AFTER CLUB – RICCARDO BANFI, ANNE DE VRIES, LUCA PUCCI 08.05 - 31.07.2021

AFTER CLUB – AND IN THE MEANTIME THE WORLD HAS CHANGED, IS A PROJECT BORN AND DEVELOPED OVER AN EXTENDED PERIOD OF TIME. AFTER SURFACING IN 2017 FROM AN EARLY DISCUSSION IN CONJUNCTION WITH THE PROJECT BULC, THE EXHIBITION FINDS ITS FINAL REALISATION ONLY IN 2021. THROUGH A RADICALNESS THAT FOR THE FIRST TIME OUR GENERATION HAS EXPERIENCED, THE VERY CONDITIONS OF CONCEIVING THIS EXHIBITION HAVE CHANGED SINCE 2017. IN THIS RESPECT, AFTER CLUB IS A PROJECT AIMING TO FREEZE THE IMPRESSION OF SUDDEN SILENCE AND SUSPENSION THAT HAS PERMEATED NIGHT LIFE SINCE THE BEGINNING OF 2020. A SENSE OF COLLECTIVE FALLING THAT HAS INVESTED THE CLUBBING WORLD – THROUGH THE EXPONENTIALLY FAST SEQUENCE OF SUDDEN CALLING OFF OF EVENTS, COLLECTIVE DISORIENTATION, ONLINE STREAMING EXPLOSION, DIFFUSION OF DIGITAL FESTIVALS AND SOLITARY LIVE SETS. BETWEEN THE FIRST DISCUSSIONS WITH THE ARTISTS FEATURED IN THE EXHIBITION AND ITS ACTUAL REALISATION, THE WORLD HAS CHANGED.

HENCE, CONCEIVING THE EXHIBITION AT THE TURN OF 2019 AND 2021, CARRIES WITH IT THE EXTRAORDINARY IMPACT OF THE YEAR 2020 ON OUR INTERPRETATION OF ONE OF THE PIVOTAL ELEMENTS OF THE CLUBBING AND RAVE SCENES: THE GATHERING.

AFTER CLUB AIMS TO CRYSTALLISE AND EXTEND SUCH MOMENTS OF TRANSITORY SUSPENSION AND OF SWIFT REDUCTION OF THE CROWD INTO A “SINGULARITY”, A PHASE OF ABRUPT ARREST; AND IT DOES SO BY DEPARTING FROM THE LANGUAGE OF THE CLUBBING WORLD ITSELF.

AS IF THIS TEMPORARY SITUATION WOULD BECOME THE NORM.

WHETHER WITHIN THE CONTEXT OF CLUBBING THE “AFTER” IS THE TIME FOLLOWING AND NON-OFFICIALLY EXPANDING THE PARTY – THAT AFTER EXTENDING AND EXALTING THE SECRET COMMUNION OF UNSTOPPABLE NIGHT-GOERS – HERE THE AFTER RATHER BECOMES A REFLECTION ON THE STATUS OF CLUBBING, AS WELL AS ON THE VERY IDEA OF CLUB ITSELF OR OF THE GATHERING FOLLOWING THE 2020 APOCALYPSE. THE ECHO OF SUCH TEMPORARY FREEZING, THUS PERMEATES THE EXHIBITED WORKS AND DEFINES THEIR INTERPRETATION. IN THE SEQUENCE OF ARTWORKS BY RICCARDO BANFI, ANNE DE VRIES AND LUCA PUCCI, SUCH THREAD OF “CLUB AFTER” FINDS A METAPHORICAL AND POETIC EXPRESSION IN BANFI’S PHOTOGRAPHS, A MORE CEREBRAL EXPLORATION OF THE SYMBOLISM OF RAVE-CULTURE IN THE DE VRIES’ WORKS, AND A PERFORMATIVE AND RELATIONAL INTERPRETATION IN PUCCI’S PROJECT, WHERE THE GATHERING IS LINKED TO GROUP DANCES AS A TOOL OF TRANSGENERATIONAL UNITY.

THE EXHIBITION LAUNCHES A SERIES OF PROJECTS HOSTED BY COLLI INDEPENDENT ART GALLERY, THAT WILL CONVERGE INTO BULC, A PRINTED CATALOGUE BY VIAINDUSTRIAE PUBLISHING THAT WILL BE UNVEILED AT THE END OF THE PROGRAMME.

