DINO FRACCHIA

anni70-504

BIOGRAPHY
Dino Fracchia was born in Milan in 1950, trained aeronautical engineer, began photographing professionally in 1974. Since then he has made several photographic reports traveling between Europe, Africa, the Americas the Middle East, using many different means of transport, often the most unlikely and sometimes even on foot. Dino Fracchia is working or has worked with numerous Italian and foreign magazines, including Panorama, L’Espresso, Epoca, European, Seven, The Friday, La Repubblica, La Stampa, Corriere della Sera, Focus, Grey, New York Times, Time Magazine , Chicago Tribune, Le Monde, Liberation, Stern, etc .; his portfolios have appeared on French and Italian editions of Zoom on Progress Photo Photo. 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.
WORKS
Fracchia Dino Festival di Re Nudo / 01, Milano, 1976 100x70 cm, fotografia prima edizione 1/5, 2015

Fracchia Dino Festival di Re Nudo / 01, Milano, 1976 100×70 cm, fotografia prima edizione 1/5, 2015

Fracchia Dino Festival di Re Nudo / 02, Milano, 1976 70x50 cm, fotografia prima edizione 1/5, 2015

Fracchia Dino Festival di Re Nudo / 02, Milano, 1976 70×50 cm, fotografia prima edizione 1/5, 2015

Fracchia Dino Festival di Re Nudo / 03, Milano, 1976 100x70 cm, fotografia prima edizione 1/5, 2015

Fracchia Dino Festival di Re Nudo / 03, Milano, 1976 100×70 cm, fotografia prima edizione 1/5, 2015

Fracchia Dino Festival di Re Nudo / 04, Milano, 1976 70x50 cm, fotografia prima edizione 1/5, 2015

Fracchia Dino Festival di Re Nudo / 04, Milano, 1976 70×50 cm, fotografia prima edizione 1/5, 2015

Fracchia Dino Festival di Re Nudo / 05, Milano, 1976 70x50 cm, fotografia prima edizione 1/5, 2015

Fracchia Dino Festival di Re Nudo / 05, Milano, 1976 70×50 cm, fotografia prima edizione 1/5, 2015

Fracchia Dino Festival di Re Nudo / 07, Milano, 1976 100x70 cm, fotografia prima edizione 1/5, 2015

Fracchia Dino Festival di Re Nudo / 07, Milano, 1976 100×70 cm, fotografia prima edizione 1/5, 2015

Fracchia Dino Festival di Re Nudo / 08, Milano, 1976 70x50 cm, fotografia prima edizione 1/5, 2015

Fracchia Dino Festival di Re Nudo / 08, Milano, 1976 70×50 cm, fotografia prima edizione 1/5, 2015

Fracchia Dino Festival di Re Nudo / 09, Milano, 1976 70x50 cm, fotografia prima edizione 1/5, 2015

Fracchia Dino Festival di Re Nudo / 09, Milano, 1976 70×50 cm, fotografia prima edizione 1/5, 2015

Fracchia Dino Festival di Re Nudo / 010, Milano, 1976 70x50 cm, fotografia prima edizione 1/5, 2015

Fracchia Dino Festival di Re Nudo / 010, Milano, 1976 70×50 cm, fotografia prima edizione 1/5, 2015

Fracchia Dino Festival di Re Nudo / 011, Milano, 1976 100x70 cm, fotografia prima edizione 1/5, 2015

Fracchia Dino Festival di Re Nudo / 011, Milano, 1976 100×70 cm, fotografia prima edizione 1/5, 2015

Fracchia Dino Festival di Re Nudo / 012, Milano, 1976 70x50 cm, fotografia prima edizione 1/5, 2015

Fracchia Dino Festival di Re Nudo / 012, Milano, 1976 70×50 cm, fotografia prima edizione 1/5, 2015

 

FRANCO ARIAUDO

ar

BIOGRAPHY
Franco Ariaudo (b. Cuneo, 1979) lives and works in Turin, Italy. Ariaudo’s transdisciplinary research draws on anthropology, sociology, ritualism, sport and leisure. On a formal level, Ariaudo constructs mechanical and sculptural devices, and engages in performances, video and installations that, by virtue of small perceptual variances, tend to disturb the habitual gaze of the spectator. His work highlights and features “the play of forces at play”- that tension between contrasting movements and energies that leads to a specific subject becoming an object of contention (between tradition and modernity, power and submission). His recent exhibitions include Mirror Project#5 (Turin); Les sentiers battus sont pleins de fictions endormies (Cuneo); De arte gymnastica (Turin); The Pitcher (Rome); Convulsion Ltd. : further thoughts from new associates (Bucharest)Franco Ariaudo is member of Progetto Diogene (Turin) since 2011 and in 2013 he was artist in residence at Khoj, International Artist Association, New Delhi, India via of Resò network.
WORKS
PETER Mt 14:31, 2019, steel, alloy, wood, water, hydro pump.

PETER MT 14:31, 2019. STELL , ALLOY, WOOD, WATER, HYDRO PUMP,

Water Shoes, Ed. of 2, Dx-Sx, mixed media, 2019

WATER SHOES, 2019. EDITION OF 2, MIXED MEDIA.

Water Shoes, Ed. of 2, Dx-Sx, mixed media, 2019

WATER SHOES, 2019. EDITION OF 2, MIXED MEDIA.

