Artist in Residence

20 Ago

THE POLAR STREAM – ARTISTIC RESIDENCY IN SVALBARD

 

THE POLAR STREAM

Un progetto dell’artista Roberto Ghezzi

a cura di Mara Predicatori

con patrocinio di Istituto Italiano di Cultura a Oslo

in collaborazione con con la dott.ssa Fabiana Corami CNR ISP- Istituto Scienze Polari

e il videomaker Leonardo Mizar

residenza alle Isole Svalbard (NO)

dal 12 luglio al 5 agosto 2023

Spitsbergen Artists Center – Vei 100.2 Longyearbyen Norway 9130

Roberto Ghezzi, artista che pone al centro della propria ricerca l’“autorappresentazione” della natura e dei fenomeni naturali, il 12 luglio 2023 partirà per una nuova spedizione artistico/scientifica alle Isole Svalbard(NO), le terre abitate più a nord del pianeta, a Longyearbyen presso lo Spitsbergen Artists Center. Il progetto, patrocinato dall’Istituto Italiano di Cultura a Oslo, verrà realizzato in collaborazione con la dott.ssa Fabiana Corami del CNR ISP (Istituto di Scienze Polari) e il videomaker Leonardo Mizar.

Come per la precedente spedizione a Tassilaq in Groenlandia, l’artista intende anche in questo caso tracciare la fusione dei ghiacci e restituire una rappresentazione del paesaggio artico facendo in modo che sia il fenomeno del cambiamento di stato dei ghiacciai a riprodurre in qualche modo sé stesso in termini artistici.

Roberto Ghezzi, infatti, da ormai un ventennio, ha parzialmente abdicato alla pratica pittorica creando nuovi approcci creativi in cui è la natura a sedimentare serie di tracce sulle proprie tele (le Naturografie, scrittura della natura su tela) o dove singolari fenomeni naturali trascrivono direttamente se stessi su supporti appositamente predisposti (es. cianotipie della fusione dei ghiacci).

Grazie alla singolare ossessione artistica di restituire quanto più fedelmente i fenomeni naturali delegando alla natura la propria raffigurazione, in quasi due decenni Ghezzi ha realizzato installazioni e ricerche in molti luoghi nazionali e internazionali, legando il suo lavoro a studi sull’ecosistema e sulla biologia in parchi e riserve naturali di tutti i continenti (Alaska, Islanda, Sud Africa, Tunisia, Norvegia, Patagonia, Croazia, Danimarca, Groenlandia). In Italia ha realizzato numerosi progetti di ricerca in ogni regione e tipologia di ambiente, collaborando con i più importanti istituti di ricerca tra cui CNR ISMAR, CNR IOM, CNR ISP, Arpa Umbria e Arpa Lazio, oltre che con associazioni come Greenpeace, WWF e Legambiente.

Le sue opere possono essere descritte come delle oggettificazioni della natura che, da un lato, danno forma ad autentiche opere d’arte capaci di restituire una dimensione estetico-romantica del paesaggio senza un agito diretto dell’artista; dall’altra si presentano come singolari supporti per indagini di matrice scientifica sullo stato degli ambienti e su fenomeni ambientali ed ecologici.

Per la residenza alle Isole Svalbard – della durata di circa un mese – l’artista prevede di approfondire ulteriormente la ricerca avviata in Groenlandia nel 2022, riadattando ancora una volta ai propri fini l’antica tecnica cianografica ma a partire questa volta dall’impiego della videocamera e di immagini macro dei cristalli di ghiaccio in fusione. Le cianotipie (immagini fotografiche ottenute da carte fotosensibilizzate con sali d’argento) verranno realizzate sulla base di negativi di macro fotografie digitali o immagini, scattate mediante l’ausilio di un microscopio digitale, di cristalli prelevati in diverse parti delle Isole Svalbard. I video (macro) verranno invece realizzati mediante videocamere letteralmente “affidate” all’ambiente. Attraverso varie strumentazioni tra cui droni e piccole zattere galleggianti progettate al fine di sostenere le piccole telecamere, l’artista affiderà inquadrature e tempistiche di ripresa al movimento stesso del ghiaccio durante tutto il “percorso” di fusione, dalla fase solida a quella liquida. Questa particolare metodologia consentirà di fare diretta esperienza audiovisiva della delicata fase del cambiamento di stato del ghiaccio, come se fossimo all’interno del ghiaccio stesso e ne seguissimo il percorso. I materiali prodotti saranno poi resi in forma artistica attraverso video-installazioni artistiche e trasposizione cianografiche delle risultanze video-fotografiche.