RICCARDO BANFI
LET’S DANCE 2016 / HAND (RIOT) 2017

A SOPHISTICATED INTERPRETER OF NIGHTLIFE, BANFI MADE IT THE FOCUS OF HIS PHOTOGRAPHIC INVESTIGATION FROM 2010 UNTIL ABOUT 2017. IF THE 2015 PROJECT TNX REPRESENTS THE CULMINATION OF SUCH RESEARCH, HIS INTEREST IN CLUBBING HAS GRADUALLY WANED THROUGH THE MULTIPLE TRAJECTORIES OF A VISUAL UNIVERSE THAT HAS EXPERIENCED HYBRID AESTHETIC DIMENSIONS VIA THE PHOTOGRAPHIC MEDIUM: FROM A RENEWED ATTENTION FOR AND EXPERIMENTATION WITH THE DIGITAL (SEE THE SERIES SURPLUS, 2015-2017) TO A PERIOD SPENT IN LOS ANGELES, FROM WHICH HIS LATEST COLLECTION SUNSHINE NOIR ORIGINATES. THE TWO WORKS ON SHOW LET’S DANCE, 2016, AND HAND (RIOT), 2017, REVEAL ELEMENTS IN LINE WITH HIS INVESTIGATION ON CLUBBING – HAND IS PART OF THE PROJECT RIOT ON MYKKI BLANCO – AND THE POETIC TONES OF HIS SUBSEQUENT RESEARCH. BANFI’S PRODUCTION IS RICH AND GUIDED BY THE EXPLORATORY NATURE OF THE ARTIST’S GAZE IN IDENTIFYING ANONYMOUS MOMENTS OR UNEXPECTED EPIPHANIES, POTENTIALLY HIDDEN IN EVERY PLACE. POETIC VISUAL METAPHORS THAT, WHILE DOCUMENTING THE ARTIST’S SPACES OF ACTION, DEFINE A UNIQUE, VARIED, FIGURATIVE AND ABSTRACT, AS WELL AS BIOGRAPHICAL AND DOCUMENTARY REPRESENTATION OF THE CONTEMPORARY WORLD.

IF RIOT SYMBOLICALLY STANDS FOR THE “BUILD UP” PREPARING FOR A “DROP” THAT IS DOOMED NOT TO HAPPEN, LET’S DANCE HOLDS THE EMBRYO OF A RESOLUTION: IN THE WHEEL OF A PIGEON’S WINGS AND IN THE HAND, THE FLUIDITY OF TWO DISTINCT MOVEMENTS CAN BE SEEN RESPECTIVELY AS THE ECHO OF THE SETBACK AND A RENEWED MOMENTUM.

BANFI’S PRESENTATION IS COMPLETED BY THE VIDEO 2012: A REMINISCENCE FINALISED ON THE OCCASION OF AFTER CLUB FOR ITS DIGITAL PLATFORM. AS BANFI STATES, 2012: A REMINISCENCE INDULGES IN A RE-ENACTMENT OF PAST EVENTS, STARTING FROM ARCHIVE FOOTAGE OF A NIGHT OF PARTYING AND REFLECTING ON THE THEME OF CLUBBING DURING A “STATE OF EXCEPTION”. THE VIDEO OFFERS PERSPECTIVES ON LEISURE TIME, RITUALITY AND BELONGING TO A CULTURE, WHILE QUESTIONING THE ROLES OF INDIVIDUALS WITHIN THE NIGHTLIFE COMMUNITY AND THEIR INTERACTIONS. IN A YEAR IN WHICH IT HAS BEEN IMPOSSIBLE TO LIVE IT, BANFI HAS NOT CEASED TO INVESTIGATE THE THEME OF THE NIGHT, AS A THEORETICAL PLACE, EVEN BEFORE IT IS EXPERIENTIAL, OFFERING A MORE CONCEPTUAL ENTRY POINT TO THE DIVERSE RESEARCH APPROACHES FEATURED IN THE SHOW. “NOITE (NÃO-OITO), NUIT (NON-HUIT), NIGHT (NO-EIGHT), NACHT (NEIN-ACHT); NOTTE; NOCHE”. IN THIS QUOTATION RECENTLY DISCOVERED BY THE ARTIST ON THE ETYMOLOGY OF THE WORD NIGHT AND ITS MYSTERY, AN ALMOST NUMERICAL INTRODUCTION TO THE WORKS OF ANNE DE VRIES AND LUCA PUCCI CAN BE FOUND, DISCLOSING TWO DISTINCT DIMENSIONS – ONE NOCTURNAL, THE OTHER DIURNAL – BOTH OVERLOOKED, AS IT WILL BE SEEN, BY A SORT OF NUMEROLOGY AND INTERNAL RHYTHM.

