1st March - 18th May 2019


The project Faster than Christ by Franco Ariaudo is inserted in the wider investigation that he artist has conducted on some scenarios of the possible and on the influence that they can have on our perception of the reality or on that we assume to be possible. Through a series of sketches and actions developed since the 2017 during a residence in the island of Biruchiy, dipped in the suggestive landscape of the Azov sea, the project has initially taken the form of a book, Basilisk or How to run on water, that has explored under multidisciplinary points of view the practice of the run on water and its motivational potentialities in front of the challenges that the human being must face.

The project from COLLI independent art gallery is an extension of this research in the format of show that, in its plastic-sculptural evolution, acquires further senses and meanings. Beginning from a (re) teo-philosophical reading that the act of walk on water occupies in the western symbology and imagination, the project gets away from biblical topic toward other domains, closer to more actual anthropological and socio-cultural worries. Which are the necessary ideal conditions for facing the challenge of the run on water? Which are the physical and spiritual strengths that must be implemented, and which are the prerequisites that would allow a person to run on water? And above all, how can we change our point of view on the reality and start to imagine something impossible as possible?

The space of the gallery becomes a training centre that stage a series of tecno-gymnastic prototypes, that act as potential tools to reach this apparently impossible objective. From the installation PETER Mt14:31, a tapis roulant that desecrate the run on water, depriving it of its extraordinary nature, to the footwears that melt the theological lexicon with the mass production promotional one. The sublime fuses with today’s sport aesthetic, in a playful and ironic gesture of appropriation and hybridization. Like, for example, the poster with the representation of Jesus and the evocative writing Why did you doubt?.  Starting from a para-scientific register, the project Faster than Christ lays the foundations for the theory and the practice of the run on water, in which the notion of the magic and of the miraculous cohabits with a competitive and pragmatic vision, reflecting some contradictions of the contemporary society. Result of multiples suggestions and visions drawn by the natural world and by the science, the show proposes a radical perspective change on the topic, moving the point of view from the utopic to the dystopic that pull us toward a redefinition of the same notion of impossible and of its perceptive limits, in front of the numerous technological and social transformations that we are going through.

The show is accompanied by the artist book Basilisk, edited by COLLI gallery, Viaindustriae publishing with the graphic project of Friends Make Books. The typeface shown by the works in the exhibition is “Sporty”, by Alessio Di Ellena.

The exhibition is accompanied by the artist book “Basilisco”, edited by Colli independent art gallery, Viaindustriae publishing, with the graphic project by Friends make books. GO TO SHOP


Markus Karstiess | With the Eyes of the Earth


49 years ago Robert Smithson made his first earthwork Asphalt Rundown in October 1969 in an abandoned quarry near Rome with Galleria L’Attico. This exhibition and publication brings together rare and previously unpublished material from the Archivio Claudio Abate  and Fabio Sargentini (Galleria L’Attico) documenting the iconic flow and the exhibition Smithson realized inside Galleria L’Attico, as well as sculptures and video works from Markus Karstiess  who made a dig for the remains of the asphalt in 2014.

In the exhibition With the Eyes of the Earth, conceived by Markus Karstiess, the artist practices what in some places might be called artistic research. That is to say, rather, Markus Karstiess is following through in a personal quest in this exhibition, into what remains of Robert Smithson’s Asphalt Rundown (1969), located in Rome. Karstiess finds himself in the combined role of artist-curator. This already provides a glimpse into the complex nature of his artistic oeuvre, a lens to the exhibition itself, which in turn consists of diverse visible and invisible individual components. The display consists of the Scholar’s Rocks sculptures by Karstiess, Claudio Abate’s photography of the Smitshon’s land art action, the rare original poster and ephemera produced by L’Attico gallery and downstairs the video Was die Erde sieht that records the exploration of the site of Asphalt Rundown.

An accompanying publication with texts by Sylvia Metz and Friedrich Meschede is published by A+Mbookstore edizioni, Milano and VIAINDUSTRIAE PUBLISHING, Foligno. GO TO SHOP


Tricia Treacy/Bettina Allamoda | Slot/Spandex Studies
Tricia Treacy - Bettina Allamoda


Colli independent art gallery presents the sixth project room dedicated to new work by international artists. On this occasion, the featured artists are American graphic designer Tricia Treacy with her project Slot and the German visual artist Bettina Allamoda with her Spandex studies series.