Water Shoes, Ed. of 2, Dx-Sx, mixed media, 2019

WATER SHOES, 2019. EDITION OF 2, MIXED MEDIA.

Why Did You Doubt, Screenprint on Fedrigoni Splendorlux Metal silver 250 gsm, ed. of 5, 2019.

WHY DID YOU DOUBT, 2019. EDITION OF5, SCREENPRINT ON FEDRIGONI SPLENDORLUX METAL SILVER 250 GSM.

Pitcher Grips, Ed of 3, digital print, framed, 29 x 42 each, 2015

PITCHER GRIPS, 2015. EDITION OF 3, DIGITAL PRINT, FRAMED 29 X 42 EACH, MDF WOOD

The Revolution Will Not Be Televised act 1, lambda print, 70 x 100 cm, ed. 1/5, 2015.

THE REVOLUTION WILL NOT BE TELEVISED ACT 1, 2015. EDITION OF 5 LAMBDA PRINT, 70 X 100 CM.

THE REVOLUTION WILL NOT BE TELEVISED ACT 2, 2015. EDITION OF 5 LAMBDA PRINT, 70 X 100 CM.

THE REVOLUTION WILL NOT BE TELEVISED ACT 3, 2015. EDITION OF 5 LAMBDA PRINT, 70 X 100 CM.

KATINKA BOCK

KatinkaBock

BIOGRAPHY
Katinka Bock was born in 1976 in Frankfort and lives between Paris and Berlin. She studied in Berlin and Lyon, was a resident artist at Villa Médici and winner of the Dorothea von Stetten Prize from the Kunstmuseum Bonn and the Ricard Prize. She is principally a sculpture artist, but also works on lm, photography and publishing. Her work deals with questions about language, communal space and sharing. She articulates vocabulary of forms and effects: terracotta, textiles, ow of liquids, straps and webbing, fruit and other ckle materials, arranged together in collections which sometimes appear precarious and vulnerable, other times solid and ready to endure for thousands of years. Her sculptures are the result of an event, sometimes contradictory to the material used. Each of these installations de nes a space, and often seems to wrestle against the claustrophobia of the exhibition spaces, looking for the wall to create an opening, a door or a window by which to escape, or to let in air or rain. She regularly edits other artists’ work as well as working in close collaboration with Paraguay Press Paris (Worte, Werke) and Roma Publications, Amsterdam (“Pazifik” et “Any”).
WORKS

sinistra o destra, diptychon, b/w photograph, 30×45 cm, ed. 2/4 +1AP

solo o, b/w photograph, 30×45 cm, ed. 2/4 +1AP

Monotype, diptychon, 63 x 94 cm, ed. 2/3 +1AP

 

GIULIA FILIPPI

scultura

BIOGRAPHY
Giulia Filippi (Vicenza 1982) studied at the “Accademia di Belle Arti” in Venice, where she graduated (MA and BA in Visual Art) in 2014, with honors. Between 2009 and 2010 she has been part of three Finnish Artist’s Residencies in Rauma, Kemijarvi and Lahti. Since 2007 she designs and realizes art workshops for the Peggy Guggenheim Collection in Venice, since 2007 she collaborates with Viaindustriae (Foligno, PG) for different cultural and artistic projects. Since 2012, in collaboration with PGC and OVS, she design art workshops for “Kids Creative Lab”, an educational project for the italian primary schools. Since 2004, for artistic and educational projects, she has collaborated with: Accademia di Belle Arti in Venice, Associazione LOVE (VE), Associazione Norma (RA), Associazione Tonino Guerra in Pennabilli (RN), Ceramiche Tosin (VI), Fondazione Marino Golinelli in Bologna, Hangar Bicocca in Milan, Lineasette ceramiche (VI), Lubiam Spa in Mantua, Palazzo Lucarini in Trevi (PG), Raumars in Rauma (Finland), Studio Orta in Les Moulins and Paris, Suzzara Municipality (MN), Venice Municipality, Venice Biennale, various schools all over Europe for educational and Erasmus+ projects.
WORKS
Feathers, 50 x 47 x 30, mixed feathers, brass wire,  industrial glue, 2019.

Feathers, 50 x 47 x 30, mixed feathers, brass wire, industrial glue, 2019.

Vulcanite, series of 4 sculptures,  different sizes, vulcanite, rock dust, 2017.

Vulcanite, series of 4 sculptures, different sizes, vulcanite, rock dust, 2017.

DINO FRACCHIA

anni70-504

BIOGRAPHY
Dino Fracchia (b. Milan,1950) lives and works in Milan. He has been trained aeronautical engineer and began photographing professionally in 1974. Since then he has made several photographic reports traveling across Europe, Africa, the Americas and the Middle East, using many different means of transport, often the most unlikely and sometimes even on foot. Dino Fracchia is working or has worked with numerous Italian and foreign magazines, including Panorama, L’Espresso, Epoca, European, Seven, The Friday, La Repubblica, La Stampa, Corriere della Sera, Focus, Grey, New York Times, Time Magazine, Chicago Tribune, Le Monde, Liberation, Stern, etc .; his portfolios have been published in Zoom (French and Italian editions), Progresso Fotografico and Photo. Recently his work has been exhibited at Museo di Villa Croce (Genoa) and Fondazione Forma (Milan)