ANNE DE VRIES

FREEZONE 23 2020 / T.A.Z. 2018

THE WORLD OF ELECTRONIC MUSIC, ‘FREE TEKNO’ AND ‘HARDSTYLE’ IS RECURRENT IN THE WORK OF ARTIST ANNE DE VRIES, IN CONJUNCTION WITH A BROADER REFLECTION ON CONTEMPORARY NOTIONS OF “TRANSCENDENCE” AND THE “MIND-BODY DUALITY”, AS WELL AS ON THE RELATIONSHIPS BETWEEN TECHNOLOGY AND PROGRESS, METAPHYSICAL THEORY AND “MASS EXPERIENCE”, PARTICULARLY WITH REFERENCE TO LEGENDARY FESTIVAL AND TRANCE RAVE REUNIONS. AMONG THE WORKS THE ARTIST HAS PRODUCED IN SUCH DIRECTION AND HAVE HAD PARTICULAR RESONANCE, THE INSTALLATION CRITICAL MASS: PURE IMMANENCE, REALISED IN THE OCCASION OF THE 9TH BERLIN BIENNALE IN 2016, CAN BE MENTIONED. DE VRIES’ RESEARCH IS INTERESTED IN THE LINGUISTIC AROUND MUSIC, CORRELATIONS BETWEEN TITLES, LYRICS IN RELATION TO ELECTRONIC (FUTURISTIC) MUSIC, FOR WHICH HE TURNED A WIDE RANGE OF PHILOSOPHICAL AND SOCIOLOGICAL THEORIES INTO LYRICS FOR DANCE TRACKS.

CONCEIVED FOR HIS 2019 SOLO SHOW TITLED TRANCE IN AMSTERDAM – RETURNS AND PRESENTED IN ITALY FOR THE FIRST TIME, FREEZONE 23 AND T.A.Z. DEPART FROM RAVE CULTURE ICONOGRAPHY AND HINT RESPECTIVELY AT A MIX OF SOURCES: HAKIM BEY’S TEMPORARY AUTONOMOUS ZONE, “ONTOLOGICAL ANARCHY” AND “POETIC TERRORISM”, AS WELL AS RUDOLF STEINER’S PHILOSOPHY OF FREEDOM, BOTH TRENDS THAT CROSSED THE ANARCHIST MINDED ‘FREE TEKNO’ AND ‘TRIBE’ CIRCLES IN THE ‘90S. IN THE USE OF STRIPES A PARALLEL WITH THE AESTHETICS OF DANIEL BUREN CAN BE FOUND: A TRIBUTE TO THE FORMAL TROPES OF AN ARTIST THAT HAS MADE OF THE ELEMENT OF THE STRIPE THE BANNER OF AN AESTHETIC CREDO AND A POLITICAL TOOL OF INSTITUTIONAL CRITIQUE, BY FAVOURING THE PRESENTATION OF HIS WORK IN PUBLIC SPACES.

FREEZONE 23 AND T.A.Z. ARISE FROM DE VRIES’ ARTICULATED INTEREST IN THE WORLD OF FREE TEKNO, OF WHICH THE ARTIST CAPTURES THE COUNTER-CULTURAL AND ANARCHIC ORIGIN AND, AT THE SAME TIME, THE PROCESS OF GRADUAL ANAESTHETISATION OF SUCH “HARD” MATRIX, UNTANGLED IN THE TEXT “TRANSFORMATION THROUGH DEPOLITICIZATION” PUBLISHED ON FLASH ART INTERNATIONAL IN 2016. A PROCESS SUBTLY REPLICATED ALSO IN THE “STRIPED LANDSCAPE” OF FREEZONE23, WHICH REMAINS POISED BETWEEN A TRIBUTE TO THE ERA OF COUNTERCULTURE, EVOKED IN THE TITLE AND IN THE KIEREWIET LOGOS – FROM AN UNDERGROUND SELF-ORGANIZING DUTCH SOUND SYSTEM, THAT IS OPPOSING THE FOR-PROFIT CLUB AND FESTIVAL TECHNO UNIVERSE.

LUCA PUCCI
AGENZIA DANCING DAYS

BETWEEN 2010 AND 2015 LUCA PUCCI HAS PRODUCED AGENZIA DANCING DAYS, A PROJECT IN COLLABORATION WITH EMANUELE DE DONNO ARISING FROM AN INVESTIGATION ON GROUP DANCES. IT IS A PERFORMATIVE PROJECT, MOVED BY AN AIM TO GATHER AND CREATE A COLLECTIVITY THROUGH THE ARTISTIC MEDIUM THAT HERE BECOMES A “CATALYST FOR COMMUNITY”. A PROJECT THAT COULD BE SEEN AS AKIN TO RELATIONAL ARTS, AGENZIA DANCING DAYS SEES IN THE GALLERY ITS CONCRETE REALISATION THROUGH THE SLICK AESTHETICS OF A WHITE LP, DOCUMENTING THE ARTIST’S JOURNEY BETWEEN DIVERSE PLACES, FROM UMBRIA TO POLAND, FROM RAVENNA TO WARSAW.