Tricia Treacy, a Rome Prize Fellow in Design at the American Academy in Rome this past year, proposes a printed matter setup investigating the relationship between art, design, and collaborative writing. Various voices contributed to a cross writing format, creating an interdisciplinary and international exchange. Their efforts produce in Treacy’s work a series of publications and artist prints animated by narration, superimpo- sition, comparative research, and open dialogue. Slot is an artist’s book that blurs, conceals and reveals, an interactive reading experience that taps into the various perspectives of members of the creative community at the American Academy in Rome. There, Fellows, as well as Rome-based artists and writers, were asked to pause and reflect upon the themes of privacy and matters unspoken. In developing a graphic language to convey these themes, and dwell upon the thresholds between public and private, Treacy drew inspiration from the Roman cityscape. Mail slots, which beckon passersby to imagi- ne private realms hidden from prying eyes, shutters, and painted urban walls offered conceptual and format elements in visual collages and motifs that echo throughout the book. The title of the book, slot, deliberately suggests, not only these physical thresholds, but also gaps in social intercourse that trigger conversations.

The exhibition of Tricia Treacy in the ground floor includes:
(1) Original wood block, screen print + letterpress prints in an variable edition by Tricia Treacy. Printed at L’Istituto Centrale per la Grafica in Rome, Italy + Penland School of Crafts in North Carolina; (2) Experimental artist books, Risograph-printed by Jo Frenken at the Charles Nypels Lab at Jan van Eyck in Maastricht, Ne- therlands. Cases were designed and produced by John DeMerritt in Emeryville, California. Edition of 70; (3) Risograph and digitally printed swatchbook (in an edition of 150) highlighting a close-up of all work associa- ted with this project from the analog and digital components acts as an archive.

The exhibition continues in the underground space with the work of Bettina Allamoda.
Tension may be considered one of the key aspects of Allamoda’s research. The tension between opposite dualities, the force occurring as a result of stretching and twisting. In the underground space of Colli inde- pendent gallery Bettina Allamoda shows a sculpture, a textile “study”, an assemblage and some collages describing icons of fashion, architecture and urban landscape. She has always been interested in art and the place where it is shown, often engaging architecture in her hybrid status between material and culture. The work of Bettina Allamoda, who has been in residence at Villa Massimo – Accademia Tedesca in Rome this year, explores the surface of the textile ‘spandex’ to create spatial forms, architectural and artistic, and the relationship of fashion to space.

The intervention is the first of the Happy Fashion program, a series of events that will culminate in the publi- cation of Happy Fashion 2 / reprint, a visual and iconic essay on architecture, society and fashion, curated by viaindustriae publishing.

Tricia Treacy’s project is made possible by the Fellows’ Project Fund of the American Academy in Rome.

DSC_5577allamoda 1DSC_5553tricia 1

Dexter Sinister | How to design (multiples)


“How to design (multiples) … Multiples are designed with the methods of research. Unlike the artist, the designer does not make a wonderful sketch and later find some reproduction technique. He experiments on a phenomenon which is optical, physical, geometrical, typological, mechanical … He refines the elements of communication, and studies the best material with which to produce the object for the maximum level of visual communication and the minimum level of cost. He finds the mechanical technique which best suits his purposes, and in the end a prototype is born — not a unique artistic creation, but a model for the creation of a series. Reproductions of artwork are always inferior to the original, but when designing a model for mass production, the prototype is always inferior to the final products.” (Codice Ovvio, Bruno Munari, 1971)

Dexter Sinister presents the second in a series of three exhibitions with COLLI independent tracking Bruno Munari’s work . In this occasion Dexter Sinister will present a new multiple The Last Shot Clock (multiple), a small, electronic clock based on an idiosyncratic counter originally designed for La Bienalle di Venezia 2013 and since reconstructed for a series of exhibitions and performances over the intervening five years. This exhibition follows directly from “…meet the Tetracono” at COLLI in June 2017 and will include a collection of related Munari, Danese, and Dexter Sinister materials.