the chance to know closely, such as Magnus Frederik Clausen, Maria Loboda (namely the photographic prints from the series A Man of His Word), as well as the young London-based painter Georgia-May Travers Cook… Some specific ones among the extraordinary artists I’ve worked with, like Vivian Greven and Philip Seibel and even many others among those who have taken part in BIENVENUE Art Fair over its editions at the Hotel La Louisiane in Paris. My idea of happiness: Firstly, it is simply a sense of opportunity: when something is about to begin, as much as the precise moment that precedes the final outcome; everything that stimulates curiosity, making a moment an experience. It’s a question of intentionality too: every time I learn something new; writing at night when everyone's asleep; reading over an old note and understanding it for the first time; feeling a smell of the past stuck in my memory; living with irony.