EXPERIMENTAL JETSET

Experimental-Jetset---Concrete-Provo

BIOGRAPHY
Experimental Jetset is a small, Amsterdam-based graphic design studio, founded in 1997 by Marieke Stolk, Erwin Brinkers and Danny van den Dungen. Focusing on printed matter and site-specific installations, EJ have worked for a wide variety of institutes. Their work has been featured in group exhibitions such as ‘Graphic Design: Now in Production’ (Walker Art Center, 2011) and ‘Ecstatic Alphabets’ (MoMA, 2012). Solo exhibitions include ‘Kelly 1:1’ (Casco, 2002) and ‘Two or Three Things I Know About Provo’ (W139, 2011). In 2007, a large selection of EJ’s work was acquired by the MoMA. Members of EJ have been teaching at the Rietveld Academie and Werkplaats Typografie.
WORKS
Concrete Provo, series of 5 poster, 59 x 42 cm each, digital ultra-chrome pigment ink print on blue-back paper, limited edition of 5 copies, numbered and signed, 2015.

Concrete Provo, series of 5 poster, 59 x 42 cm each, digital ultra-chrome pigment ink print on blue-back paper, limited edition of 5 copies, numbered and signed, 2015.

PESCE KHETE

IMG_8990-copia

BIOGRAPHY
Pesce Khete è nato a Roma nel 1980 si è diplomato in “Animazione Multimediale” presso lo IED Istituto Europeo di Design di Roma. Il suo lavoro, incentrato da anni su pittura, disegno e fotografia, è stato esposto in Italia e all’estero in diversi spazi e istituzioni quali, Biennale di Praga (Praga, Repubblica Ceca), Biennale di Salonicco (Salonicco, Grecia), American Academy (Roma), Barriera (Torino), Fondazione per l’Arte (Roma), VOLTA NY (New York, Stati Uniti) e Drawing Now! (Parigi, Francia) con dei progetti personali, , Museo Ciac (Genazzano, Roma), Museo GAMUD (Udine), Museo MARCA (Catanzaro), Ex Monastero dei Benedettini (Catania), Centro Cultural Ramón Alonso Luzzy (Cartagena, Spagna), Greenhouse (Berlino, Germania), Ex Fabbrica Orobia (Milano), MARS (Milano).
Tra le altre mostre presso gallerie si ricordano Ex-Elettrofonica (Roma), The Flat-Massimo Carasi (Milano), Ceri Hand (Liverpool, Regno Unito), Van der Stegen (Parigi, Francia), Localedue e GAFF di Fabio Farnè (Bologna, Milano), Car Projects / Car Drde (Bologna), Isabel Hurley (Malaga, Spagna), Magda Bellotti Gallery (Madrid, Spagna), .
Nel 2017 è stato selezionato per la rassegna “Deposito d’arte italiana presente” presso Artissima (Torino).
Negli anni è stato in residenza presso “DIOGENE Bivaccourbano (Torino), “CARS” (Omegna, VB), “Painting Detours” (Nogaredo al Torre, Udine), “Studio36” presso Spike Island (Bristol, Regno Unito), , Fondazione Lac o Le Mon (San Cesario, Lecce).
WORKS
Untitled. Lin seed oil, poppy oil, spray paint and pastels on cotton paper. 269 x 140 cm, 2019

Untitled. Lin seed oil, poppy oil, spray paint and pastels on cotton paper. 269 x 140 cm, 2019

Untitled O Istruzioni n.2. Spray paint, permanent alcohol based-ink linseed oil on cotton paper. 268 x 140 cm, 2017

Untitled O Istruzioni n.2. Spray paint, permanent alcohol based-ink linseed oil on cotton paper. 268 x 140 cm, 2017

Untitled. Argan Oil, spray paint, oilstick, artist tape, permanent alcohol based ink, charcoal, acrylic and Pastels on cotton paper. 259 x 140 cm, 2019

Untitled. Argan Oil, spray paint, oilstick, artist tape, permanent alcohol based ink, charcoal, acrylic and Pastels on cotton paper. 259 x 140 cm, 2019

Untitled. Argan Oil, spray paint, oilstick, artist tape, permanent alcohol based ink, charcoal, acrylic and Pastels on cotton paper. 249 x 140 cm, 2019

Untitled. Argan Oil, spray paint, oilstick, artist tape, permanent alcohol based ink, charcoal, acrylic and Pastels on cotton paper. 249 x 140 cm, 2019

Untitled. Argan Oil, spray paint, oilstick, artist tape, permanent alcohol based ink, charcoal, acrylic and Pastels on cotton paper. 259 x 140 cm, 2019

Untitled. Argan Oil, spray paint, oilstick, artist tape, permanent alcohol based ink, charcoal, acrylic and Pastels on cotton paper. 259 x 140 cm, 2019

Untitled. Argan Oil, spray paint, oilstick, artist tape, permanent alcohol based ink, charcoal, acrylic and Pastels on cotton paper. 279 x 140 cm, 2019

Untitled. Argan Oil, spray paint, oilstick, artist tape, permanent alcohol based ink, charcoal, acrylic and Pastels on cotton paper. 279 x 140 cm, 2019