AS DESCRIBED IN THE “TRAVEL NOTES” COLLECTED BY THE ARTIST IN THE SEVERAL SITES WHERE THE PROJECT HAS OCCURRED, AGENZIA DANCING DAYS FINDS ITS ORIGIN IN THE DANCITY FESTIVAL: AN ELECTRONIC MUSIC FESTIVAL ONCE TAKING PLACE IN FOLIGNO. FROM SUCH CONTEXT SPRUNG THE INTENTION TO BRING A GROUP OF “YOUNG SENIORS” CLOSER TO THE CLUBBING WORLD. “ON THAT EVENING, THE STRENGTH TO MOBILISE AND SHOW TO THOSE WHO WERE DANCING THAT THERE WAS ALSO A DIFFERENT POSSIBILITY OF DANCING, THROUGH GROUP DANCES, WAS VERY CLEAR”. AVAILABLE IN THE GALLERY FOR VISITORS, THE LIST OF TRAVEL NOTES OFFER A PRECISE GUIDE TO THE PROJECT’S VARIOUS STAGES OF DEVELOPMENT.

AN ARTIST WHO GOES BEYOND THE CANONICAL SYSTEMS, PROFILES AND CONTEXTS OF CONTEMPORARY ART, PUCCI’S DISCREET RESEARCH DEVELOPS ON TWO LEVELS: LARGE SCALE PROJECTS INVOLVING BROAD COMMUNITIES IN EVEN PICARESQUE ENTERPRISES, AND A FINAL SOBER, DRY AND PRECISE FORMALISATION, ULTIMATELY, A CONCEPTUAL ONE. AS WHITE AS THE DANCE FLOORS WHERE THE “POLISH DANCING DANCERS” PERFORMED THEIR MOVES WITH THE ARTIST, THE RECORD IS NOT JUST A SONIC MEMORY, BUT ALSO A HUMAN RECOLLECTION OF THE PROJECT’S ITINERARY. TWO SIDES, A AND DD, EACH CONTAINING 18 ONE-MINUTE TRACKS. ONE MINUTE CORRESPONDS TO 33 RPM, TRANSLATING ON THE RECORD THE PRODUCTION PROTOCOL OF THE PERFORMANCE. SIDE A COLLECTS THE RECORDINGS OF 18 GROUP DANCES HELD IN WARSAW; THE DD SIDE COLLECTS 18 TRACKS LINKED TO EIGHTEEN PERFORMANCES IN DIVERSE SITES.

THE SEQUENCE SELECTED FOR THE EXHIBITION (TRACK 9 TO 13, DD SIDE) INCLUDES THE DIVERSE SOUND AND PERFORMATIVE REGISTERS OF THE PROJECT, THE HANDS CLAPPING TYPICAL OF GROUP DANCES, MAZURKAS, THE PRACTICE AND REPETITION OF PUCCI’S STEPS WITH THE GROUP, CLASSIC BALERA SOUNDS AND A BIZARRE – AS IN THIS CASE IT IS DIFFICULT TO RECONCILE IT WITH THE CONTEXT – TECHNO CODA. THE ECHOES OF THE RECORDING AND THE RUMBLE OF THE ROOMS, OF THE STEPS, OF THE GESTURES, CONFERS TO THE AUDIO A STRANGE DIMENSION OF BOTH PRESENCE AND ABSENCE. PUCCI’S PROCESS SEEMS NOWADAYS DIFFICULT TO IMAGINE, FOR IT SOUNDS VERNACULAR AND DISTANT AT THE SAME TIME, THE MEMORY OF AN IDEA OF UNION, DURING “DANCING DAYS” OVER WHICH THE SHADOW OF THE LAST YEAR INEVITABLY LOOMS.

17 MARCH 2020

DEAR GIULIA,

PLEASE FORGIVE ME FOR NOT GETTING BACK TO YOU SOONER.

I WAS QUITE SICK, AND BY THE TIME I RECOVERED THE WHOLE WORLD HAD CHANGED.

SAME FOR YOUR PLANS I SUPPOSE?

I HOPE YOU ARE HEALTHY AND SAFE.

ANNE

AFTER CLUB

AS IF THIS TEMPORARY SITUATION WOULD BECOME THE NORM.
A SUSPENDED SCENARIO, IN WHICH, OF CLUBS, ONLY PROPS AND MEMORIES REMAIN.

