0politik_durchkreuzt_031.jpg
Oliver Ressler, Politics thwarting the logic of rule, 2005

0watcingdisobedience-293.jpg
Disobedience Archive (The Republic). Exhibition view. Photo Castello di Rivoli

I caught the last weekend of the exhibition Disobedience Archive at Castello di Rivoli.

Disobedience Archive is a video collection which explores four decades of social disobedience: from the uprising in Italy in 1977 to the anti-globalization protests and to the insurrections in the Middle East.

The Castello di Rivoli is a stunning contemporary art museum a few kilometers away from Turin. The exhibition had a theme i'm particularly interested in. The works brought together were worth the trip to Rivoli. So far so good. Except that Disobedience Archive (The Republic) was an extremely frustrating exhibition. Videos that were made to inspire people to question, contest and discuss suffer from being hosted into a grand castle located in a provincial town. Rivoli might be one of the most prestigious contemporary art centers in Europe but the well-earned title is not enough to attract the crowds. When i visited the show, on a Saturday afternoon, the rooms were almost empty.

Still, splendid castle to spend an afternoon:

0CASTELLO-DI-RIVOLI-veduta-esterna-dal-piazzale-1024x586.jpg
Photo Castello di Rivoli

008_cuoghi1.jpg
Photo Castello di Rivoli

This one is part of the collection of the museum. It has nothing to do with Disobedience Archive but how could i resist adding it:

0Cattelan-900.jpg
Maurizio Cattelan, Novecento, 1997. Photo Castello di Rivoli

But let's get back to my grievances about the exhibition. The whole setting was as unappealing as possible: aside from a stern broadsheet at the entrance of the show, there is no information to give context and meaning to the works. The chairs to view the videos -some of which are over an hour long- are remarkably uncomfortable. There are too many videos to see in one visit and i'm not sure many people are ready to shell out 6.50 euros each time they want to come back and watch the films they had missed on their first visit.

There is a website for the video archive. It contains no video at all.

A frustrating exhibition thus. I would have liked everybody to spend hours watching the videos but i can't blame anyone for not doing so. This was a show that only the 'intellectual elite' would have seen. It shouldn't have been. Still, i'm glad i fancied myself as being part of that 'cultural elite' because the content was exceptional.

0disobedience-242.jpg
Disobedience Archive (The Republic). Exhibition view. Photo Castello di Rivoli

The archive is divided into nine sections: 1977 The Italian Exit looks at the revolutionary movements in Italy in the 1970s, with a focus on 1977, year of large-scale violent confrontations with a reactionary state. Protesting Capitalist Globalization documents or comments on the new social wave against globalization. Reclaim the Streets presents proposals to create autonomous social spaces through experimental forms of education, community, urbanism and architecture. Bioresistence and Society of Control refers to Foucault's analysis of the ways the operations of power extend beyond the institutions of state. Argentina Fabrica Social explores the political and economic crisis that stretched from the 2001 uprising to the election of Néstor Kirchner. Disobedience East brings together videos of political and activist art from post-communist Europe. Disobedience University shows alternative practices and strategies in which consumption is seen as a form of co-realization and collaboration. The Arab Dissent tries to raise questions about changes and antagonism in the Middle East. Gender Politics suggest the destruction of gender identity.

The show counts 57 videos. I wish i could link to all of them but only a handful can be viewed online. Here's my very subjective selection.

Unsurprisingly i made a beeline for the section entitled Bioresistence and Society of Control as it focused on issues encountered within prisons and asylum centers, on bacteriological experiments in warfare programmes and on other strategies deployed in the modern state to regulate and control life.


Genterra, Critical Art Ensemble, 2002

The Critical Art Ensemble had 3 films in the show. One of them was GenTerra, a collaboration with Beatriz da Costa. The video documents a participatory "theater" performance that gave the public an opportunity to get a more critical and hands-on understanding of transgenic organisms in relation to environmental and health exposure.