IMG_9010

Untitled, acrylic nd silicone on canvas, 190 x 190 cm, 2019 

Untitled. Charcoal, pastels on pastel paper. 70 x 50 cm, 2018

Untitled. Charcoal, pastels on pastel paper. 70 x 50 cm, 2018

Untitled. Graphite, charcoal, pastels on pastel paper. 70 x 50 cm, 2018

Untitled. Graphite, charcoal, pastels on pastel paper. 70 x 50 cm, 2018

Untitled. Graphite, charcoal, pastels on pastel paper. 70 x 50 cm, 2018

Untitled. Graphite, charcoal, pastels on pastel paper. 70 x 50 cm, 2018

Untitled. Graphite, oilstick, charcoal, pastels on pastel paper. 70 x 50 cm, 2019

Untitled. Graphite, oilstick, charcoal, pastels on pastel paper.
70 x 50 cm, 2019

MYRIAM LAPLANTE

Laplante

Myriam Laplante is a Canadian artist. She lives and works in Bevagna and Rome (Italy) in a state of permanent doubt. Her work is a parody of the world, cynical and absurd, melancholic and disorienting. Over the years, she has shown her performances, installations, sculptures and photographs in numerous venues, from squats to museums in America, Europe and Asia. Her works are in the collections of the Galleria Nazionale d’Arte Moderna and MACRO in Rome, in the Musée national des beaux arts du Québec (Québec), Musée National de la Photographie, (Ottawa, Canada) and in major private collections.

ARMIN LINKE

link

BIOGRAPHY
Armin Linke was born in 1966 and lives in Milan and Berlin. As a photographer and filmmaker he combines a range of contemporary image-processing technologies in order to blur the borders between fiction and reality. His artistic practice is concerned with different possibilities of dealing with photographic archives and their respective manifestations, as well as with the interrelations and transformative powers between urban, architectural or spatial functions and the human beings interacting with these environments. Through work with his own archive, as well as with other historical archives, Linke challenges the conventions of photographic practice, whereby the questions of how photography is installed and displayed become increasingly important. When the artist takes over the role of an exhibition maker in a collective approach, together with artists, designers, architects, historians and curators, narratives are procured on the level of multiple discourses. He is currently professor at the HfG Karlsruhe.
WORKS
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Jeux Sans Frontières (IBN_000052_6), 1995, riproduzione da negativo originale, stampa su carta baritata con trattamento al selenio per la conservazione, ed. 1/5 + 2AP, 50 x 60 cm, 2016

Jeux Sans Frontières (IBN_000051_20), 1995, riproduzione da negativo originale, stampa su carta baritata con trattamento al selenio per la conservazione, ed. 1/5 + 2AP, 50 x 60 cm, 2016

Jeux Sans Frontières (IBN_000051_20), 1995, riproduzione da negativo originale, stampa su carta baritata con trattamento al selenio per la conservazione, ed. 1/5 + 2AP, 50 x 60 cm, 2016

Jeux Sans Frontières (IBN_000052_6), 1995, riproduzione da negativo originale, stampa su carta baritata con trattamento al selenio per la conservazione, ed. 1/5 + 2AP, 50 x 60 cm, 2016

Jeux Sans Frontières (IBN_000052_6), 1995, riproduzione da negativo originale, stampa su carta baritata con trattamento al selenio per la conservazione, ed. 1/5 + 2AP, 50 x 60 cm, 2016

Jeux Sans Frontières (IBN_000050_1), 1995, riproduzione da negativo originale, stampa su carta baritata con trattamento al selenio per la conservazione, ed. 1/5 + 2AP, 60 x 50 cm, 2016

Jeux Sans Frontières (IBN_000050_1), 1995, riproduzione da negativo originale, stampa su carta baritata con trattamento al selenio per la conservazione, ed. 1/5 + 2AP, 60 x 50 cm, 2016

 

MAURIZIO NANNUCCI

THINK-alta-jpg_web-680x468

BIOGRAPHY
Maurizio Nannucci was born in Florence on April 20, 1939. He studied at Florence’s Fine Art Academy and in Berlin before working for many years with experimental theater groups as a set designer. During the first half of the 1960s, he consolidated the basic elements of what would become his visual language by exploring the rapport between art, language, and image, and by creating the first Dattilogrammi, in which words reclaim their strength as symbols. At the same time he was in contact with Fluxus artists, developed an interest for visual poetry, and collaborated with the studio “S 2F M” (Studio di Fonologia Musicale, Florence) to produce electronic music. Nannucci focused on using the voice and words to produce sound installations. In 1967, during his first solo exhibition at the Centro Arte Viva, Trieste, he presented his first neon light texts, thus emphasizing the temporary quality of writing and not the material quality of objects. In 1968 he founded the publishing house Exempla in Florence and Zona Archives Edizioni, both of which published books and catalogues on artists like Sol Le Witt, John Armleder, James Lee Byars, Robert Filliou, and Ian Hamilton Finlay. Nannucci believes that publications and multiples are themselves manifestations of a type of artistic practice that considers art a mental process, one that can be applied to the mass production of everyday objects in order to unify divergent threads in art. The art object may lose its uniqueness, but it gains presence and new freedom. During the 1990s the artist renewed his interest in the relationship between work, architecture, and urban landscape by collaborating with the architects Auer & Weber, Mario Botta, Massimiliano Fuksas, and Renzo Piano. Some of his permanent installations can be seen at the Auditiorium of the Parco Della Musica and Fiumicino airport, both in Rome, and at the Bibliothek des Deutschen Bundestages, Berlin. Nannucci has been a featured artist at the Venice Biennale several times and has participated in Documenta, Kassel, and the São Paulo, Sydney, Istanbul, and Valencia biennials. His work belongs to museum collections all over the world, including those of The Museum of Modern Art, New York; the Stedelijk Museum, Amsterdam; the Centre Georges Pompidou, Paris; and the Paul Getty Art Center, Los Angeles.
WORKS
Think, installation of the three colour of the neon multiples, edition of 21 copies, 7 for each colour, 35 x 8 x 3 cm, 2016. Numbered and signed in the box

THINK, INSTALLATION VIEW, OF THE NEON MULTIPLES THINK IN THREE COLOURS, BLUE RED AND YELLOW. 