GIULIA BINI


RICCARDO BANFI – 2012: A REMINISCENCE


INSTALLATION VIEWS

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YES YES YES REVOLUTIONARY PRESS

AA.VV., editor Viaindustriae publishing & A+Mbookstore with Colli publishing platform, 1000 copies, bw + red pantone, 544 pp, 24 x 17 cm, it/eng, 2020. GO TO SHOP
Yes Yes Yes Revolutionary Press in Italy indaga la scena italiana della stampa rivoluzionaria di “organi” editoriali in foglio, giornale, rivista, ciclostilato, bollettino, fascicolo, alcuni quotidiani altri periodici, spesso irregolari, altri aperiodici di cui molti numeri unici in reiterata attesa di auto
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rizzazione… La febbrile attività tipografica si lega alla serrata politico-ideologica, antagonista e contro-culturale di un periodo di lotta, conquista di spazi civili, aree di libertà e di creatività sociale. In questo volume si censiscono e selezionano criticamente più di 600 stampati usciti tra il 1966 e il 1977. Questa ricerca è la continuazione naturale della corposa pubblicazione, uscita nel 2014 ed edita dagli stessi editori: Yes Yes Yes, Alternative press, 66-77 from Provo to Punk, curata da Emanuele De Donno ed Amedeo Martegani. Quel primo volume esaminava il ruolo della stampa alternativa, underground e controculturale europea ed americana in un periodo fiorente: 1966-1977; questa nuova edizione si concentra sulla scena italiana, la cui ampia strategia di “connivenze” e la frastagliata geografia regionale hanno posto la necessità, per sezionare tematicamente il percorso, di dare una visione allargata dei mezzi di stampa alternativa, non solo underground, indipendenti e contro-culturali, ma anche della contro-informazione, della editoria “schierata” ultra-radicale politica quindi ideologica. Il nucleo consistente di testate censite nella prolifica rete italiana che si allarga anche alle province è stata reperita grazie ai contributi di archivi messi in rete, collezionisti, cultori, editori e attivisti da tutta Italia che costituiscono una geografia sommersa dell’editoria contro-culturale italiana ma anche di un collezionismo resistente e ragionato. Questi mezzi stampa documentano una ricerca di cultura radicale, di autori e co-autori, promotori/artisti di cultura libera ed alternativa, distribuita in formati di confine e sperimentali.
Yes Yes Yes Revolutionary Press in Italy investigates the Italian scene of Revolutionary Press and editorial “organs” printed as news sheets, newspapers, magazines, mimeographs, pamphlets, some daily papers and magazines, other discontinuous publications including single editions printed while awaiting authorization… Sometimes the journals were a one time only supplement or attachment, ephemeral and volatile. The dynamic printing activities were linked to the political, ideological, antagonist and counter-cultural struggle of a period of protest and occupation of civil spaces, areas of freedom and social creativity. A critical selection of over 600 publications printed between 1966 and 1977 are cataloged in this book. This research is the natural continuation of the substantial publication, released in 2014 and published by the same publishers: Yes Yes Yes, Alternative press, 66-77 from Provo to Punk, curated by Emanuele De Donno and Amedeo Martegani. That first volume examined the role of European, American alternative, underground and counter-cultural press in a flourishing period: 1966-1977; this new edition focuses, on the same frame of time, on the Italian scene which extensive strategy of “connivance” and the disparate regional geography, has made it necessary, in order to thematically section the topic, to offer a wide view not only of the underground, independent and counter-cultural alternative press media but also of counter-information, ultra-radical political and ideological publications. The substantial selection of magazine collected in the prolific Italian network that also extends to the provinces was found thanks to the contributions of archives, collectors, scholars, publishers and activists from all over Italy who constitute submerged geography of the Italian counter-cultural publishing but also of a resistant and structured collecting process. These “printed media” document a research of radical culture, of authors and co-authors, promoters/artists of free and alternative culture, distributed in experimental formats.YES-YES-YES.-Revolutionary-Press-in-Italy-1966-1977-from-Mondo-Beat-to-Zut-Viaindustriae-publishing-–-AM-Bookstore-Foligno-Milano-2020-_1 YES-YES-YES.-Revolutionary-Press-in-Italy-1966-1977-from-Mondo-Beat-to-Zut-Viaindustriae-publishing-–-AM-Bookstore-Foligno-Milano-2020-_2 YES-YES-YES.-Revolutionary-Press-in-Italy-1966-1977-from-Mondo-Beat-to-Zut-Viaindustriae-publishing-–-AM-Bookstore-Foligno-Milano-2020-_3 YES-YES-YES.-Revolutionary-Press-in-Italy-1966-1977-from-Mondo-Beat-to-Zut-Viaindustriae-publishing-–-AM-Bookstore-Foligno-Milano-2020-_4 YES-YES-YES.-Revolutionary-Press-in-Italy-1966-1977-from-Mondo-Beat-to-Zut-Viaindustriae-publishing-–-AM-Bookstore-Foligno-Milano-2020-_5 YES-YES-YES.-Revolutionary-Press-in-Italy-1966-1977-from-Mondo-Beat-to-Zut-Viaindustriae-publishing-–-AM-Bookstore-Foligno-Milano-2020-_6 YES-YES-YES.-Revolutionary-Press-in-Italy-1966-1977-from-Mondo-Beat-to-Zut-Viaindustriae-publishing-–-AM-Bookstore-Foligno-Milano-2020-_7 YES-YES-YES.-Revolutionary-Press-in-Italy-1966-1977-from-Mondo-Beat-to-Zut-Viaindustriae-publishing-–-AM-Bookstore-Foligno-Milano-2020-_8 YES-YES-YES.-Revolutionary-Press-in-Italy-1966-1977-from-Mondo-Beat-to-Zut-Viaindustriae-publishing-–-AM-Bookstore-Foligno-Milano-2020-_9 YES-YES-YES.-Revolutionary-Press-in-Italy-1966-1977-from-Mondo-Beat-to-Zut-Viaindustriae-publishing-–-AM-Bookstore-Foligno-Milano-2020-_10 YES-YES-YES.-Revolutionary-Press-in-Italy-1966-1977-from-Mondo-Beat-to-Zut-Viaindustriae-publishing-–-AM-Bookstore-Foligno-Milano-2020-_11 YES-YES-YES.-Revolutionary-Press-in-Italy-1966-1977-from-Mondo-Beat-to-Zut-Viaindustriae-publishing-–-AM-Bookstore-Foligno-Milano-2020-_12