0hunt_800.jpg
Ashley Hunt, Corrections, 2001

No video for Ashley Hunt's work, alas! In Corrections, the artist investigated the privatization of the prison system in the United States, exposing the role of the penal institution in preserving racial and economic divisions within society.


Angela Melitopoulos, The Cell - Toni Negri and the Prison (Prologue)

Angela Melitopoulos filmed three interviews with sociologist and philosopher Antonio Negri. The first in 1997 while he was in exile in Paris, the second in 1998 in the cell of Rebibbia prison in Rome, and the final one in 2003 in Rome, after his release.

Negri's report on his life as a prisoner describes new forms of control in the penal system, the psyche and mentality of prisoners, and forms of resistance with which he was able to retain "the freedom of his spirit".

One of the highlights of Disobedience East is a film by Harun Farocki & Andrei Ujica.


Harun Farocki & Andrei Ujica, Videograms of a Revolution, 1992 (short extract)

Videograms of a Revolution uses -professional and amateur- video archives to examine the role of television in the infolding and understanding of the 1989 Romanian revolution. 'Demonstrators occupied the tv station in Bucharest and broadcast continuously for 120 hours, thereby establishing the tv studio as a new historical site.'

Half of the videos in the section The Arab Dissent were dedicated to the occupation of Palestine.

Khaled Jarrar, Infiltrators (Trailer), 2012

Khaled Jarrar's Infiltrators follows individuals and groups as they are looking for gaps in the seven meter high wall that separates the Palestinian territories from Israel.

I only saw one film in the Disobedience University selection and i think i struck gold with that one:


Eyal Sivan, ITGABER. He Will Overcome, 1993. On science and values


Eyal Sivan, ITGABER. He Will Overcome, 1993. On State and laws

According to professor Yeshyahu Leibowitz, "the honest man should know that he should never respect the law too closely". Israeli filmmaker and critic Eyal Sivan sat down with the philosopher and listened to him talk about ethics, science, values, but also about State, religion, law and human responsibility.

Even though Leibowitz took part of in the 1948 Arab-Israeli War, he openly criticized the politics of the State of Israel, in the name of a Jewish tradition of responsibility and divine law. During the conversation, the philosopher expresses his support and solidarity with the Israeli soldiers who refuse to serve in the Occupied Territories.

The 57 videos were accompanied by two thematic rooms. The opening one contained artworks and archive documents related to the student and workers protests in the Italy of the 1970s. Again, a bit of context and explanations would have been welcome.

0ital_general60.jpg
Photo from La Stampa

0italdisobedience 007--640x360.jpg
Photo from La Stampa

0STROOMdisobedience-236.jpg
Disobedience Archive (The Republic). Exhibition view. Photo Castello di Rivoli

The final room amassed books, props and other objects associated with political and social dissent in first decade of the 21st century. Works by Nomeda & Gediminas Urbonas, Superflex, Journal of Aesthetics & Protest, Oliver Ressler, Arseniy Zhilyaev, Critical Art Ensemble, etc. It should have been a fascinating, informative and inspiring display. Alas, and I'm going to repeat myself, short texts about their meaning and significance would not have been superfluous (the ones in the broadsheet/guide of the exhibition were a bit too general.)

0carpedisobedience-256.jpg
Disobedience Archive (The Republic). Exhibition view. Photo Castello di Rivoli

0lastroombedience-253.jpg
Disobedience Archive (The Republic). Exhibition view. Photo Castello di Rivoli

0armesafeyu.jpg
Photo from La Stampa

0bieres640x360.jpg
Photo from La Stampa

0pepllastroomdisobedience-310.jpg
Disobedience Archive (The Republic). Exhibition view. Photo Castello di Rivoli

0nuNUKEdisobedience 60.jpg
Photo from La Stampa

Sponsored by:





I suspect that my opinion of Damien Hirst is fairly common: i like his work/i don't like his work. I find the guy likeable and then i don't. I did however, enjoy visiting the two exhibitions that presented a small selection of his private collection Murderme. I saw a part of it 6 years ago at the Serpentine Gallery in London. The show was called In the Darkest Hour There May Be Light. A skeleton dressed like an Inuit was lying on an ice cube and Sarah Lucas had her Chicken Knickers on. The collection is having another outing right now but in Turin, at the Pinacoteca Giovanni e Marella Agnelli. The title of the show this time is Freedom Not Genius. The artists shown are roughly the same (the artworks aren't): Francis Bacon and Andy Warhol; Richard Prince and his nurses; many of Hirst's YBA friends; a couple of Banksy. But also artefacts i don't remember having seen in London: taxidermied exotic animals, 17th-century vanitas paintings, vintage photographs and old skulls.

There were a few works i didn't care about (mostly the ones by Jeff Koons), a couple that surprised me (and that includes one by Jeff Koons) and many more i found rather uplifting. The Murderme collection is pure entertainment. Death is made dramatic and sometimes even cheerful. The artists have names most people have heard about. I found the exhibition curious and fascinating, it's that contemporary art world I find seductive but also utterly alien to me.

4a5_untitled_murakami.jpg
Takashi Murakami, There are Little People Inside Me, 2010

One of the rooms was dedicated to various memento mori with skulls from past centuries, a Picasso's Nature morte au crane et au pot, skulls adorned with a variety of materials, a Murakami (obviously my favourite), the skeletons of Tweety And Sylvester, etc.

0Andy-Warhol_Skull1.jpg
Andy Warhol, Skull, 1976. Image credit © The Andy Warhol Foundation for the Visual Arts / ARS, New York / DACS, London 2012

-Faile_Death-Awaits-Damien-Hirst1.jpg
Faile, Death Awaits Damien Hirst, 2008. Image credit Copyright the artist / Courtesy Lazarides Gallery

0artribuneFreedom-Not-Genius12.jpg
Skulls by Steven Gregory. Image artribune

0aaamurder-me-004.jpg
Hyungkoo Lee, Felis Animatus & Leiothrix Lutea Animatus, 2009

0Michael-Joo_StrippedInstinctualRGB1.jpg
Michael Joo, Stripped (Instinctual), 2005. Image credit Copyright at the Artist, courtesy BLAIN|SOUTHERN. Photo credit: Tom Powel Imaging

1aaaagorlla276.jpg
Angus Fairhurst, A Cheap and III- Fitting Gorilla Suit, 1996. Image credit © The Estate of Angus Fairhurst, courtesy Sadie Coles HQ, London

0Colin-Lowe_detail1.jpg
Colin Lowe, You Will Never Forget Me, 2007. Copyright the artist

0IMGlesoiseo00_700.jpg
Walter Potter, The Happy Family, date unknown

0animalz-Not-Genius19.jpg
Walter Potter, The Happy Family (detail), date unknown

0msarahlucasbunny-009.jpg
Sarah Lucas, Bunny, 1997

0banksy marPURPLEresize_90.jpg
Banksy, Modified Oil Painting #24, 2005. Photo Marta Galli for Purple

hurricaneNURSE.jpg
Richard Prince, Hurricane Nurse, 2001

Collishaw's The Garden of Unearthly Delights was probably the most photographed (or rather videoed) work in the show. The zoetrope was illuminated by stroboscopic lighting, giving the illusion that the figures were animated and that little children were gleefully throwing rocks at butterflies, crushing snails and bashing fish.


Mat Collishaw, The Garden of Unearthly Delights, 2009. Video by Dariusz Sebastian Burdon

-7211-Richard-Hamilton1.jpg
Richard Hamilton, Release - trial, 1971. Image credit © Richard Hamilton by SIAE 2012

0-Warhol-nella-collezione-di-Damien-Hirst-620x388.jpg
Andy Warhol, Car Crash. Photo Arte Sky

0murder-me-090animals PINA.jpg

0aa1koons0.jpg
Jeff Koons, Elephant, 2003. Photo olianoolamoda

0oo1titi750026_n.jpg
Jeff Koons's Titi being unwrapped upon arrival at Pinacoteca Giovanni Agnelli. Photo Pinacoteca Giovanni Agnell