6

THINK, 2016. NEON MULTIPLES, 21 COPIES (7 FOR EACH COLOUR) BLUE RED AND YELLOW, 35 X 8 X 3 CM, GAS ARGON ON MURANO GLASS. NUMERATION, SIGN AND FINGERPRINT OF THE ARTIST ON THE SIDE OF THE BOX.

 

LUCA PUCCI

Pucci

Luca Pucci (b. Assisi, 1984) lives and works between Assisi and Foligno. In 2007 earns a Bachelor’s Degree at the Academy of Fine Arts of Perugia and in 2011 a Master’s Degree in Visual Arts at the IUAV University in Venice. Pucci’s research is focused on randomness and routine, both accidental elements useful to recreate, or re-activated, specific places of interests through the use of videos, installations, actions, performances and all that is useful to the artist’s purposes. Some of his most significant researches have been developed and increased during several residencies between Italy and abroad as Manufatto in situ (Foligno), Fondazione Bevilacqua La Masa (Venice), Fondazione Antonio Ratti (Como), NAC Foundation (Rotterdam), Dom Kereta House (Warsaw) and Van Abbemuseum (Eindhoven). His recent exhibitions include “Officine dell’Umbria” (Trevi); “Per Diem-Catedra arte de conducta”, (Paris); “Dancity Festival”, (Foligno); “Real Presence10” (Belgrade) and “Palmarès” (Rome). From 2012 is a member of Viaindustriae.

DEXTER SINISTER

cartolina-DEXTER-SINISTER-trascinato

BIOGRAPHY
Dexter Sinister is the compound name of Stuart Bailey and David Reinfurt. Dexter Sinister works as a publishing imprint and an exhibiting artist. Dexter Sinister is also the name of their basement space on New York’s Lower East Side, which operates as a “just-in-time workshop and occasional bookstore.” The workshop is intended to model a “just-in-time” economy of print production, ine realities of large-scale publishing. Dexter Sinister have increasingly been involved in broader gallery and museum projects, most recently at the Centre d’Art Contemporain, Geneva; Whitney Biennial, Venice Biennial New York; The Kitchen, New York; and Somerset House, London. In 2006, Dexter Sinister established a workshop in the basement at 38 Ludlow Street, on the Lower East Side in New York City. The workshop intended to model a ‘Just-In-Time’ economy of print production, running counter to the contemporary assembly-line realities of large-scale publishing. This involved avoiding waste by working on-demand, utilizing local cheap machinery, considering alternate distribution strategies, and collapsing distinctions of editing, design, production and distribution into one efficient activity. In 2011, together with Angie Keefer they set up “The Serving Library”, a not-for-profit cooperatively-built archive that assembles itself by publishing. The project’s engine is Dot Dot Dot’s successor Bulletins of The Serving Library – a journal that circulates as freely downloadable PDFs as well as a biannual print edition. Reinfurt and Bailey decided to make the catalogue the third issue of their journal Bulletins of the Serving Library, which continues the legacy of Dot Dot Dot, their “previous house journal which ran for ten years and twenty issues.” The catalogue/issue acts not as a compendium but a companion piece with thirteen essays, articles and visual works. It begins with “MMMMMMMMMMMM…,” by Andrew Blum, which appeared in The New York Times in 2003 under the title “The Modern’s Other Renovation.” It’s about MoMA’s history of logo redesign, beginning with the controversial 1966 decision to lower the upper case “O” and continuing to Yoshio Taniguchi’s subtle 2004 redesign. (Did you know that the little “o” was initially so unpopular that it wasn’t officially used for twenty years?)
WORKS
Dexter sinister, Stampa programmata, 2017, CYAN, 100 x 70 cm, framed, unique.

DEXTER SINISTER, STAMPA PROGRAMMATA, 2017, 100 X 70 CM, SCREENPRINT IN CYAN, FRAMED, UNIQUE.

DEXTER SINISTER, STAMPA PROGRAMMATA, 2017, 100 X 70 CM, SCREENPRINT IN CYAN + MAGENTA, FRAMED, UNIQUE.

DEXTER SINISTER, STAMPA PROGRAMMATA, 2017, 100 X 70 CM, SCREENPRINT IN CYAN + MAGENTA + YELLOW, FRAMED, UNIQUE.

DEXTER SINISTER, STAMPA PROGRAMMATA, 2017, 100 X 70 CM, SCREENPRINT IN CYMK, FRAMED, EDITION OF 50.

LAST SHOT CLOCK, 2018, EDITION OF 16 , CUSTOM PROGRAMMED MICROCHIP ON 7 DIGIT DISPLAY, WITH GLOSS BLACK STEEL BOX 23 X 10 X 10 CM.

