Eventi

26 Set

IMPERMANENTE – Galleria d’arte Faber, solo show in Rome

Saturday 24th September the FABER art gallery presents the IMPERMANENTE exhibition by Roberto Ghezzi.
The conceptual center of the exhibition is represented by the Naturografie © project, which had its prodromes in the early 2000s and which defines new criteria for collaboration between Man and Nature, in which time and natural elements once again become protagonists of creation together with the artist. An experimentation on the possibility of outlining an artistic operation in close contact with nature, such as to restore an image of the impermanence of its action, of its incessant becoming.
The exhibition itinerary, entirely conceived in site specific, aims to immerse the viewer in an organic corpus of works that reflects a living and pulsating ecosystem environment.
In fact, the outcome of Ghezzi’s research is equivalent to a restitution, on canvas, of the flow of the invisible elements that acted on it, thus reconstructing a subliminal, aesthetic and at the same time iconic portrait. The surfaces appear as textures characterized by the fading of vibrant and pervasive colors, obtained from the stratification of sediments and minerals, as well as the passage of time; here constitutive factor.
The experience of nature, through the terrestrial or aquatic installations made in various corners of the globe, is perceived in aesthetic terms, but also in material terms, making it the common denominator of an investigation that aims to connect the breath of the absolute and the relative . The artist searches for the most hidden archetype; the essence, the noumenon.
The shift, by the artist, of the direction of investigation, both thematic and operational, in favor of research on natural entities contrasts with the dominant conception in today’s society, which is drastically technocratic. The example provided by the work of Roberto Ghezzi reflects how artistic contemporaneity is developing a language where time, metamorphosis, the use of perishable organic materials and the partial delegation of the definition of the work to the automatisms of ecosystems appear to be the majority terms of an alphabet that expresses an aesthetic opposite to that professed by the prevailing culture of media inflation, of the overexposed, of the didactic, of the hyper-visible.
“In my research, the aspect of transformation assumes more and more importance.
The Naturographies are intentionally created not to resist, to yield to the place, to the passage of time on them. Impermanence is a value for me, both artistically, because I admire its incredible and absolutely free forms; both ethically, because a non-eternal work carries with it a strong message in a society that has made the imperishable residue its condemnation; and philosophically, because in the artistic exaltation of the forms of decomposition I also see an exorcization of the disappearance, of the disappearance of the body, of an elsewhere rejected according to the typical Western attitude that no longer accepts the idea of ​​passing away.
And then the parts that are often missing from the works taken, the disappearances that tear them through cuts, holes and tears, take on a new, much higher meaning: that of the cycle of life. From nature to work of art to nature. And if there is more value or meaning in a new life than in an immutable and eternal human work, then what disappears acquires more value than what remains. Here is the new primacy of impermanence. ”

curated by Cristian Porretta and Davide Silvioli

from 24 September to 3 December 2022

Tuesday – Saturday 10:00 – 19:00
Sunday by appointment
FABER art gallery

 

26 Set

LANDSHAPE, Casermarcheologica – Sansepolcro

The LANDSHAPE exhibition set up in the noble rooms of CasermArcheologica, hosts the works of Roberto Ghezzi and Tina Hellen from 8 September to 19 November.
The meeting between the two artists is included in the program of the INTERNATIONAL CAMPUS WITH 25 YOUNG PEOPLE FROM NORWAY, SWEDEN, DENMARK AND ENGLAND for the European project on sustainability and creativity C6 creativity, culture and collaboration to combat climate change and is also the outcome of two workshops / performances held by the two artists during the days on the Campus.
Roberto Ghezzi, an artist residing in Cortona who has been working for years in the field of artistic research dedicated to the landscape, will present a series of “Naturographies” created between the Tiber and the naturalistic landscape of Denmark.
The Naturogarafie are a balanced project between science and contemporary art. A collaboration between Man and Nature in a different perspective than other forms of art that transforms art in the landscape (Land Art) into landscape art. Nature intervenes by creating and living on a virgin support installed for this purpose by man / artist. The collateral objective is also to provide greater knowledge of the territory from a landscape point of view and its biodiversity and above all to establish an effective dialogue and a different use of the natural places that host and feed the artist’s creations.
Tina Hellen, Danish artist, resident in Copenhagen, will exhibit the video documentation of the performance entitled Frisk Flugt, which will report what happened in the previous days together with the group of boys and girls of the Campus: a reflection on urban development through a performance that took place in part also in public city spaces, between the industrial area of ​​Sansepolcro up to the slopes of the mountain passing through the historic center.