0monkey_train_blue.jpg
Jeff Koons, Monkey Train (Blue), 2007

0freedom_notgenius2.jpg
View of the exhibition space. Photo Pinacoteca Giovanni e Marella Agnelli

0freedom_notgenius3.jpg
View of the exhibition space. Photo Pinacoteca Giovanni e Marella Agnelli

0imageGraziaemp2_m_full_l.jpg
View of the exhibition space. Image Grazia

Freedom Not Genius remains open at the Pinacoteca Giovanni e Marella Agnelli in Turin until 10 March 2013.

Since the last Artissima post was so verbose, this one adopts the opposite strategy.

0a1robertlongo8512.jpg
Robert Longo, Untitled (Shark 7), 2008

0amorandi1_7testadimaialeUNO465s.jpg
Rainer Ganahl, Painting a Pig Head in front of a Giorgio Morandi, Testa di Maiale 1, 2012. At Galleria Astuni

0amorandi.p8OTTO_7417s.jpg
Rainer Ganahl, Painting a Pig Head in front of a Giorgio Morandi, Testa di Maiale 8, 2012. At Galleria Astuni

0Jonathan_Meese_DAS_LETZTE_VOLKSFEST_SCHREIT_KUNST_UNGLEICH_KLASSENKAMPF_9c39f.jpg
Jonathan Meese, Das Letzte Volksfest Schreit: Kunst Ungleich Klassenkampf, 2012. At Tim Van Laere Gallery

0aJonathan_Meese_DRAGONBABY_Johnny_Series_24b5f.jpg
Jonathan Meese, Dragonbaby, from the "Johnny" Series, 2012. At Tim Van Laere Gallery

Maurizio Anzeri makes his portraits by sewing directly into found vintage photographs.

0maurianzerirjnpo1_1280.jpg
Maurizio Anzeri, Boo. At A Palazzo gallery

0maurizioanzeri03.jpg
Maurizio Anzeri, Ben. At A Palazzo

0victoire190726.jpg
Maurizio Anzeri, Victoire. At A Palazzo gallery

0a5.giuseppe stamponedetail.jpg
Giuseppe Stampone, Giochi per bambini, 2012 (detail.) At Prometeo Gallery

0-Stampone-Giochi-per-bambini-2012-220-x-200-cm-Gamec-copy.jpg
Giuseppe Stampone, Giochi per bambini, 2012. At Prometeo Gallery

0giuseppestamponeb5c9d.jpg

0aaaaagiuseppestampoa569754.jpg
Giuseppe Stampone, Giochi per bambini, 2012 (details.) At Prometeo Gallery

0Fishkin_tour-en-lair_03_web.jpg
Vladimir Fishkin, Tour en L Air, helium ballons, music (waltz of P.I. Tchaikovsky), engines connected with transmitter-receiver. Variable dimension (each balloon 90 cm in diameter), 2009. Photo: Marcus Schneider. Galerija Gregor Podnar

0a3CECartslink45b.jpg
Vadim Fishkin. Geo-graphic. Galerija Gregor Podnar. Image CEC ArtsLink

0aeugenioTibaldi1a.jpg
Eugenio Tibaldi, Sound 011, 2011. Galleria Umberto di Marino

Check out another of Eugenio Tibaldi's work: the Landscape 011.

0gotSomething4u1ed7_z.jpg
Per Dybvig, I've Got Something for You

0a8alexGUTKE2c5e.jpg
Alexander Gutke, 1-2-3-4 (film still), 2010

I'm quite convinced that in contemporary art, "The Poles Do It Better." Demonstration:

0Kusmirowski-Rogativx.jpg
Robert Kusmirowski, Positiv Negativ, 2010. At Guido Costa Projects, Torino

0a8knaf37e0.jpg

0knaf80f73.jpg
Leszek Knaflewski, aka Knaf, Koło Klipsa, 1983-1990

0g5knafartissima5_157431024_n.jpg
Leszek Knaflewski, aka Knaf, installation at Artissima. Image LETO gallery