WATCH SCAN 1200 DPI, 2015, EDITION OF 50 COPIES, 100 X 70 CM

 

BATIA SUTER

Batia-Suter

BIOGRAPHY
Batia Suter (b. 1967) Swiss-born, Amsterdam-based artist, studied at the art academies of Zuerich and Arnhem (NL), and was also trained at the Werkplaats Typografie. Suter produces monumental prints of digitally manipulated images for specific locations, and works on photo-animations, image sequences and collages, often using found pictures. In 2007 she published the voluminous book Parallel Encyclopedia (Roma Publication 100) containing a composition of images taken from books she has collected along the years. Her second book Surface Series (Roma Publication 160), published in 2011, is an evocative montage of found images exploring the diverse resonances of geological landscape and visual surface. The underlying themes of Batia Suter’s practice are the ‘iconification’ and ‘immunogenicity’ of images, and the circumstances by which they become charged with new associative values. Her work intuitively situates old images in new contexts to provoke surprising reactions and significative possibilities. By this method, and with an attuned sensitivity to hidden harmonies and expressive accidents, Suter thus generates hypnagogic spaces where pictures can communicate by their own logic, in a force field of imaginative metamorphosis.
EXHIBITIONS
2019 ‘Elogi del malentes’ / Mataro Art Contemporani ES (group)
—- ‘Radial Grammar’ / MOMENTA Biennale de l’image / Montreal CA (group)
—- ‘Bookworks’ / MUMA Monash University Museum of Art, Melbourne AU (group)
—- ‘Hexamiles (Mont-Voisin)’ Barrage de Mauvoisin / Museum Bagnes CH (solo)
—- ‘Hexamiles (Odysee)’ / Schaufenster, Kunstverein München DE (solo)
—- ‘Cloud Service’ / Printed Matter Inc., New York US (solo)
—- ‘Lost and Found’ / Lasalle Institute of Contemporary Arts, Singapore SG (group)
—- ‘des attentions’ / Credac, Paris FR (group)
—- ‘The Gulf Between’ / Cultuurhuis de Warande, Turnhout BE (group)
2018 ‘Parallel Encyclopedia Extended’ / The Polygon Gallery, Vancouver CA (group)
—- ‘Cream Cheese and Pretty Ribbons’ / Galerie Martin Janda, Wien AT (group)
—- ‘Radial Grammar’ / Le Bal, Paris FR (solo)
—- ‘Sole Summary’ / Centre Culturel Suisse, Paris FR (solo)
—- ‘Nature Grammar’ / SNCF Gare Montparnasse, Paris FR (solo)
—- ‘Swiss Art Awards’ / Bundesamt für Kultur, Art Basel CH (group)
—- ‘Deutsche Bšrse Photography Foundation Prize 2018′ / Museum fŸr Moderne Kunst (MMK), Frankfurt am Main DE (group)
—- ‘Rendez-vous met Frans Hals’ / Frans Hals Museum, Haarlem NL (group)
—- ‘Deutsche Börse Photography Foundation Prize 2018′ / The Photographers’ Gallery, London GB (group)
—- ‘Some Things Hidden’ / Framer Framed, Amsterdam NL (group)
2017 ‘Flawa – Solo Annaquato’ in collaboration with Katinka Bock / Colli independent art gallery, Rome IT
—- ‘Arts & Music Festival Horst’ / Castel van Horst, Sint Pieters-Rode BE
—- ‘Les Nouveaux EncyclopŽdistes’ / Fotografia Europea 2017, Reggio Emilia IT (group)
—- ‘Spaces without drama or surface is an illusion, but so is depth’ / Graham Foundation, Madlener House, Chicago USA (group)
—- ‘A L’Antique’ / Musee des Antiquites (RMM) & FRAC Normandie, Rouen FR (group)
2016 ‘3500m2′ / Rome (Open City) IT (group)
—- ‘Where the Other Rests’ / Les Rencontres de la Photographie Arles (group)
—- ‘Artists’ Documents: Art, Typography and Collaboration’ / MMCA, Seoul, South Korea (group)
—- ‘For Every Purpose’ / P-Exclamation New York (group)
—- ‘Artists’ Documents: Art, Typography, and Collaboration’ / 3F Digital Information Center, MMCA Seoul (group)
—- ‘For Every Purpose’ / P-Exclamation New York (group)
—- ‘Quickscan’ / Fotomuseum Rotterdam (group)
2015 ‘Sea Of Ice’ / KW Institute for Contemporary Art, Berlin DE
—- ‘Earth Effect’ / Fotografia Europea 2015, Reggio Emilia IT (group)
—- ‘Something Thrown in the Way of the Observer’ / Museum Van Loon, Amsterdam NL (group)