PAINTING MATTER special edition

Artist book, edition of 25 copies + 5 artist proof, numbered and signed, containing the standard catalog more 4 different painting each signed, screenprint on leather color folder 820 gsm, 43 x 28.5 cm, 2019. Produced for the exhibition Sinossi (bon voyage) by Pesce Khete, Rome 2019. GO TO SHOP
Libro d’artista e catalogo della mostra Sinossi (bon voyage) di Pesce Khete, presso Colli Independent, Roma. Analizzando diversi cataloghi d’arte, di pittura, per individuare le tipologie di schedatura delle opere in pittura. Strumento descrittivo della materia della pittura, la scheda supporta l’immagine a restituire in solido l’opera, usando codici fisico-dimensionali, contestuali, di proprietà: rendendosi “discorsiva” raggiunge la narratività o la processualità. Partendo da una bibliografia selezionata di tipi di pubblicazioni sulla pittura, anche “maestra”, si sperimenta questo dispositivo letterario per indagare l’opera di un artista con parametri poetici-tecnici, in parte prestati dalla storiografia artistica. Versione a tiratura speciale con cartella in serigrafia contenente la versione standard in aggiunta a quattro tavole pittoriche originali e uniche, tutte firmate nel retro.
Artist’s book by Pesce Khete which is also the catalogue of his exhibition Sinossi (bon voyage) at Colli Independent, Rome. Looking at art catalogues and painting catlogues to identify how to catalogue paintings. This book is a descriptive tool of the matter of painting, where “data sheets” support images, using codes. This book is concieved to investigate the work of an artist through poetic-technical parameters, partly inspired to artistic historiography. special edition version with screenprint folder more four original paintings each unique and signed on the back

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FASTER THAN CHRIST | FRANCO ARIAUDO

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. LINK TO THE BOOK

1.-Water-Shoes,-(exhibition-view,-ground-floor)2.-Water-Shoes,-2019,-mixed-media,-sculptures-in-edition-of-2-each.-(dx-sx)3.-Water-Shoes-(exhibition-view),-2019,-mixed-media4.-Faster-than-Christ-(wall-graphics),-Typeface-for-the-project-(Sporty-by-Alessio-D'Ellena)5.-PETER-Mt-14_31,-Water-Shoes-(exhibition-view,-ground-floor)7.-PETER-Mt-14_31,-(exhibition-view,-ground-floor),-2019,-steel,-aluminuim,-wood,-water,-pump8.-Faster-than-Christ-(exhibition-view,-underground-floor)-89.-Table_display-various-object-related-to-Faster-than-Christ-project20190302_153903Franco-Ariaudo_from-Faster-than-Christ-project-(training-session-#3)_2017_ph-Andrey-Lobov