0ipawel7360f5_z.jpg
Paweł Śliwiński

0a8lutin1d72ea0e.jpg
Paweł Śliwiński (detail)

0a8polaaaaa448.jpg
Paweł Śliwiński (detail)

0ajosephKosuth6509.jpg
Joseph Kosuth, Satisfaction

0aaa8nedko800.jpg
Nedko Solakov, Plan B

0a8ciupka30.jpg
Anja Ciupka, Fur Clara

0aKati_Heck_alles_muss_nichts_darf_968b6.jpg
Kati Heck, Alles Muss, Nichts Darf, 2012. At Tim Van Laere Gallery

0g5_giorgio_guidi_3.jpg

0giorgioGUIDIhumbnailjpg.jpg
Giorgio Guidi, Is it just a matter of opinion? At Fondazione Spinola Banna

Pop is a waxwork of Turk as Sid Vicious in white jacket and black trousers, pointing a gun with the same gesture as Elvis Presley in the famous Andy Warhol's painting.

0agavinturk651403_gavin-turk.jpg
Gavin Turk, White Pop, 2011. At Galerie Krinzinger

0propaganda8f044d.jpg
Moataz Nasr, Propaganda, 2008

0olafur elisaasn09.jpg
Ólafur Eliasson, Duo-colour double polyhedron lamp, 2011. At i8 Gallery

0nopositionsc7699.jpg

0i8nopiostiona3442.jpg
Ceal Floyer, No Positions Available, Lisson Gallery, 2007

Rachel Foullon's barn objects from the Clusters installation look like props from a Western movie. They look worn and faded but they are also impeccably clean and their fold, creases and position seem to be the result of a careful study.

0O-OF-RACHEL-FOULLON_216.jpg

0-OF-RACHEL-FOULLON_213.jpg
Rachel Foullon, Clusters, 2012. At LDT Los Angeles

Teresa Margolles asked people she met in the streets of Juarez what they thought about the city. The answers were incised on keys hand-made by a local artisan who works on the streets.

0margokeys17730_k.jpg
Teresa Margolles, Llaves (Keys) (Asesinados - Freedom), 2012. At Peter Kilchmann

0aaaaa8mauriziomochetti040cd_z.jpg
Maurizio Mochetti, Mission. At Oredaria arti contemporanee. Photo Fulvio

0aaaaa8maurizio092f.jpg

0a8maurizio6e59952.jpg
Maurizio Mochetti, Mission. At Oredaria arti contemporanee

0aaaa8weid408275db_z.jpg
Nathaniel Mellors, Bad Copy

0flavio5758948_1265849195_n.jpg
Flavio Favelli, Sicilia. At Galleria Francesco Pantaleone Arte Contemporanea

Random views (i visited the fair on press day, hence the empty space):

0i8magac3684a1.jpg

0i8eggggg94d7eb01.jpg

0c8crossss31c9.jpg

0i8video1fe6c4.jpg

0aaa8coul066224.jpg

More images.
Previously: Artissima 2013 - the photos, Artissima 2013 - From Philospher's stone to tomato crops Arnold Odermatt, policeman photographer and Artissima - Valerio Carrubba.

An art fair is not the best place to discover works related to science, technology or politics. And when there are indeed such works on offer, they are not easy to spot. Galleries exhibiting at art fairs don't usually accompany the artwork with a text explaining what the piece is about. In fact, several galleries don't even write down the name of the artists they exhibit. You have to go and ask them. Which i do when i'm desperate but most of the time, i just want to keep on walking from gallery to gallery (there were 172 of them this year at Artissima) and see the rest of the show before my head explodes.

I did however, spot a few gems at the latest edition of Artissima.