 

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

 

27 Mag

Drawing as concept – Group Show – Trebisonda, Perugia

The Trebizond Visual Arts Association, with the patronage of the municipality of Perugia, is organizing a review of five exhibitions for the current year under the general title of Drawing as concept. The analyzed theme refers to the methods of intuition, elaboration and initial drafting of the idea, outlining the paths through which the intuition manifests itself. The exhibitions will be accompanied from time to time by a general text on the subject, for this issue the catalog will be accompanied by the contributions of Marco Bastianelli and Mara Predicatori.

…. The term “Drawing”, with which the Italian “draw” is usually translated, refers to “to draw”, in particular to drawing a line on a sheet; yet, it can also be a matter of drawing out, from the soul (or mind), as when we say to draw a conclusion (in English: to draw a conclusion) ….
Marco Bastianelli.

…. From sign in (of) sign, man (the artist) can and tries to give substance to ideas. Just like the word, the act of drawing is an act of thinking. The language of drawing, even before being a means of communication between the subject and others, is an internal mental function that provides the fundamental means for the development of man’s (and artist’s) thought and fulfills the functions of see, think, memorize, communicate…. Mara Predicatori.

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.

 

 

17 Apr

GENETICA DELLA FORMA – Group show – Palazzo Collicola, SPOLETO

In the seasonal program of Palazzo Collicola, the collective exhibition Genetics of form constitutes a moment of attention on how contemporary artistic practices are reformulating the entity of form in the work of art, starting from the analysis of the work of a selection of emerging artists and mid-career.
The project, curated by Davide Silvioli, brings on display a circle of seven artists, different in terms of vocabulary and references, equalized by the use of methodologies that experiment with means, processes, materials and materials, now innovative and now traditional, sometimes hybridizing them, up to to create new aesthetic destinations, where the form, proving insubordinate to the canonical prescriptions of eurythmy and composition, opens up to the unstable effect of operations that alter and undermine any pretense of completeness or completion.
The title of the exhibition, on this basis, is inspired by the anecdote according to which the scientists James Watson and Francis Crick, in the discovery of the double helix morphology of the DNA structure, seem to have been inspired by some scribbles made by Crick in his workbook. . Despite its apparent simplicity, this episode tells a lot about the nature of form in the molecular universe as well as in that of artistic research, enclosing the complexity of the relationship between form and substance, between form and external environment, between natural and artificial form, between form and semblance, between form and its perception.
Therefore, the languages ​​of Antonio Barbieri, Giulio Bensasson, Roberto Ghezzi, Giulia Manfredi, Miriam Montani, Bernardo Tirabosco, Medina Zabo, with a high degree of interdisciplinarity, represent seven researches which, while evaluating their respective subjectivities, argue adequately and unanimously the theoretical premises of the exhibition. Scanned along the rooms on the ground floor of the Museum, their works, passing from sculpture to installation to video, and escaping easy nomenclatures, provide a synthetic but exhaustive scenario of how the classic category of form, in the project interpreted as the result of the simultaneous effect – not always controllable – of endogenous and exogenous impulses, which is still undergoing revision by contemporaneity.

 

21 Gen

SEGRETE TRACCE DI MEMORIA – GROUP SHOW – PALAZZO DUCALE DI GENOVA

 

 

Allied artists in memory of the Shoah
January 20 – February 6 2022, Torre Grimaldina
The event dedicated to contemporary art is back this year to keep the memory of the Shoah alive, with international artistic events and contributions, including art, music, theater and poetry, but also debates and meetings with young people.

The artists on display are: Miro Craemer, Roberto Ghezzi, Manuel Felisi, Luisa Mazza, Stefanie Oberneder, Andrea Sanvittore, Francesco Vullo.

Even this year Segrete has to deal with Covid. But the very emergency of the pandemic makes it more necessary than ever to protect and perpetuate those traces of memory that give name and meaning to our artistic and cultural review in memory of the Shoah, now in its fourteenth edition. This is why Secret in 2022 does not stop and relaunches in the name of testimony, a key word that will allow the extensive program to be carried out in full compliance with the anti Covid regulations and at the same time more forcefully reaffirm the inalienable need not to forget and transmit to the younger generations the founding values ​​of our democracy, born on the rubble of the greatest tragedy of the twentieth century. Testimony constitutes proof with an implicit idea of ​​presence, of direct knowledge: this obviously has been valid over time for the entire documentary path on the Shoah and today it is an assumption that will also apply to the audience of Segrete, forcibly restricted, not more just spectators but, in their being, an integral part of the “process”, witnesses, in fact, determining factors of something that exists but risks disappearing.