—- ‘The Whole World, Up To Today’ / Villa du Parc, Centre d’Art Contemporain, Annemasse F (group)
—- ‘De Fotokopie 4th Edition’ / Galerie De Schans with FOAM Amsterdam, Arles 2015, ‘Les Rencontres de la Photographie’ (group)
—- ‘YES YES YES alternative press’ / Colli Independent Art Gallery, Rome IT (group)
—- ‘Les recits de l’insu’, Micro Onde, Velizy-Villacoublay FR (group)
2014 ‘Roma Publications 1998-2014′, Fondazione Giuliani, Rome IT (group)
—- ’25x25x25′, Westfälisches Landesmuseum Münster DE (solo)
—- ‘Vanishing Point’, MIART in collaboration with Fantom Magazin and Macelleria, Milan IT (group)
—- ‘Various Artists’, curated by Marc Nagtzaam, Barbara Seiler Galerie, Zürich CH (group)
—- ‘Some Things Perishable’, Nest Den Haag NL (group)
—- ‘Staged City’, Arti et Amicitiae, Amsterdam NL (group)
2013 ‘5 x 3′, Kunstraum Düsseldorf DE (group)
—– ‘Dublin Doubles’, Broadcast Gallery, Dublin IR
—– ‘Au dŽtour de la mer de nuages’, Galerie Florence Loewy, Paris FR
—– ‘Ladekastproject’, Galerie Phoebus Rotterdam (curated by Ellen Timmermans) DE
—– ‘Reiner Nachtwey und Batia Suter’ / Bridges 2013, Haus 34A, Bad Bentheim DE
—– ‘Beyond Frames’ / Reframe Festival, TAC Eindhoven NL (group)
—– ‘Two in the wave’ / Printroom Rotterdam NL (group)
—– ‘Perspectives on Collage’ / The Photographers Gallery London UK (group)
2012 ‘Lecture’ / Probe 17 (www.projectprobe.net/probe/17)
—– ‘Dear Aby Warburg, what can be done with images?’ / Museum für Gegenwartskunst, Siegen DE (group)
—– ‘Caverne Cabinet ou les objets du degluge’ / Biennale de Belleville II, Paris FR (group)
—– ‘Les Prairies’ / Les Ateliers de Rennes – Biennial for Contemporary Art, Frac Rennes FR (group)
—– ‘Autumn of modernism II’ / Temporary Gallery, Cologne DE (group)
—– ‘Esta puerta pide clavo’ / Tatjana Pieters Gallery, Ghent BE (group)
—– ‘Roma Publications 1998-2012′ / Research Centre for Artists’ Publications, Museum für Moderne Kunst, Bremen DE (group)
—– ‘Atlas at last’ / ESADHaR, Rouen FR (group)
—– ‘Provisional Space’ / Castillo Corrales, Paris FR (group)
—– ‘Autumn of modernism’ / De Vleeshal, Middelburg NL (group)
2011 ‘Nos hicimos la ilusi—n de avanzar directamente’ / Espai Cultural Obra Social Caja Madrid, Barcelona ES (group)
—– ‘Hypothesis for an exibition’ / PSM Gallery, Berlin DE (group)
—– ‘Limits of an object’ / Forde, Geneva CH (group)
—– ‘Fantastique Elastique’ / Galerie Francesca Pia, Zürich CH (group)
—– ‘Voorkamer II’ / Les Brasseurs, Liege BE (group)
—– ‘Beyond the Dust, Artist’s Documents Today’ Part 3 / Fondation d’entreprise Ricard, Paris FR (group)
2010 ‘Beyond the Dust, Artist’s Documents Today’ Part 2 / La Fabbrica del Vapore, Milan IT (group)
—– ‘Beyond the Dust, Artist’s Documents Today’ Part 1 / De Kabinetten van de Vleeshal, Middelburg NL (group)
—– ‘Use Me, Abuse Me’ / New York Photo Festival #10, New York City USA (group)
—– ‘Roma Publications @ Motto Berlin’ / Motto, Berlin DE (group)
—– ‘Published by: Roma Publications’ / De Kabinetten van de Vleeshal, Middelburg NL (group)
2009 ‘Surface Series’ / Culturgest, Porto PT (solo)
—– ‘Mimes’ / Kalfayan Galleries, Athens, GR (group)
—– ‘Wall House #2 / Groningen NL (solo)
2008 ‘Het torentje’ / Almelo NL (solo)
—– ‘The Garden of Cyrus’ / Gennevilliers public Art Centre, Paris FR (group)
—– ‘Found, Gevonden, Trouve’ / Voorkamer, Lier BE (group)
—– ‘The Order Of Things’ / MuHKA, Antwerpen BE (group)
2007 ‘A Few Artists’ Books, Roma Publications and Christoph Keller’ / ProjecteSD, Barcelona SP (group)
—– ‘Nieuwe Collectie’ / Stedelijk Museum Wuyts-Van Campen & Baron Caroly, Lier BE (group)
2006 ‘Vademen’ / Stadsgalerij Heerlen NL (group)
—– ‘Roma Publications’ / Culturgest, Lisbon PT (group)
2005 ‘Circuitos-Circuits’ / Matucana 100, Santiago de Chile CL (group)
—– ‘Interval’ / Consortium, Amsterdam NL (group)
—– ‘Auswahl 05′ / Kunsthaus Aarau CH (group)
—– ‘Mixed Pickels’ / k3 project space, Zurich CH (group)