WITH THE EYES OF THE EARTH

Markus Karstiess, Claudio Abate, Roberth Smithson, With the Eyes of the Earth, Colli publishing platform, 500 copies, 38.5 x 28, 2018, produced for the exhibition With the Eyes of the Earth, 2018, Roma. GO TO SHOP
Prodotto in occasione della mostra With the Eyes of the Earth, presso COLLI Independent Art Gallery, Roma. 49 anni fa Robert Smithson realizzò il suo primo Asphalt Rundown di terra nell’ottobre del 1969 in una cava abbandonata vicino a Roma con la Galleria L’Attico. Questa pubblicazione raccoglie materiale raro e inedito dall’Archivio Claudio Abate e Fabio Sargentini (Galleria L’Attico) che documenta il flusso iconico e la mostra che Smithson ha realizzato all’interno della Galleria L’Attico, nonché sculture e opere video di Markus Karstiess che ha realizzato uno scavo per cercare i resti dell’asfalto nel 2014.
Produced in the occasion of the exhibition With the Eyes of the Earth, at COLLI independent art gallery, Rome. 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 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.
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SPORTIFICATION

Franco Ariaudo, Luca Pucci, Emanuele De Donno, Viaindustriae publishing with Colli publishing platform, printed by Grafiche CMF, Foligno (PG), Italy offset, printed in 1 color (black), 3 colors (RYB), 4 colors (CMYK), edition of 800 copies, 17 x 24 cm (softcover), 600 pages (color & b/w ill.) BUY NOW
SPORTIFICATION is a long term research and a set of cultural actions based on several archives about “historical” Eureopean TV casts or Eurovisions (Games without frontiers/Jeux Sans Frontieres/Spiel Onhe Grenzen). Sportification/società, agonismi e giochi senza frontiere (Sportification / eurovisions, performativity and playgrounds), analyzes, with an interdisciplinary approach, the issue of agonism in the public and game in contemporary cities/societies. Sportification  is an inter-disciplinary research focused on analyzing the subject of sport, of agon and of game nowadays. The basis of the work is a critical-comparative and sociological analysis dictated by a wide archive of images and videos of the famous tv-show Giochi Senza Frontiere / Jeux Sans Frontieres / Spiel Onhe Grenzen / It’s a Knockout, which constitues a master guide and a “true” archeology of the competitive action from the times of picturesque villages, to Eurovision, passing through the postpolitical era of European Community. The project deals both with the utopia of a playful society and with the social musculature leading to “sportification” of the collective body and to politicization of sport. It includes several text-contributions: David Robbins, Cesare Pietroiusti, Alexander Skidan (Chto Delat), Luisa Perlo, Claudio Cravero, Cecilia Casorati, Sven Luttiken, Valentin Torrens, Fabio Cafagna, Krzysztof Gutfrański, Gunnar Schmidt, Boris Nieslony, Tom Marioni, The Bureau of Melodramatic Research, Elena Volpato, Denis Isaia, Lisa Le Feuvre, Myriam Laplante, Armin Linke, Gianni Magrin. In the book you will find memorabilia, games, masquerade with critical contributions of experts and researchers on the connection between art, sport and society, european and community policies.