 

16 Dic

GROUP SHOW IN ROMA – GALLERIA D’ARTE FABER

Saturday 11 December at the FABER art gallery the collective exhibition PRISMA 22 will open, works by Roberto Ghezzi, Valerio Giacone, Manuela Giusto, Koro Ihara, Jacopo Mandich, Keisuke Matsuoka, Giulia Spernazza.
The comparison between different artistic expressions aims to highlight the various cultural facets and make technically and conceptually multifaceted realities intertwine.
The exhibition path moves between painting, installation, sculpture and photography in a harmonious way, highlighting links, interactions and interpretative differences and highlighting the most recent research of the seven artists. A dialogue on the external and internal mutation, a reflection on the change of form and matter, to which nature and beings are subjected.
Characteristic of PRISMA 22 will be its continuous evolution; the set-ups will vary periodically, renewing the installation structures and the interactions between the protagonists throughout the duration of the exhibition.
In the first phase of the exhibition will be exhibited: Naturographies by Roberto Ghezzi, Homo Imago Dei by Valerio Giacone, the photographic series Elements by Manuela Giusto, the projects Wormed, Cycling, Fading by Koro Ihara.

The new series of engravings by Keisuke Matsuoka will also be presented, the opening moment of the Refugees project which will debut in Rome in spring 2022.

The exhibition will be open to the public in compliance with the health regulations in force.

from 11 December 2021 to 26 February 2022

 

 

16 Dic

TIMELAND – GROUP SHOW IN GUBBIO

TIMELAND The becoming of the landscape in Roberto Ghezzi, Antonio Massarutto, Massimiliano Pambianco edited by Mara Predicatori, with the patronage of the Municipality of Gubbio and the collaboration of Cozzari Gioielleria and Land.

TIMELAND_ The becoming of the landscape, through the suggestion of contemporary art, wants not only to underline the centrality of the debate on the natural in contemporary time, but to evoke the important role of time in forging the different hermeneutic relationships of destruction and creation between man-nature and landscape. In essence, yet another attempt, unnecessarily ambitious because it is always unsolved – but for this very reason sublime – to question man as everything – and nothing – of Nature.

 

03 Dic

DELLA TERRA – SOLO SHOW – GILDA CONTEMPORARY ART, MILAN

Gilda Contemporary Art presents Della terra, a personal exhibition by Roberto Ghezzi curated by Cristina Gilda Artese and Elena Isella.
The Milanese gallery located in the heart of the 5 vie district confirms its green vocation with an exhibition project in collaboration with Phoresta Onlus which sees Roberto Ghezzi the first artist to create his own personal project, putting his creativity in relation with the biodiversity forest of Bologna, thanks to which the tunnel has implemented a compensation plan for its CO2 emissions.
The relationship between art and science has changed a lot in recent decades, becoming an alliance. We have overcome the idea that the invention and creativity of one are contrasted by the knowledge and experimental rigor of the other. Especially in recent years, the ecological arts and many branches of science have a common object of interest, study and investigation: climate change.
Roberto Ghezzi’s intense and in-depth journey is a personal and original artistic expression that fits into this context of themes and practices.
Around 2000, Ghezzi started the series of Naturographies, works in which nature “draws” and leaves an impression of itself on the support that the artist makes available. The Naturographies arise from a careful design phase that begins with the analysis of the place and the elements that compose it, the identification of the installation point, the choice of support (cotton, linen, crinoline) and its placement in the material that it will penetrate it (earth, water, mud). After placement, a period of waiting and control is necessary, during which nature acts. Water, earth or rather all the organic and mineral substances that compose them, as well as inorganic ones and animal and plant species, act on the substrate. Months later it is again the artist who works: the extraction of the fabric and the fixing of the deposited substances are the last stages of creation.
The link between visual art and science, in Ghezzi’s work, originates with the definition of the project and continues through the sharing of the results with research institutions and their experts (Arpa – Regional Agency for Environmental Protection, Umbria; CNR – Council National Research Institute, Venice). In particular, the supports and reactions caused by the permanence in water or earth produce useful data for the study of materials and their resistance to external agents. Through direct experimentation in nature, alongside that in the laboratory, the supports installed by the artist provide useful information to better understand the eco-sustainability of materials. They are also indicators that help to define the state of health of the ecosystem in which they are inserted: together with the “classic” scientific methods of sampling and laboratory analysis, the supports can be understood as collection “matrices” that return useful data to define the quality of the waters or lands in which they are located.
Ghezzi thus implemented his creative process in the biodiversity forest of Phoresta Onlus in Bologna and from there canvases emerged that fully restore the environment in which they remained for months. The black earth that imprints the white canvas of the support or from which it emerges with clear signs fully conveys the wildness of that area, its harshness. These surprising results obtained in Bologna and visible in the exhibition, also supported by the design tables, are here flanked by other Naturographies, made by immersing the cotton canvases in the lands of the Casentinesi Forests National Park and those of crinoline in the waters of Lake Trasimeno and in the river. Piave (the latter in the context of A suspended canvas between Art and Science, curated by Elena Cantori and Monica Mazzolini for the Municipality of San Donà di Piave).
Ghezzi says of himself: “I was born in a place where the encounter between art and nature has shaped the landscape for thousands of years”. With these words the artist chooses to introduce himself, a short sentence that has in itself a key to understanding his work and all his research.
In January 2022 a catalog will be presented that tells the exhibition project with texts by Elena Isella, Cristina Gilda Artese and Carlo Manicardi, arsprima edizioni.