0Delivery Simulatorreprod_6.jpg
Taisia Korotkova, Delivery Simulator. Triumph Gallery, Moscow

0aaaareprod_8.jpg
Taisia Korotkova, In Vitro Fertilisation laboratory. Triumph Gallery, Moscow

0MODELSreprod_7.jpg
Taisia Korotkova, Models

The paintings of Taisia Korotkova immediately got my attention. There is something odd and slightly off-putting in the way she portrays childbirth. In the Reproduction series, Korotkova combines her impressions of her recent stay in the hospital with imagery of recent technology for artificial insemination. the intimate subject of child perception is tripped bared from any privacy by depicting the process as purely scientific, hightech and machine based. The anti-utopist Korotkova stresses that she recreates the already observed with sharper edges, while her style is reminiscent of optimistic illustrations of the 1960s with the cold pastel tones.

Korotkova paints her modern icons in the technique of traditional icon painting in tempera with a dip of humanized social realist painting.

0aaaaaaastarling-1024x682.jpg
Simon Starling, By night the Swiss buy cheap-rate electricity from their neighbours which they use to pump water into holding reservoirs. By day they use the stored water to generate hydroelectric power which they then sell back to their neighbours at peak-rate proces. (After Christopher Williams/After Jean-Luc Godard), 2005

The Castello di Rivoli was showing a black and white photo by Simon Starling. As its ultra long title suggests, the work is inspired by Christopher Williams's seven photographs of the Grande Dixence, the Swiss dam where Godard shot Opération Béton (Operation Cement). I'm mostly copy-pasting the description provided at the fair (the Castello di Rivoli is a museum, hence the magnanimous addition of information): Starling re-photographed Williams's shots and exhibited them with a title that describes how Switzerland profits from the resale of energy. Actually, the work is based on a stratagem that Switzerland carries out, buying electrical energy at night from nearby countries, at a low cost, then using that energy to pump water into the dam's holding reservoirs, generating hydroelectric energy, which is then resold by day at a higher price to those same neighbouring nations. Taking his cue from this small escamotage, or evasion, the artist carried out an analogous action that, through his appropriation of Williams's photos, causes his work to take on an already substantial value, which he then increases by printing these same images using a platinum rather than silver salt process - the former being a much more costly process than the one originally used. In this way Starling adds the material value of the means employed to the 'artistic' valie of the acquired photographs, infusing Williams's work with new meanings and adding another stage in the object's evocative path.

0k8selbye5_z.jpg
Goldin+Senneby, Money Will Be Like Dross, 1780s/2012

In the 1780s mineralogist August Nordenskiöld was employed by the Swedish king Gustav III to discover the legendary alchemical substance Philosopher's Stone and turn base metal into gold. The gold was intended to finance Sweden's military and economic expansion, but Nordenskiöld had a different agenda, he aimed to produce so much gold that its value would be lost and the "tyranny of money" abolished. One of the few remaining artifacts from Nordenskiöld's laboratory is a coal burning alchemy furnace.

In the project The Nordenskiöld Model, Goldin+Senneby (a duo of artists as elusive as an offshore company and who have been exploring the abstract nature of money for several years) explore the relation between contemporary finance and Nordenskiöld's utopian ideals and alchemical experiments.

0adtomato406cb0b661d9.jpg

0EStomato41e6d48.jpg

0a8astuni3.jpg
Kamen Stoyanov, Tomato Plants in White Cubes. At Galleria Astuni

Kamen Stoyanov's Tomato Product takes forms and ideas from the physical to the virtual and back. The work started with a very literal take on the Facebook game, Farmville, in which players receive a small piece of land to grow virtual crops and raises livestock. The artist used the garden of a historically significant building in West Hollywood (a city associated with an 'unreal' lifestyle) to grow tomatoes. Each plant pot measures 12x12 inch, the size of land ones get starting to play Farmville. Stoyanov also prepared tomato soup, canned it, added a label and put it on display, as a reference to Andy Warhol.

And a happy new year to you, dear readers!

Previously: Artissima 2013 - the photos, Arnold Odermatt, policeman photographer and Artissima - Valerio Carrubba..