2004 ‘R3′ / Rothenbaumchaussee 173, Hamburg DE (group)
—– Wettbewerb für bildende Kunst der Stadt Zürich’ / Helmhaus, Zürich CH (group)
—– Maria Kapel / Hoorn NL (group)
—– Galerie Hans-Trudel-Haus / Baden CH (solo)
2003 ‘WOMAN’ De verleiding op straat / Centraal Museum, Utrecht NL (group)
—– ‘Storage & Display’ / Programa Art Center, Mexico City MX (group)
—– Eidgenoessischer Wettbewerb fuer bildende Kunst / Basel CH (group)
—– ‘Snippets’ / Museum voor moderne Kunst, Arnhem NL (group)
—– ‘Salto del Agua’ / De Geele Rijder, Arnhem NL (group)
—– ‘O1′ / Hamburg DE (group)
2002 ‘Evergreen’ / Galerie Stefan Rasche, Muenster DE (solo)
—– Mama Cash Prijs / ‘Het Botenhuis’, Rotterdam NL (group)
—– ‘SMAX’ / Villa de Bank, Enschede NL (group)
—– Wettbewerb fuer bildende Kunst der Stadt Zürich / Helmhaus, Zürich CH (group)
—– ‘Made in Arnhem’ / Museum voor moderne Kunst, Arnhem NL (group)
—– Aargauer Kuratorium – Kunstkredit 2002 / Spinnerei Kunz, Windisch CH (group)
—– ‘Among Friends – Entre Amis’ / La Plate-Forme, Dunkerque F (group)
—– ‘Neubau #2′ / Galerie Stefan Rasche, Muenster DE (group)
—– ‘Roma Publications’ / Kršller Müller Museum, Otterlo NL (group)
2001 ‘Biennale Gelderland’ / Museum het Valkhof, Nijmegen NL (group)
—– ‘Zie onder canape’ / Villa de Bank, Enschede NL (group)
—– ‘City Jam #2′ / Hooghuis, Arnhem NL (group)
—– ‘Rotonde #3′ / CBKN, Nijmegen NL (group)
2000 ‘Room’ / Academiegalerie, Utrecht NL (group)
—– ‘Hotel’ / CBK, Nijmegen NL (group)
—– ‘Zwitserland on the move’ / Tent, Rotterdam NL (group)
1999 ‘Speciale aanmaak’ / Artis, Den Bosch NL (group)
—– ‘Bountyeiland’ / Archipel, Apeldoorn NL (group)
1998 ‘Blow Up’ / Hooghuis, Arnhem NL (group)
1997 ‘Under My Skin’ / Artis, Den Bosch NL (group)
—- ‘Ateliers Arnhem’ / Museum voor moderne Kunst, Arnhem NL (group)
1996 ‘Vervolgens’ / Arti et Amicitiae, Amsterdam NL (group)
—– Stelling Gallery / Leiden NL (group)
—– ‘Crossoverall’ / De Fabriek, Eindhoven NL (group)
—– ‘No Content, No Show’ / W139, Amsterdam NL (group)
—– ‘Biennale Gelderland’ / Museum voor moderne Kunst, Arnhem NL (group)
AWARDS
2018 Nomination Swiss Art Awards 2018, Bundesmat fŸr Kultur Switzerland CH
—– Nomination Parallel Encyclopedia #2 / Deutsche Bšrse Photography Foundation Prize 2018
2017 ‘Parallel Encyclopedia #2′ in selection Kassel Photobook Award 2017 DE
—– ‘Parallel Encyclopedia #2′ in selection Best Verzorgde Boeken 2016 NL
2016 ‘Parallel Encyclopedia #2′ shortlisted for the 2016 Paris Photo – Aperture Foundation PhotoBook Awards USA
2012 Publicationsubsidie / Mondriaan Foundation, Amsterdam NL
—– Basissubsidie / Fonds voor Beeldende Kunst, Amsterdam NL
—– Nomination Photobook Award 2012 / 5th International Photobook Festival, Kassel DE
2010 Publicatiesubsidie, Fonds voor beeldende Kunst, Amsterdam NL
2008 ‘Parallel Encyclopedia’ in selection Best Verzorgde Boeken 2007 NL
2005 Druckkostenbeitrag, Aargauer Kuratorium Aarau CH
2004 Hans-Trudel-Kunstpreis, Baden CH
—– Projectsubsidie, Provincie Gelderland, Arnhem NL
—– Basissubsidie, Fonds voor beeldende Kunst, Amsterdam NL
—– Werkbeitrag des Kantons Zürich CH
2002 Werkbeitrag des Kantons Zürich CH
—– Werkbeitrag des Aargauer Kuratoriums CH
—– Euregio-Kunstpreis, Kunstverein Art Euregio, Kleve DE and GBK, Arnhem NL
2001 Werkbeurs, Fonds voor beeldende Kunst, Amsterdam NL
1997 Kiefer Hablitzelstipendium CH
WORKS
Yard, screenprint on 140 gsm uncoated paper, edition of 50 numbered and signed copies, 100 x 140 cm, 2015.

YARD, 2015, DIPTYCH SCREENPRINT ON 140 GSM UNCOATED PAPER, EDITION OF 50, NUMBERED AND SIGNED.

Tevere #2, inkjet print on paper, 90 x 135 cm ,  2017.

TEVERE #2, 2017. INKJET PRINT ON PAPER, 90 X 135 CM, UNIQUE.

Tevere #1, inkjet print on paper, 90 x 135 cm,  2017.

TEVERE#1, 2017. INKJET PRINT ON PAPER, 90 X 135, UNIQUE.

Flava, A3 laser prints installation, edition of 10 copies, 2017.

FLAVA, 2017. A3 LASER PRINT INSTALLATION, EDITION OF 10 COPIES.