Markus Karstiess | With the Eyes of the Earth

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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 This exhibition and publication brings together rare and previously unpublished material from the Archivio Claudio Abate  and Fabio Sargentini (Galleria L’Attico) documenting the iconic flow and the exhibition Smithson realized inside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

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

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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.


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Dexter Sinister | How to design (multiples)

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“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.


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