Almost two months ago, i wrote a couple of measly posts (Arnold Odermatt, policeman photographer and Artissima - Valerio Carrubba) about the 19th edition of Artissima, the contemporary art fair that takes place in Turin each year in November. I've finally decided to catch up with my reports from the fair.

While reading articles in the local press, i learnt that Artisima broke all its records of affluence this year. That doesn't surprise me. A few years ago, Turin decided to squeeze all its major cultural events into the same November week. So the art fair was accompanied by various openings in the city and by an 'off' fair, nothing unusual here. But that same week also saw the commissions It's Not The End Of The World displayed in various museums for a few days, a digital art festival, a festival of electronic music, a photo fair, an exhibition dedicated to 'emerging art'', etc. A fantastic strategy to attract tourists. A lame idea for art-loving people who live in this city.

Artissima is nevertheless my favourite art fair in Europe. First of all because of the quality of the galleries selected and the works they show. Then there's the press team which -unlike Art Brussels and Frieze- doesn't require bloggers to go through a Stasi-style cross-examination process in order to be granted a press pass (sans catalogue, access to photo sets nor fabric bag obviously.) In Turin, i got the pass, the catalogues, the bright pink fabric bag (as worn by my little colleague over here.) The other reason why i'd hate to miss an edition of Artissima is that i've always found that people in Turin genuinely cared about contemporary art. They have the appetite and the taste for it. I'm convinced that even the security guys whom i see each year sneering and guffawing openly from one gallery booth to another find something that touches them at the end of their tour.

As a brief intro (which will actually be the third 'brief intro'), here's a quick copy/paste of the photographic works that i found most interesting at Artissima. Some of them are purely photographic works. But because i didn't see as many stunning photos as usual this year, i'm adding images that document performances and interventions. Starting with...

0aacandinavianPainb322.jpg
Ragnar Kjartansson. Scandinavian Pain (twilight), 2006-12. i8 Gallery

The 11 metre long, pink neon sign was first erected on the roof of an abandoned barn in a region of Norway made famous by Edvard Munch. Kjartansson lived there for a week, looking dejected and playing the guitar for days, many of which not a single human visitor came.

0andreaGalvanibed1.jpg
Andrea Galvani, A few invisible sculptures #1

0a2undertherough2 copy.jpg

0aaimdetherough copy.jpg

0aa2frapiccciniii5.jpg
Eva Frapiccini, Untitled (from the series Under the Rough) (2012) Courtesy of Alberto Peola, Torino

0bhorseman9f9590e.jpg
Tobias Zielony, Horseman, 2009. Gallery Lia Rumma

Naufus Ramírez Figueroa was one of the 3 winners of the Premio Illy for young artists.

0a8arcoe2006.jpg
Naufus Ramírez Figueroa, Beber y leer el arcoiris

Karen Knorr's series of large-scale photos star wildlife animals inhabiting the elegant salons of famous cultural institutions and castles.

0a1museechasssec.jpg
Karen Knorr, Fables (Musée de la chasse), 2005 - 2007

0a8libiacastro68bee56e.jpg
Libia Castro & Ólafur Ólafsson, Untitled, 2000-2006

Ondrej Pribyl's photos are made using the daguerreotype process, the photographic technique patented by Louis Daguerre in 1839.

0aaa8priblyd3439704.jpg

0a8pribyl1c3_z.jpg
Ondrej Pribyl, Untitled

0aBallenRoger816e.jpg
Ballen Roger, Appearances

Edgar Leciejewski: a name to add to the already long list of artists working with blow-ups of "Google Street View".

0a8302and22nd4bd198f_z.jpg
Edgar Leciejewski, 302 West 22nd Street

0a8146east94b45b1f89_z.jpg
Edgar Leciejewski, 146 East 77th Street

Per-Oskar Leu's "The English: Are they human?" site-specific installation showed two Italian Mille Miglia parka. Their integrated goggles and 'built for speed' appearance has made these jackets a sought-after garment among football fans with inclinations towards fighting and luxury apparel. Since the early 1980's groups of British 'risk supporters' have embraced a dress code of upmarket, mainly French and Italian sportswear brands, a look which has in turn been adapted by fans in Europe following an increase in 'The English Disease' of football hooliganism. Simultaneously, Leu conjures up imagery from other cross-cultural phenomena equally fixated upon the cult of youthful aggression; namely the Italian Futurist movement and its English offshoot the Vorticist group, founded in 1909 and 1913 respectively.

