KUNST-STATION SANKT PETER @ Köln - Germany 05.05.2017 - 09.07.2017
Questa primavera la Kunst-Station Sankt Peter di Colonia - centro di arte contemporanea che dal 1987 promuove il dialogo tra arte e liturgia, invitando artisti di fama internazionale come Francis Bacon, Anish Kapoor, Olafur Eliasson e Jannis Kounellis - presenta l'artista brasiliano Sidival Fila.
La sua arte unisce la pittura tradizionale con l'uso di frammenti di lavoro tessile, ispirata dal movimento artistico denominato "Arte Povera", nato nel secolo scorso.
Le sue opere, create in uno studio nel centro del mondo (in un convento sul colle Palatino, con vista sul Colosseo), uniscono semplicità e sublime grandezza, attraverso le pieghe del loro tessuto, alla scoperta di una idea di memoria viva e tangibile. Per la Chiesa di San Pietro, Sidival Fila crea una installazione temporanea in dialogo con lo spazio interno; la mostra nasce da un progetto della Pontificia Università Gregoriana di Roma, insieme alla Kunst-Station Sankt Peter di Colonia, con il coinvolgimento dell'Università di Bonn.
Esposizione dal 5 maggio al 9 luglio 2017 Apertura il 5 maggio 2017 alle ore 19:30
Saluto: Yvonne Dohna Schlobitten, Pontificia Università Gregoriana Intervengono: Renate Goldmann e Guido Schlimbach Con il gentile sostegno della Rubens Society di Colonia
Segui la mostra su Instagram @sidivalfila
DRÔLES DE TRAMES !
Exhibition from March 4 to May 8, 2016
@ Le Fresnoy – Studio national des arts contemporains
22 rue du Fresnoy - 59200 Tourcoing / 03 20 28 38 00 / www.lefresnoy.net
Thomas Bayrle – Blanca Casas Brullet – Sidival Fila – Dan Flavin – Sheila Hicks
Ryoichi Kurokawa – Sol LeWitt – Jean-Michel Meurice – François Morellet
François Rouan – Pablo Valbuena
Exhibition curator : Dominique Païni et Pascale Pronnier
The exhibition Drôles de trames ! put on by Le Fresnoy – Studio national in March 2016 offers a continuity (or jump-cut) between traditional artistic mediums and the most contemporary technological media. It will soon be clear here that the word trame (weft, field, screen, texture, grid) evokes, first of all, textiles, the Nord-Pas de Calais region being a historic home of spinning mills.
Certain forms and phenomena persist throughout art history in a way that lends credence to the idea of the eternal return. In French, the Internet world, the web, is referred to as the toile, denoting an unlimited number of networks that constitute an unbounded world of communication. The fact that popular French parlance has the expression “se faire une toile” for going to see a film, and that toile, meaning canvas, was the support for over eight hundred years of pictorial creation, give this modern application of the term great rhetorical and theoretical richness. However, it must be admitted that words are sometimes impermeable to the renewal or indeed revolution of artistic media.
Clothing himself has been one of man’s fundamental activities from the origins of humanity. To that end, he conceived the timeless principle of interweaving warp and weft to make textiles that protect his body, using straw, cotton, silk or wool as the supple materials of weaving in all its dimensions.
This primitive act of weaving was also one of the major techniques for creating forms. Independently of its minimal metaphorical function, describing the workings of human thought (bringing together, overlapping, mixing, assembling, etc.), it is an obsession that can be observed throughout the history of the arts. In the 20th century, all the different disciplines exploited this artisanal and conceptual activity, also as a way of escaping subjection to the servile reproduction of reality, while upholding the idea that art could not do without the virtuosity of a métier (the word also means loom). Furthermore, the action of weaving can serve as a common denominator for artists whose differences of practice or generation would seem to rule out comparison. The weft of textures and forms as a form of writing, using the endless variety of materials, thus has the power to bring together artists, to interconnect their practices and invalidate the deceptive heterogeneities caused by time.
Even if the materials used by the artists at Le Fresnoy - Studio national are highly contemporary, inherited from the most contemporary technologies, including ones deriving from the power of digital technologies, it is still productive to construct connections between the latter and the old processes belonging to art history, although they have not become obsolete for all that. It is the role of an institution like Le Fresnoy to favour perception of the way technical processes, which are also mental processes, are plied together.
Sidival Fila is an Italian artist whom this exhibition will introduce to French exhibition-goers. His approach is singular, a crossover of painting and sculpture. His work is both textural and conceptual, evoking tellurian chaos, the rhythmic order of folds and an obsessively serial manipulation of textiles.
In this exhibition the work of Sheila Hicks will serve to illustrate the complexity of contemporary art history. Her authority and her boldness have redrawn the boundaries of textile art and agitate space and volume in a way that typifies the 20th-century interaction between the actions of painting, sculpting and building.
Jean-Michel Meurice and François Rouan belong to a generation that redefined figuration and abstraction. An infinite seriality of coloured lines and cut-up and recomposed lines and figurations make these two artists at the peak of their maturity pioneers of contemporary art.
Dan Flavin is an exemplary case of an artist whose practice using materials devoid of traditional prestige – neon and its brutal light – helped to show the architecture of the 20th century as the result of a web and the concatenation of lines of light. He can now be seen as one of those artists who built bridges between modernist constructivism and the luminous virtuality to which contemporary technologies have accustomed us.
Pablo Valbunea could legitimately be considered an heir of Dan Flavin by developing literally what the American artist promised. Valbunea both builds and underscores what has already been built through the unlimited organization of rigorously interweaving lines of light and the geometrical mise-en-abyme of an imposed grid.
For many years now, François Morellet has explored the impossible inventory of combinations, including certain tricks as a way of covering, reversing, cutting out and therefore interweaving straight lines and curves, quadrilaterals and circles, arrows and sinuosities, rigidities and softnesses – and every conceivable kind of geometry that can be articulated and woven. A kind of serial humour, you might say.
For the exhibition FRAC Picardie is recreating a wall painting by Sol LeWitt made up of an infinite network of lines.
Blanca Casas Brullet recalls the manual dexterity at work in all weaving and simultaneously demonstrates its fragility and precariousness. For this artist, a network is inconceivable without the violence of its perforation and its rending.
Finally, Ryoichi Kurokawa enters into the infinite complexity of the world to invent digital video webs whose vertiginousness is on a par with their. Thomas Bayrle plays with lines to evoke the ones that form both the human face and woven fabric.