Colli Independent Art Gallery presents Flava – Solo annacquato, a project “in two” made by the German artist Katinka Bock and the Swiss-Dutch Batia Suter. The exhibition is the result of research on the “fluvial area” of Tevere, and more generally on the relationship between the water and the city of Rome, which becomes liquid iconography inside the artist’s book edited by Roma Publication (Amsterdam). The show will present the intervention of the two artists who will co-habitate the gallery’ spaces. The relationship between the water and the city is exhibited in multiples declinations. In Suter’s works the numerous images try to describe the water from a superficial only to go into depth later on. The associative method goes through the use of preexistent images to built a new narration, which allows the artist to describe the Tevere and its iconography by means of his different stratification. History and images are connected through a continuous rhythm, scanned by sensorial and conceptual references. For Suter a work never begins with a detail; instead through the use of various images her work is tries to define personal encyclopedia. On the other hand, Bock’s work intervenes especially inside the space’s context. The use of water becomes a “physical passage.” Its course, through a series of plumbings, constitutes a programmed path in which the water would not able to flow without the support offered by the sculpture. Showing and hiding are predominant aspects. The plumbing’s structure – usually hidden – becomes the protagonist that reveals the exchange between the water and the solid matter. The pipes in iron and the floor in concrete are connected thanks to the hole in the centre of the flooring, that transforms the gallery’s basement in a fountain. Water thus becomes a metaphor of time and the presence of the people moving inside the space, coming in and out.
The catalogue/artist’s book is produced by Colli publishing platform in collaboration with Roma publications and Viaindustriae publishing.
“Die andere Seite” is a project focused on the collection and accumulation of images rescued from the Internet, and selected not in terms of a pre-established logic but rather with a desire to deconstruct the rules of fotogenia. Following the concept of “frame,” the artist extracts images from their contexts of production to question the way in which they have been documented. In most cases, this develops a series of frames through which Rezza interrogates the photographic medium, preferring an open and indefinite form to that of the narrative. Within this archive, consisting of more than 1500 images, there are around 30 frames taken by personal videos of Eva Braun revealing private moments of Adolf Hitler’s life. These images, however, thanks to the absorption of the magmatic flow of the archive, lose their disturbing character. The Führer, in fact, being not immediately recognizable, becomes only a human figure among many others. “All this work is a translation of a dreamlike, or hallucinating experience, in which images seem to have the same quality or nature; without distinction as to their provenance. Hitler’s photographs are a Trojan Horse dragged inside the walls of our city.” Thus the artist summarises the nature of the archive – with a title that alludes to Alfred Kubin’s novel published in 1908 – as a liquid image of the passage between dream and reality, from a rational dimension to another one purely sensitive. Exhibited inside the gallery’s space are a series of object-books that enclose the complexity of the archive even if they never offer a single overall view, together with some large “Fine Art” prints that investigate the ambiguous nature of the web fragment.
In 1965, Italian artist and designer Bruno Munari released the Tetracono with an event and exhibition at the Danese Milano showroom, inviting spectators to “. . . meet the Tetracono” as if it was a person. Instead Tetracono is a multiple product, an austere 15-cm black steel cube housing four aluminum cones, each painted half-red and half-green, designed to spin at four distinct speeds on an 18-minute cycle. Its function is to “show forms while they are in the process of becoming.” Developed from a 6-month fellowship at the American Academy in Rome, this setup features a rotating installation of 4 posters upstairs and a refreshed inventory of specific design titles in the bookshop downstairs, together with a short background video. Limited edition silkscreen posters announce the future exhibition project by Dexter Sinister at the beginning of 2018 in the COLLI independent space.
The project, conceived expressly for Colli, arises from the interest of Giulia Filippi for the historical architecture of Rome that has been designed and built with a peculiar relation to the sky. The survey pays particular attention to the monument of the Pantheon, interpreted as a useful tool to read the sky and observe atmospheric phenomena. The central opening (oculus) located in the dome – understood as archetype of the vision – becomes the eye through which is possible to have an experience of sidereal space. The works produced for the exhibition reflect upon bright radiations, levitation and expansion, flight, the relation between sky and earth that is possible to perceive in- side the Pantheon, the sun and the stars, their physicality, their explosive and bright energies. The gallery’s space becomes the place in which all the investigations, realized with stones’ dust and yeasts, feathers, watermarked papers and luminous device, are arranged in mutual dialogue. For the occasion Giulia Filippi will produce an artist’s book, titled “PANTHEON”, that gathers “impressions” related to the cosmo, and realized in solar photo paper – in a limited edition of four copies, numbered and signed.