PH. CREDIT. Kristina E. Bychkova

 

15 Nov

CHIAVE UMBRA – IN NATURA

 

#CHIAVEUMBRA | IN NATURE

Artistic Experiments in the Olive Landscape

An unprecedented experience of encounter and contact with the environment thanks to the filter of works of art that speak of the relationship between man and nature and the suggestions and contradictions that have always distinguished it.

The contemporary art event continues for its seventh edition, which attempts to offer new and experimental access keys to the Umbrian territory, nature and the relationship between man and the environment. This year it will do so by directly involving the artists. In fact, they will meet the public along the paths and paths of the municipalities involved in the event by personally presenting artistic actions or small interventions in nature. The public will thus be guided to live an unprecedented experience of encounter and contact with the environment thanks to the filter of works of art made with natural elements. The alchemy of the artistic process will thus become the privileged way to get in touch with the simple but enchanted places of Umbria at the Frantoi Aperti.

For the 2021 edition, 3 artists were involved whose work is closely connected with the natural theme and who often work with elements of nature. Each of them will accompany the public along a path in the olive landscape of the adhering municipalities until they reach their own work (complete or in progress). To act as guides from time to time (three dates each), Giulia Filippi, Benedetta Galli and Roberto Ghezzi.

Giulia Filippi investigates the minimal elements of the natural and creates delicate and poetic works from them. The actions of time and atmospheric agents, the rules implicit in things of nature, are welcomed and shaped by her to create new and amazed visions. Among the olive trees, involving the spectators in micro exploratory actions, Giulia will present the poetry of her artistic micro-universes.

Benedetta Galli, on the other hand, will present for the first time to the public some works that arise from almost alchemical processes of manipulation of natural materials (from time to time sulfur, stone or clay). The artist tries to deliberately disregard the rules of some procedures and techniques to produce, in error and with error, new aesthetic and conceptual visions that narrate human frailty, the enchantment of transformation and relationship.

Roberto Ghezzi has been trying for 20 years to capture the essence of landscapes. Believing that he is unable to transfer their true entity to his paintings and projects, he invents the Naturographies @, canvases directly produced by nature thanks to a performative and conceptual procedure that he will tell in some stages of Keyumbra21, directly involving the public in the care of the work.

The event is curated by Mara Predicatori and Maurizio coccia of Palazzo Lucarini ContemporaryCH

 

 

 

 

 

 

 

13 Ott

NATUROGRAFIE – SOLO SHOW IN LAPIDARIUM MUSEUM, NOVIGRAD

The exhibition Naturografie – Uomo Arte Natura is the final result of an artistic and scientific project started in July 2019 whose aim is to ideally unite, through art, the geographical coastal arc of the upper Adriatic between Italy, Slovenia and Croatia.
For this project Roberto Ghezzi has identified, according to the aesthetic, physical, chemical and biological (flora and fauna) characteristics, numerous places in Friuli Venezia Giulia, Veneto, Slovenia and Croatia.
The works are the result of a collaboration between Man and Nature in a different perspective than other forms of art that transform landscape art into landscape art. Nature intervenes by creating and living on a virgin support installed by the artist in the environment.
For the realization of the works Roberto Ghezzi chooses the place of installation and the material of the support (in this case canvases left outdoors at the Mirna River bank) then leaving the completion of the work to time and to Nature itself.
The light, the minerals, the waters and the organisms that live in those waters act on the canvases to create living and always different landscapes. Once recovered, the canvases are stabilized and mounted for display. This is how naturographies © are born from the hand of natural elements and from the mind of man: works that no longer represent the landscape, but are.
In this exhibition Roberto Ghezzi presents the works created in Croatia (on the Istrian peninsula) in 2020, in particular in the nature reserve at the mouth of the Mirna River thanks to the collaboration with the city of Novigrad-Cittanova.
In addition to the artistic value, the naturography © project allows you to map a territory by emphasizing its landscape value and its rich bio diversity through contemporary art.
A new dialogue between art and nature for a different use of the natural places that hosted and fueled the artist’s creations.