 Oltre a fornire una trascrizione del fenomeno che ferma in una singola immagine la decantazione di un processo, in questo caso, Ghezzi, grazie all’ausilio delle telecamere, introdurrà nella rappresentazione della fusione del ghiaccio anche la dimensione temporale e la rappresentazione delle dinamiche della trasformazione del ghiaccio dell’Artico in acqua. Tuttavia non sarà una “documentazione”, ma una autonoma trascrizione del fenomeno del disgelo, perfettamente in linea con la filosofia delle naturografie in cui l’artista, invertendo i ruoli, lascia che sia la natura a parlare di sé, a presentarsi quale essa è, mettendo in luce con l’assoluta spontaneità del reale, la sua più intima essenza.

Quanto in effetti emergerà, esattamente come per le precedenti spedizioni, sarà il frutto dell’alchemica capacità dell’arte di registrare sotto nuove vesti fenomeni naturali e rappresentarli attraverso i codici del contemporaneo e, dall’altro lato, frutto della capacità di lettura da parte del sapere scientifico di supporti non abituali.

Come per la residenza in Groenlandia, anche in questo caso, dopo la fase di studio e creazione delle opere durante la residenza alle Isole Svalbard, seguiranno contributi scientifico e critico-artistici per la fase divulgativa che prevederà mostre, presentazioni, pubblicazioni, talk, incontri con studenti, sia in Italia che all’estero.

L’intera residenza artistica di Roberto Ghezzi sarà ad impatto neutro grazie al contributo di Phoresta Onlus che compenserà mediante la piantumazione di alberi tutte le emissioni di CO2.

 

 

THE POLAR STREAM
A project by the artist Roberto Ghezzi
edited by Mara Predicatori

under the patronage of the Italian Cultural Institute in Oslo
in collaboration with Dr. Fabiana Corami CNR ISP- Institute of Polar Sciences
and video maker Leonardo Mizar

residence in the Svalbard Islands (NO)
from 12 July to 5 August 2023
Spitsbergen Artists Center – Vei 100.2 Longyearbyen Norway 9130

Roberto Ghezzi, an artist who places the “self-representation” of nature and natural phenomena at the center of his research, will leave on 12 July 2023 for a new artistic/scientific expedition to the Svalbard Islands (NO), the northernmost inhabited lands on the planet , in Longyearbyen at the Spitsbergen Artists Center. The project, sponsored by the Italian Cultural Institute in Oslo, will be carried out in collaboration with Dr. Fabiana Corami of the CNR ISP (Institute of Polar Sciences) and the videomaker Leonardo Mizar.

As with the previous expedition to Tassilaq in Greenland, in this case too the artist intends to trace the melting of the ice and return a representation of the arctic landscape by making sure that it is the phenomenon of the change of state of the glaciers that somehow reproduces itself in artistic terms.

Roberto Ghezzi, in fact, for twenty years now, has partially abdicated the pictorial practice creating new creative approaches in which it is nature that settles a series of traces on his canvases (the Naturographies, writing of nature on canvas) or where singular natural phenomena directly transcribe themselves on specially prepared supports (e.g. cyanotypes of melting ice).

Thanks to the singular artistic obsession of rendering natural phenomena as faithfully as possible by delegating their representation to nature, in almost two decades Ghezzi has created installations and research in many national and international places, linking his work to studies on ecosystems and biology in parks and nature reserves on all continents (Alaska, Iceland, South Africa, Tunisia, Norway, Patagonia, Croatia, Denmark, Greenland). In Italy he has carried out numerous research projects in every region and type of environment, collaborating with the most important research institutes including CNR ISMAR, CNR IOM, CNR ISP, Arpa Umbria and Arpa Lazio, as well as with associations such as Greenpeace, WWF and Legambiente.

His works can be described as objectifications of nature which, on the one hand, give shape to authentic works of art capable of restoring an aesthetic-romantic dimension of the landscape without direct action by the artist; on the other, they present themselves as singular supports for scientific investigations on the state of the environment and on environmental and ecological phenomena.

For the residency on the Svalbard Islands – lasting about a month – the artist plans to further explore the research begun in Greenland in 2022, once again re-adapting the ancient blueprint technique to her own ends, but starting this time with the use of the video camera and macro images of melting ice crystals. The cyanotypes (photographic images obtained from photosensitized paper with silver salts) will be created on the basis of negatives of digital macro photographs or images, taken with the aid of a digital microscope, of crystals taken from different parts of the Svalbard Islands. The videos (macros) will instead be made using video cameras that are literally “entrusted” to the environment. Through various instruments including drones and small floating rafts designed to support the small cameras, the artist will entrust shots and shooting times to the movement of the ice itself during the entire melting “path”, from the solid to the liquid phase. This particular methodology will make it possible to have direct audiovisual experience of the delicate phase of the change of state of the ice, as if we were inside the ice itself and followed its path. The materials produced will then be rendered in artistic form through artistic video installations and blueprint transposition of the video-photographic results.

In addition to providing a transcript of the phenomenon that stops the settling of a process in a single image, in this case, Ghezzi, thanks to the aid of the cameras, will also introduce the temporal dimension and the representation of the dynamics of the transformation into the representation of the melting of the ice. of Arctic ice in water. However, it will not be a “documentation”, but an autonomous transcription of the thaw phenomenon, perfectly in line with the philosophy of naturographies in which the artist, reversing the roles, lets nature speak of itself, to present itself as it is. , highlighting with the absolute spontaneity of reality, its most intimate essence.

What will actually emerge, exactly as for the previous expeditions, will be the result of the alchemical ability of art to register natural phenomena under new guises and represent them through the codes of the contemporary and, on the other hand, the result of the ability to read by of scientific knowledge of non-habitual supports.

As for the residency in Greenland, also in this case, after the phase of study and creation of the works during the residency in the Svalbard Islands, scientific and critical-artistic contributions will follow for the dissemination phase which will include exhibitions, presentations, publications, talks, meetings with students, both in Italy and abroad.

The entire artistic residence of Roberto Ghezzi will have a neutral impact thanks to the contribution of Phoresta Onlus which will offset all CO2 emissions through the planting of trees.

13 Ago

— Link:  THE GREENLAND PROJECT – Artist in residence

Greenland Project
the melting of the ice between art, science and sustainability

 

A project by the artist Roberto Ghezzi

Curated by Mara Predicatori, in collaboration with Biagio Di Mauro of the CNR – ISP (Institute of Polar Sciences)
with the support of The Red House by Robert Peroni and Phoresta Onlus and the contribution of Cartiera Enrico Magnani Pescia

From 15 June to 10 July 2022

The natural landscape has always been Roberto Ghezzi’s artistic research field. At first investigated through pure painting, in recent years the Tuscan artist, fascinated by the environments and their specific peculiarities, begins to work more and more immersing himself in them and trying to restore their specificities and essence. This is how the Naturographies were born at the beginning of the 2000s, canvases literally written by nature that the artist leaves in the ground or water and withdraws when he believes the sediments transferred here will somehow restore their semblant and DNA. These are works that require Ghezzi a long time to complete and lead the artist to practice and experience the natural environment for long periods, probing its characteristics, morphologies and empirically becoming an excellent connoisseur. This research, of a pictorial / aesthetic matrix, is therefore increasingly accompanied by a scientific interest such as to induce the artist to often collaborate with biologists and scholars and institutions that deal with detecting the impact that man has on nature itself.

In two decades Ghezzi has carried out installations and researches in many national and international places, linking his work to studies on the ecosystem and biology in parks and nature reserves on all continents (Alaska, Iceland, South Africa, Tunisia, Norway, Patagonia , Croatia). In Italy he has carried out numerous research projects in every region and type of environment (Tuscany, Emilia Romagna, Calabria, Friuli Venezia Giulia, Umbria).

In the case of Greenland, the residence – lasting about a month at the Red House in Tasiilaq – will be functional for Ghezzi to try to restore the phenomenon of melting glaciers in an artistic way. To this end, this time, to artistically transcribe this phenomenon on support, Ghezzi hypothesizes to use cyanotype, a particular technique that involves the use of photosensitized papers to detect the rapid change in the thickness of the ice.

This will be followed by an interesting dialogue, both preliminary and subsequent to the expedition, between the artist and the researchers of the Institute of Polar Sciences of the CNR. Artist and scholars, in fact, intertwining mutual gazes and approaches, will offer unprecedented interpretations of natural phenomena, contributing to the dissemination and knowledge, through this fruitful multidisciplinary collaboration, of suggestions and revelations on one of the most problematic natural phenomena of our age.

The Greenland project by Ghezzi will therefore focus on the use of contact cyanotype that will not use fabrics but a special handmade paper according to an ancient procedure, to accommodate the signs of melting ice. The artist, after a careful analysis of the most suitable places – carried out in advance on the maps and subsequently on site – thanks to the support of Red House, will create cyanotypes of the melting ice in the Tasiilaq area on the east coast of Greenland. Cyanotype is an ancient photographic technique developed by the English photographer and chemist, John Herschel between 1839 and 1842, which exploits the reaction of some salts to ultraviolet light. By inserting the photosensitized paper with salts under the ice, in a border area where the ice is melting in June, the artist will obtain snapshots of the phenomenon of the aforementioned change of state.

The goal of the project is to work in the same spot for about 25 days, creating cyanotypes of the same area in order to “photograph” the phenomenon of liquefaction and, therefore. of the ice retreat – day by day – in a certain place.

In this way, the artist hypothesizes to produce an emblematic image of the phenomenon of the retreating glacier (and of the speed with which this process occurs), with that aesthetic that has characterized his “landscape painting” for years. This work will be accompanied by a text by Dr. Biagio Di Mauro of the CNR – ISP on the melting of glaciers in Greenland ( for example on the speed of the same, on the change over the years of the phenomenon, on the possible causes and consequences, etc.).

The entire artistic residence of Roberto Ghezzi will have a neutral impact thanks to the contribution of Phoresta Onlus which will calculate and then compensate for all the CO2 emissions of the project through the planting of trees.

 

 

il sole 24h – video

 

05 Mag

NORTH MACEDONIA PROJECT – ARTIST IN RESIDENCE

NORTH MACEDONIA PROJECT: ART AS NATURE

Roberto Ghezzi, Antonio Massarutto

curated by Bojana Janeva, Davide Silvioli

PROJECT PROMOTED BY THE ITALIAN EMBASSY IN SKOPJE, IN COLLABORATION WITH THE MACEDONIAN CONTEMPORARY ART MUSEUM IN SKOPJE AND WITH THE SHAR PLANINA PARK

Roberto Ghezzi and Antonio Massarutto will be the protagonists of a large, long-term cross-border project, divided into two phases that will take place at different times of the year. The first, which will see them involved – during the next month of April – in an artistic residency program that will take place within the Macedonian National Park of Shar Planina, therefore in close contact with the most authentic and unspoiled nature of the Balkan state, it is aimed at the knowledge of the territory with which the two artists are called to interface. The comparison with the characteristics of the natural environment of the park and the study of its ecosystems on their part, both authors of a research in which the relationship with nature and its different manifestations is central, are aimed at the creation of great sculptural works, pictorial and installation techniques, peculiar techniques of their work. After this first moment of analysis, the works in question, born and performed on site, will be the subject – during the next month of October – of a two-part exhibition project, curated by Bojana Janeva and Davide Silvioli, hosted at the Macedonian Contemporary Art Museum in Skopje, where the works will be presented to the attention of the international public.

 

 

21 Gen

THW WRITING OF NATURE – SIXTYEIGHT ART INSTITUTE – COPENAGHEN

SixtyEight Art Institute welcomes you to our new exhibition, The Writing of Nature, which is the first of several in an ongoing research format conducted as part of the transnational project C6: Creativity, Culture and Collaboration to Combat Climate Change. Further installments will be held at our partner organisation CasermArcheologica, Italy in October 2022, and again in Copenhagen next January.

Opening: Friday 28 January, 18:00-21:00

Gothersgade 167

Please note that we will be following the current corona restrictions for cultural institutions: entry with a corona pass and use of face masks indoors. We thank you in advance for your cooperation.

The exhibition The Writing of Nature aims to raise questions regarding the role of nature in our contemporary society, by shedding light on what constitutes nature and how these constellations of elements are interconnected with each other.

The categorization of nature as separate from and subordinate to humans, and therefore as something which can be dominated, controlled and bent to humankind’s needs and expectations, has been integral to the so-called Modern era in the West, and still to a large extent informs our societies today. However, this conception has recently been turned inside out, not only by climate activist groups but also in academic theory. Feminist theorist Donna Haraway speaks of natureculture in order to illuminate new ways of thinking about agency and power, and to try to overcome the ontologically and epistemologically pre-established differentiation between human being and nature, and nature and culture.

These reflections inform the conceptual inspiration for this exhibition. In addition, The Writing of Natureexperiments with how science and art can work together to generate compelling stories, which can inspire a broader audience. In fact, in a time where climate change is not merely an ‘issue’ but has become a crisis and an urgent matter to address, new discourses and new strategies of communication need to be generated in order to efficiently face the crisis.

Therefore, the exhibition establishes an arena for discussion where nature in various forms becomes the main actor. In Naturografia, Copenhagen edition, Italian artist Roberto Ghezzi shows how various elements (soil, air, water, fauna and flora) interplay with each other on organic cotton canvases. The canvases, which were installed in several areas in and around Copenhagen in December, have been interacting with the ecosystem and climate, and show us the processes of nature in an abstract yet very material form. The work is supplemented by scientific analyses, in collaboration with the Department of Environmental Science, University of Aarhus and the Department of Biology, University of Copenhagen.

While Roberto Ghezzi begins his artistic reflection by installing something human made, his canvases, in nature, Swedish artist Åsa Sonjasdotter reflects on how humankind has manipulated nature through the practice of seed selection. Initially, this practice ensured that the seed varieties were strong and resistant to changing conditions, while creating a farmers’ community around the practice of seed exchange, and preserving biological diversity. Nowadays seed varieties are strictly regulated and it is illegal to exchange them outside of member organizations. The film Cultivating Abundance, recorded at the Larsson farm in Fulltofta, Sweden, and at the Swedish University of Agricultural Sciences in Alnarp, presents the preservation and recultivation work undertaken by the agronomist Hans Larsson, and the heritage grain association Allkorn, to protect seeds and grain varieties.

The Writing of Nature wishes to generate a place of exchange and discussion for individuals and the artistic and scientific communities, to help rethink our individual and collective conceptions and relations to nature.

 

11 Mar

States of grace, artistic residence, from 24 to 28 February 2021

States of grace, artistic residence, from 24 to 28 February 2021

18 artists immersed in the nature of Valtiberina. “To close oneself to open up” to dialogue and confrontation, after months of isolation.The meeting was born from the need to create, after very complicated months due to the pandemic, an opportunity for profound comparison between artists who feel the need to listen, deepen, investigate the historical moment we are experiencing, in order not to give up dialogue, indeed to build new exchanges, new trajectories, radical and rooted in the desire to build broad thinking.For CasermArcheologica this was a moment to call some of the artists we have worked with in the past, along with others we would like to work with in the future, to inspire the designs and artistic productions of the next few years.

The invited artists were not asked for a productive outcome at the end of the days in Sansepolcro, because we think that at this moment it is more necessary to share thoughts, directions and possible – even divergent – ways of crossing this time and collecting what emerges. For this reason, we decided to invite interdisciplinary authors and authors, who we believe to be close to a poetics of listening and proximity to lack, the desire to bring out, with their own distinctive paths, the invisible hidden within the possibility of change that this period asks us.

://www.casermarcheologica.it/progetti/statidigrazia/

31 Ago

PROJECT AND SOLO SHOW IN TRIESTE – NATUROGRAFIE 2020

 

The project
Creating Naturographies in such a vast, diversified area, so rich in history and suggestions, was an unforgettable opportunity for me to grow, both human and professional.
My research has been enriched with extraordinary experiences and I have been able to dialogue with different environments, from the brackish lagoon
to the mountain stream, from the man-made port to the river park.
But it was certainly the human aspect, the possibility of sharing this adventure with people who love their land in a thousand ways and for a thousand different reasons, that left the deepest and most indelible trace on me, just as Nature left his on the canvases. Biologists, councilors, curators, artists or simple enthusiasts, still able to be amazed, who together with the strength of the elements have sculpted these lands, whose beauty you cannot draw.
At the most, you can borrow it.
Roberto Ghezzi

Ghezzi operates in places chosen for their aesthetic, physical, chemical and biological (flora and fauna) characteristics: rivers, streams, lakes or seas. Places where he decides to anchor the supports built with strictly natural materials and which at the time of installation are specifically geo-localized for constant identification.
The “deposited” canvases are left inside the environment for a period ranging from a few weeks to a few months and the 4-handed work between nature and the artist will return a different stratification of materials and signs for each canvas. Water-air-insects-leaves-earth-sand-algae-molds-footprints set in motion this creative process that the artist documents, day after day, with images and videos.
It is Roberto Ghezzi himself who decides when to stop this natural process by taking the canvases and fixing his Naturographs with substances such as resins and antioxidants, glass and plexiglass to preserve the work created by nature in the flow of time.

More info about the project:  http://www.cizerouno.it/naturografie2020/

 

The exhibition

 “Naturografie, a dialogue between art, nature and man” by Roberto Ghezzi, Saturday 15 August 2020 at 7.00 pm at Sala Veruda- Palazzo Costanzi  (Piazza Piccola 2, Trieste-Italy).

The event, promoted by Cizerouno and EContemporary art gallery, is organized with the co-organization of the Municipality of Trieste, with the support of Fondazione Casali and AcegasApsAmga.

The exhibition is part of the cultural program of Esof2020 (Trieste has been nominated European City of Science 2020) and it is the result of an artistic and scientific project that started last year in July (here the website: http://www.cizerouno.it/naturografie2020/).

The artist, together with the curators Elena Cantori, Monica Mazzolini and Massimiliano Schiozzi, has identified, considering their aesthetic, physical, chemical and biological characteristics (flora and fauna), numerous places in Friuli Venezia Giulia, Slovenia and Croatia where to create the installations for his “Naturografie”.

To realize his artworks, Roberto Ghezzi works by choosing the places for the installation and the materials of the support, leaving the canvases outdoors in a mirror of water of the lagoon and of the sea or in a river and then he allows time and Nature itself to complete the artwork.
Light, minerals, waters and various organisms that live in those waters work on those canvases to create vivid and ever-changing landscapes.

Once recovered, the canvases are stabilized and framed to be exhibited.

Naturografie are born from the hand of natural elements and the mind of man: works that no longer represent the landscape, but are the landscape.

The installations were carried out thanks to the collaboration of:

  • Municipality of Trieste: Rio Farneto in the Cacciatore park
  • Municipality of San Dorligo della Valle: Nature Reserve Val Rosandra
  • Autorità di Sistema Portuale del Mare Adriatico Orientale and Euronautica 2000 srl:anthropomorphic zone of the navigable chanel in the industrial area of Trieste
  • Municipality of Staranzano: Nature Reserve Isola della Cona
  • Municipality of Marano Lagunare: Nature Reserve Canal Novo
  • Municipality of Aquileia: Anfora chanel
  • Nature Reserve Val Stagnon, Koper, Slovenia
  • Municipality of Novigrad, Croatia, Nature Reserve Quieto river

A  great thanks for the partnership to: Kallipolis and Spazio Legno Trieste.

Naturografie, a dialogue between art, nature and man
August 15, 2020 – September 8, 2020
opening hours: everyday 10.00-13.00 / 17.00-20.00
Veruda Hall at Palazzo Costanzi  (Piazza Piccola 2, Trieste  Italy)

 

17 Gen

PATAGONIA 19.20 – ARTIST IN RESIDENCE

 

From 19 December 2019 to 6 January 2020 I carried out an artistic research in a natural environment that first brought me to the southernmost part of Argentina, inside Tierra del Fuego, then, going up, to some places in the National Park Los Glaciares, in particular El Calafate and El Chalten.
The intent was to create a series of works, using the naturography technique, of my conception (see www.robertoghezzi.it), where man and nature establish a deep and lasting dialogue within the surface of installed canvases in different natural environments, in addition to collecting information, findings and personal considerations about the relationship between the local population and the environment in these areas.
To this end, I was a guest of the artistic residence L ’Planeta de Origèn, directed by Professor Laura Aguilera Mendieta, who went out of her way to facilitate my research and contact with local institutions.
After exploring some interesting points on the island and drafting the projects, I proceeded to install the crinoline fabrics pulled on wooden poles.
These are the chosen locations:
1) Rio Pipo, assisted by Abel Berna, in one of the characteristic areas of peat bogs that insist numerous in the area near the Tierra del Fuego National Park:


2) In the area called Le tre Lagune, not far from Ushuaia and managed by the local Club Andino, characterized by an uncontaminated and little frequented plateau, immediately under the Martial glacier, sprinkled with peat bogs with incredible colors.

3) At Rio Olivia, at the point where it flows into the Beagle channel, to dialogue with the tidal flows affecting the area:


4) At Valle Terra Major, always in peat bogs:


5) At Estancia Harberton, hosted by Abby Goodall on her property, inside one of the dams that the beavers have built in some rivers in the area:


The installations created in this way, built in absolutely natural and biodegradable materials to respect the environment, immediately began to dialogue with the landscape, reacting with water, earth and light.
During my stay in Tierra del Fuego I continued, while waiting for the creation, the monitoring, evaluating the daily increase of the sediments, the reaction of the photo-sensitive compounds on the canvases exposed to the light, and studying the surrounding nature in depth.

Tierra del Fuego has proven to be a unique place, with species of flora and fauna, such as southern beeches and many bird species, which I could not have found elsewhere. The dialogue with a similar territory has enriched each work with authentic, profound and almost ancestral meanings.
The installed naturographs were taken about 12 days after their installation, leaving each room in the same state in which I had found it.
Sedimentation and photosensitive reactions proved different depending on the places where the canvases had been installed. More specifically, the peat bogs have given the installations different colors depending on the time and place, from red brown to black, reflecting the fact that the interaction between man and the environment, in naturography, is always full of new and interesting artistic aspects and scientific to evaluate.

The works thus created were finally exhibited during an exhibition set up at the Museum of the End of the World in Ushuaia curated by Laura Aguilera Mendieta. The participation and interest of the public, tourists, colleagues and simple interested parties has been remarkable.


During the second part of the residence I moved to El Calafate, host of the photographer Connie Voncheidt and the painter David Vonscheidt, thanks to which I set up a small exhibition of the works made in Tierra del Fuego at the Regional Museum – Local Municipal, combined with a talk with projection of photos and videos of my research.
As can be seen from the photographs, the event aroused a lot of interest, many of the authorities present and the public. I also carried out an installation in the river that flows near the Museum, still there, left in the care of colleagues from El Calafate.

I finally went on to El Chalten, the last stage of my artistic journey, where I left a canvas buried by handing over the coordinates of the place to a mountaineer friend who will go to that area in January 2021, to have a long and complete exposure (365 days ) of a fabric with the patagonic nature.

Conclusions

Ultimately, the Patagonia 19.20 project had an unexpected success, in many ways:
as artistic research, since the dialogue between the installed fabrics and the nature of Tierra del Fuego has been productive and exciting;
as a relationship with the public: because the temporary exhibitions and talks have been very popular and have

19 Set

FONDAZIONE ROCCO GUGLIELMO, CATANZARO : ARTIST IN RESIDENCE

The artist residences of the Rocco Guglielmo Foundation aimed at Italian and foreign artists, included in the Glocal project, and that will take place in the splendid setting of the Mediterranean Biodiversity Park which with its colors, its sounds, its perfumes and nature becomes the perfect place to welcome and stimulate the creative process. The project is carried out in collaboration with the Provincial Administration of Catanzaro, the Marca – Museum of the Arts of Catanzaro, Caravan SetUp of Bologna and Whitout Frontiers – Lunette in Colors of Mantua.

The outcome of the residency will be presented to the public on September 12th at 6.30 pm at the Marca: the works of the artists, in dialogue with the permanent collection of the Museum, will be visible until January 2019, when they will be exhibited during the Bologna art weekend, at the Guglielmo Foundation stand as part of the independent city fair, organized by Caravan SetUp. Four artists were involved in the 2019 edition, selected by Rocco Guglielmo, Simona Caramia, Simona Gavioli.

From September Roberto Ghezzi, Florentia Martinez and Micaela Lattanzio are at work, in the realization of works that tell the city with its geographical, urban, naturalistic and human specificities.

A Nature is the co-protagonist of Ghezzi’s research, which he installed in the waters of the Corace river white canvases. Impressed by atmospheric agents, by water and earth deposits, by sunlight, the surfaces of the canvases reacted to external impulses, such that the works became micro-worlds, in continuous evolution. The result is a synthetic representation of reality: a reality in which the only horizon line is sufficient to tell an entire world.

03 Ott

TUNIS : Roberto Ghezzi artist in residence

49 artists of international standing and 30 independent art spaces will be the protagonists of the first edition of ‘Open Art Week’, an event dedicated to contemporary art that will be divided between Perugia and Tunis with two weeks of exhibitions, films, dance shows and theater, photography, concerts, meetings with artists, workshops. The event that will be held from 29 September to 7 October in Perugia and from 13 to 21 October in Tunis.

Roberto Ghezzi realized his installation in the ancient Punic port of Carthage, in collaboration with the Oceanographic Museum of Tunis, already in the first days of September, and will return to be raised during the week from 14 to 20 October when he will be a guest of the Selma Feriani Gallery.

https://www.openartweek.com/project/roberto-ghezzi-naturografie-talk/

 

 

04 Lug

SOUTHAFRICA : Roberto Ghezzi artist in residence

 

June 2018: Roberto Ghezzi is  artist in residence in South Africa .
He installed canvas and organza supports at two locations on the continent: Blyde River Canyon and Mossel Bay.


These two locations were chosen because the artist wants to deal with the red earth of the continent and with the ocean, two different and very fascinating environments.

The naturographs have been entrusted to two local artists who will follow their development throughout the month of July and August.

18 Mag

VARESE LAKE : ROBERTO GHEZZI ARTIST IN RESIDENCE

Between 2017 and 2018 Roberto Ghezzi was artist in residence at the Lake of Varese in a project curated by the Montessori School of Calcinate.
During the residency, which lasted about six months, the artist installed some canvases in the lake, entrusting their care to the students of the Montessori School and involving them in the first person in his artistic research.
At the end of the school year the naturographies realized in this way were exhibited inside the Chiostro di Voltorre near Varese.