YES YES YES ALTERNATIVE PRESS

Amedeo Martegani and Emanuele Dedonno, Viaindustriae publishing/A+Mbookstore with Colli publishing platform, 1000 copies, printed by Grafiche C.M.F Foligno, 23 x 31 cm (softcover), 512 pages (color & b/w ill.), 2016.
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YES YES YES è un saggio visuale, un libro di immagini che esamina il ruolo della stampa alternativa, underground e controculturale in un periodo fiorente: 1966-1977. Editori, autori, praticanti radicali di quella scena, intervistati in questo libro, ripensano quelle azioni e pubblicazioni che toccavano i temi dell’ urgenza sociale del cambiamento.
YYY tratta soprattutto la cultura visiva di riviste povere stampate in off-set, la loro grafica stupefacente e la loro estetica liberata in integrazione con il sistema di attivismi ed interventi politici. In questo modo le pagine dei giornali trattano i fatti e le notizie, ma anche supportano lo stile sovversivo e quel clima fervente che formò una rete sociale di stampatori, le autonomie creative e i sindacati per la distribuzione. In questa innovazione sistemica, la democratizzazione di stampa stimolava la sperimentazione del design grafico da un lato e la crescita della pratica editoriale in una cultura allargata alla comunità dall’altro.
Le riviste sono state catalogate secondo dei temi e, anche se collocate in una geografia incompleta, testimoniano uno scenario culturale internazionale tra Europa e America. YYY è una collezione di innumerevoli documenti sui diritti civili e movimenti di liberazione, che ha lo scopo non solo di conservare e riportare a memoria, ma anche di sfogliare le pagine viventi diffondendo contenuti radicali e layout creativi.
YES YES YES  is a visual essay, a book of images that examines the role of the alternative, underground and countercultural press in a flourishing period: 1966-1977. Publishers, authors, radical practitioners of that scene, interviewed in this book, rethink those actions and publications that addressed the social urgency of change. YYY deals above all with the visual culture of “poor” magazines printed off-set, their amazing graphics and their aesthetics liberated in integration with the system of activism and political interventions. In this way, the pages of newspapers deal with facts and news, but also support the subversive style and that fervent environment that formed a social network of printers, creative autonomy and trade unions for distribution. In this systemic innovation, the democratization of the press stimulated the experimentation of graphic design on the one hand and the growth of the editorial practice in a culture extended to the community on the other. The magazines have been cataloged according to themes and, even if placed in incomplete geography, testify an international cultural scenario between Europe and America. YYY is a collection of countless documents on civil rights and liberation movements, which aims not only to preserve but also to browse the living pages spreading radical contents and creative layouts.
Zines: Aloha, American Avatar, Avatar, Bauls, Berkeley Barb, Berkeley Tribe, Big Muddy Gazette,  Countdowm, East Village The Other, Fapto, Fire!, Freedom News, Friends, Gay, Gay Power, Gay Scene, Gay Sunshine, Georgia Straight, Good Times, Haight Ashbury Eye, Haight Ashbury Free Press, Haight Ashbury Love Street, Haight Ashbury Maverick, Haight Ashbury Tribune, Harbinger, Helix, Hitweek, Idiot International, Iets, Insekten Sekte, Juche, Kabouter Krant, Kaleidoscope, King Kong International, Kiss, Klaas Krant, Liberated Guardian, Los Angeles Free Press, Mondo Beat, Muhammad Speaks,  Nola Express, Old Mole, Open City, Oracle Los Angeles, Oracle San Francisco, Other Scenes, Peninsula Observer, Pic up, Pleasure, Provo, Quicksilver Times, Rampage, Rat, Real Free Press, Re Nudo, Rising Up Angry, Royal World Countdown, San Francisco Ball, San Francisco Express Times, Screw, Search & Destroy, Sette Aprile, Sniffin’ Glue, Southern Free Press, Spy-in, Styng, Suck, The Bird, The Black Dwarf, The Black Panther, The International Times, The New York Review of Sex, The Oracle, The Seed, Virginity, Washington Free Press, Witte Krant.
COVER B

COVER B

COVER A

COVER A

COVER C

COVER C

COVER D

COVER D

SPECIAL EDITION BY WILL HOLDER

SPECIAL EDITION BY WILL HOLDER

SECOND EDITION COVER

SECOND EDITION COVER

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CONTINUOUS DAYS

Dino Fracchia, A+Mbookstore, Viaindustriae publishing con Colli publishing platform, printed by Grafiche CMF Foligno800 copies, 25 x 16.5 cm, 512 pp, 2015. BUY NOW
Il fotogiornalista italiano Dino Fracchia è nato a Milano nel 1950 e ha iniziato la sua carriera professionale con il quotidiano “L’Unità” nel 1974. Era il periodo dei giornali di controcultura come la rivista “Re Nudo”. Re Nudo organizzò due grandi raduni di musica rock (chiamati “Festival della gioventù del proletariato”) nel Parco Lambro, a Milano, ispirandosi all’atmosfera di pace e amore di Woodstock (1969). La macchina fotografica di Fracchia ha registrato questi avvenimenti su larga scala con dettagli inequivocabili, raduni della sinistra radicale che culmineranno infine nei violenti scontri di Bologna del 1977. Innumerevoli immagini catturano l’atmosfera di questo fugace momento storico. 
Italian photojournalist Dino Fracchia was born in Milan in 1950 and began his professional career with the newspaper l’Unità in 1974. Around that time, counterculture newspapers such as the magazine ‘Re Nudo’ (The Naked King) were being printed. These organized two large rock music rallies (named ‘Youth Festival of the proletariat’) in Parco Lambro, Milan, modeled after the peace and love atmosphere of Woodstock (1969). Fracchia’s camera recorded these large-scale happenings in unambiguous detail, gatherings of the radical left which would eventually culminate in Bologna’s violent clashes of 1977. Countless images capture the vibe of this fleeting historical moment.
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