0aaa8pierOskarLeua9_z.jpg

0aaaaaa8PerOskarLeub2f1f3.jpg
Per-Oskar Leu, The English: Are They Human?

0aaa8tripticj7195.jpg
Robin Rhode, Slalom Triptych. At Tucci Russo, 2012

In 1999, Nedko Solakov wrote fourteen short messages and narratives on the wings of six of Luxair's Boeing 737's. Each of them was visible only from the window seats.

0solakov_new_1.jpg

0asolakov_2_web.jpg

0dearpasswings-1-(right).jpg

0solakov_1_web.jpg
Nedko Solakov, On the Wing (texts on the wings of 6 Boeing 737...), 2001. At Galleria Continua

0i8roniHORN2c2e.jpg
Roni Horn, This is Me, This is You (GROUP II), 1998-2000. At i8 Gallery

In case you were wondering what the fair looked like:

0large_1352898240.jpg
Photo: Enrico Frignani

0large_1352897903.jpg
Photo: Enrico Frignani

0large_1352897201.jpg
Photo: Enrico Frignani

0large_1352897852.jpg
Photo: Enrico Frignani

0ballonaa391.jpg

0i8reddoor45d0.jpg

0i8lignejaune5d6a43.jpg

One last reason why i love Artissima:

0a8wifi67ec68.jpg

Previously: Arnold Odermatt, policeman photographer and Artissima - Valerio Carrubba.

Probably my favourite photo at Artissima art fair in Turin last week:

0a7swimmmmm18957.jpg
Arnold Odermatt, Vierwaldstättersee, 1972

I wrote briefly about Arnold Odermatt in the past but i'm glad that the Springer Berlin gallery chose to highlight his work for Back to the Future, the fair's (utterly brilliant) section dedicated to artists active in the '60s and '70s.

Odermatt never studied photography. He was a traffic policeman in Switzerland and part of his job consisted in taking photographs of road accidents and of other members of the police at work. From 1948 till 1990, when he retired, he would make one set for the insurance or police reports and a second one for himself.

His photos of accidents are sometimes compared to the ones taken by Weegee, Mell Kilpatrick or Enrique Metenides who chronicled accidents, scenes of violence, suicides for newspapers or pulp magazines.

Odermatt obviously had a very different job but the settings for the car crashes and other accidents he documented makes his work even more distinctive. More scenic, with a peaceful and pleasant atmosphere. In the policeman's photos, the horror seems to be under the spell of the elegant landscape.

0a8hergiswild2c7f7.jpg
Arnold Odermatt, Hergiswil, 1982

0ahirges82474_arnold-odermatt.jpg
Arnold Odermatt, Hergiswil, 1982

Oderm000_1629.jpg
Oberdorf, 1965

0aar65n8_6375_arnold-odermatt.jpg
Stans, 1965

0i8buochsa5aaaaa1e.jpg
Buochs, 1965

0aarstan66398409_456663_arnold-odermatt.jpg
Stansstad, 1966

0a27oberdorf824469.jpg
Oberdorf, 1982

0stanssatd73492_arnold-odermatt.jpg
Arnold Odermatt, Stansstad, 1973

0a8carrenverse2e0624c.jpg
Stansstad, 1952

0a8buochs000ef.jpg
Buochs, 1965

0ii8oberdorffff69069375.jpg
Oberdorf, 1964

0a8buochse3a692_z.jpg
Arnold Odermatt, Buochs

0astanstadt8979d.jpg
Arnold Odermatt, Stansstad, 1963

Previously: Karambolage.

 1  |  2  |  3  |  4  |  5  |  6  |  7  |  8  |  9  |  10 
sponsored by: