COLLI independent art gallery presents the exhibition The Pitcher by Franco Ariaudo, second project room of the program dedicated to emerging artists. The program is linked with a series of residences aimed to establish a relationship with the city, understood as a cultural and research territory. Since several years Franco Ariaudo explores the life of the images between aggression and sport. For this study-exhibition curated by Fabio Cafagna, the artist chooses to show the common physical root (material, corporeal) of only apparently different actions. On one hand are arranged the extreme gestures of struggle and rebellion, the heroism and brutality of those who fight, on the other the portly poses of the athlete, that special gesture, accurately decoded, that is the socially accepted residue (and welcome) of ancient games and archaic bullying. For the occasion is published a small book dedicated to the theme of the launch, with stories of pitchers from Mirone to ours days.
The Pitcher is part of a wider research entitled Sportification, communities, competitiveness and games without borders, which the outcomes, result of three years of studies, will be presented in form of publication for the exhibition, with specific contributions of different curators and scholars of competitiveness in the recreational-social european space.
COLLI independent art gallery presenta due eventi complementari, allestiti sui due livelli dello spazio. Al piano terra la mostra Palmarès di Luca Pucci, prima project room del programma dedicato agli artisti emergenti che attraverso una residenza di ricerca a Roma stabiliscono una relazione con la città, intesa come territorio culturale e di indagine. Con Palmarès, Luca Pucci chiude una ricerca triennale dal titolo Sportification, comunità, agonismi e giochi senza frontiere che lo ha portato a svolgere altre 5 residenze internazionali di tipo performativo. A Roma l’artista, in collaborazione con Cecilia Casorati, propone un approfondimento sul tema dell’invasione di campo, azione “anti-sportiva” ma di alto tenore agonistico che prende la scena inesorabilmente, fa en plein dell’audience. Pucci ha selezionato da un ampio palmarès di imprese di questo tipo, un paniere che unisce il mondo sportivo della AS Roma alle azioni spettacolari del movimento degli Indiani Metropolitani. L’azione pensata dall’artista si compone di due parti: una vera invasione di campo realizzata e documentata durante la partita di calcio Roma-Palermo del 31 maggio ed una intromissione nella mostra in corso YES YES YES alternative press, estendendola e prorogandola al territorio della esoeditoria romana degli anni ’70 con l’esposizione di raro materiale documentativo rintracciato grazie alla collaborazione dell’artista Pablo Echaurren, protagonista dell’area creativa del Movimento 77. Intorno a questo repertorio storicizzato Luca Pucci abbina una installazione artistica mixed-media che restituisce e traduce le sue ricerche-azioni. Nella stessa inaugurazione, al piano underground, verrà presentato il libro YES YES YES alternative press attraverso un project-book, ossia un display in grado di raccontare e sfogliarne le pagine. Il corposo e importante catalogo è frutto di una lunga ricerca sulla stampa alternativa europea ed americana denominata 66-77 from Provo to Punk che raccoglie un’ampia iconografia estratta da circa 500 riviste e importanti contributi dei protagonisti della storica scena alternativa tra i quali James Herod, David Goines, Steven Heller, Melchiorre Gerbino, Coen Tasman, Matteo Guarnaccia, Trina Robbins, Gianni Emilio Simonetti, John Wilcock.
From the relationship between the primary publications, Dutch Provo (first issued in ’65) and the indirect derivations, the English publications and vast flourishing American scenario, the project is a study of this vast exo-publishing, especially in the field of visual graphics, beyond their highly politicized contents. The path that starts from the beat-hippie utopias and ends in 1977, the year of Punk, the last revolution before the post-modern alienation. Starting from this research opens the show YES YES YES on contemporary graphics / printing scene. Indeed from the “master” magazines eight collective of artists / graphic designers were invited to interpret this alternate and deviant code. Interventions, dedicated and specific by Dallas, Dexter Sinister, Experimental Jetset, Will Holder, Pauline Kerleroux & Adéla Svobodová, Prill Vieceli Cremers, Studio Hato, Batia Suter translate this matter into art posters and / or printed matter projects produced in limited edition with local artisans / craftsmen of printmaking. Thus the exhibition offers two main sections: on the ground floor, a display of specific posters editions / typographic works on paper designed by contemporary artists inspired by this original material of alternative press; in the gallery basement, a chronological selection of 1966-77 counterculture publications, zines, newspapers, free presses from the European scene to the vast American east / west coast landscape. The aim is to highlight the visual-type-graphic surface of extraordinary magazines and underline the exchange between Europe-America as a central passage for a shared cultural heritage to be transmitted and document in contemporary publishing scene.
The exhibition will include the presentation of the hefty exhibition catalog, the real collection of extensive research and storage, a special project of “Concrete Provo” zine designed and edited by the Dutch collective Experimental Jetset and YES YES YES website, a project that makes available online the historical material and the “alternative contemporary works” produced for the exhibition.
Parco Lambro, Milan, 29/05/1975 – 26/06/1976. The dates are the beginning and the end of two epochal events merged into a single frame, a photographic continuum by the reporter Dino Fracchia. Continuous days is a period of freed time, days of proletarian youth in Parco Lambro in Milan, the Festival di Re Nudo. Dino Fracchia had attended without a camera the previous editions of 1971, 1972 and 1974, returned to photograph the landscape, alive with a gathering of 100,000 young people. The exhibition includes 12 topical and extraordinary shots of the author, accompanied by a catalog that paginates in loop all the frames of 13 unpublished rolls tripped in the flow of the party. The choice of ordinarily narrating the slowly untying of the days and the events leads both to a repetitive boredom and a explosion of impressive facts. This report documents that tramp social community, living in the streets with a natural revolutionary significance, a mythical relationship with certain areas of the city such as the Parco Lambro, Brera in Milan or Campo de’ Fiori in Rome, places of fabulous musters, alternative camps, liberated areas of collectivization of the existence. It was through the circuit of the “Nude King” underground magazine expanding beyond the sheet, young people who were politically claiming the right to come together to party, started real reappropriation of the social nature against the metropolis; parties not only for palm off catechism political speeches, but a way to accumulate strength, to take possession of time. But during this meeting of 1976, the last of the series, the revolt broke out and you can see through the post-industrial horizon. Exemplary are the photographs about the expropriated chickens and the expulsion of the songwriters who symbolically close the now denued era of culture beat-hippie and they open another, the irreverent punk scene.The photographs of Dino Fracchia glimpse on the horizon the utopia of a parallel society of the freed time with its symbols, entertainment and liberties; his shoots return “in circles” the situation and the camp before the acuity, the acceleration of the revolt or the banshee dance.