Italian version
Panoramio
Edition 2010
The fundamental outline of the 2010 edition, the Italian-Spanish edition, has now been drawn. Opening: Saturday 22nd May; closing: Sunday 6th June.
The event will take place in five locations: Toffia, Fara in Sabina, Farfa Abbey, Bocchignano and, a new entry for 2010, Montopoli di Sabina. One of the many utilized in Montopoli will be the Torre Ugonesca: an ancient, recently restored, medieval building, which will become the centre of a permanent exhibition space for contemporary art.
Twenty artistic projects will be realized in this area, of these, fifteen have been developed by young artists from the Escola Massana
of Barcelona, and five by those from the Accademia di Accademia di Belle Arti of Frosinone .This year’s special guests arrive thanks to our collaboration with the RAER Link. Eight Spanish artists, residents at the RAER in Rome, have been selected to participate in 20eventi.
Our collaboration with the RAER will continue with a series of four conferences on the boundaries of contemporary art, taking place at their site on the Gianicolo. Four pairs of internationally renowned Italian and Spanish experts will discuss the four chosen themes.
As a continuation of the programme, a series of summertime events have been planned, taking place in the Val dell’Aia, Cottanello, Montebuono and Montasola.
ARTWORKS 2010 ⋅ Escola Massana de Barcelona
Escola Massana de Barcelona ⋅ Alàn Carrasco ⋅ Plusvalore Zero
Alán Carrasco's project, which will be realized in Toffia, focuses on the origins of the word "Salaria" (the 'salt' road that for thousands of years has connected the two sides of the peninsula via the Sabina) and searches for the true meaning of the world "salario".
Salt, travel, worth, money and pay are at the centre of the Spanish artist's work, which will be on show in a cellar underneath the Church of Santa Maria Nova and accessible by only one visitor at a time.
One of 20eventi's guides will show visitors into the dark cellar and wait for them at the exit. Waiting and expectations play a fundamental part in this work.
Escola Massana de Barcelona ⋅ Amanda Fortuny Quiroga ⋅ Vestiti Lavati
Amanda Fortuny's presents a site-specific installation of organs displayed in the communal washhouse of Montopoli.
After opening a dialogue with the town's women, the artist asked them to donate an item of their clothing.
During this process the artist attempted empathically to identify emotional blocks and, having linked this block to a part of the women's body, the artist created a sculpture of the corresponding organ with the donated item of clothing.
Amanda Fortuny's presents a site-specific installation of organs displayed in the communal washhouse of Montopoli.
After opening a dialogue with the town's women, the artist asked them to donate an item of their clothing.
During this process the artist attempted empathically to identify emotional blocks and, having linked this block to a part of the women's body, the artist created a sculpture of the corresponding organ with the donated item of clothing.
Escola Massana de Barcelona ⋅ Diana Martìn ⋅ Antropologia Soggettiva
The artistic installation has the form of a scientific display. The collection of spoons that the artist planed and carried out during her stay in the Sabina recalls cataloguing and taxonomies. Diana Martin went from door to door, asking for a spoon and a related family story.
Thanks to the patient recording of names, dates and stories, the spoons are exhibited in order, accompanied by their provenance and story. The installation as a whole wishes give a portrait of rural Sabina.
The artistic installation has the form of a scientific display. The collection of spoons that the artist planed and carried out during her stay in the Sabina recalls cataloguing and taxonomies. Diana Martin went from door to door, asking for a spoon and a related family story.
Thanks to the patient recording of names, dates and stories, the spoons are exhibited in order, accompanied by their provenance and story. The installation as a whole wishes give a portrait of rural Sabina.
Escola Massana de Barcelona ⋅ Esther Pi Gomez ⋅ Oggetti
Oggetti is a work made up of both photography and an installation. These two parts are linked by what they portray, the objects in the photographs are those that lie on the floor, covered by a think white covering that allows their form to be made out.
The work, an homage to popular culture, uses objects that today still have a soul, despite having been rendered useless by the global progress of technology. Covering these unused objects and showing only a representation shows this irreversible parting, as well as the wish to go back. The material that covers the objects, in fact, is also an invitation to rediscover them.
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Oggetti is a work made up of both photography and an installation. These two parts are linked by what they portray, the objects in the photographs are those that lie on the floor, covered by a think white covering that allows their form to be made out.
The work, an homage to popular culture, uses objects that today still have a soul, despite having been rendered useless by the global progress of technology. Covering these unused objects and showing only a representation shows this irreversible parting, as well as the wish to go back. The material that covers the objects, in fact, is also an invitation to rediscover them.
Escola Massana de Barcelona ⋅ Gabriela Minguez Almeida ⋅ Anche Sabina
The locations were chosen on the basis of research undertaken in the months leading up to the inauguration. The research, based on a questionnaire of twelve questions, aimed at revealing uncomfortable aspects of the landscape, usually kept quiet by local authorities.
"If you wanted to commit suicide, what bridge/river/road would you chose?" Offering tourists only what they expect restricts the Sabina's development to set models. On this basis, Gabriela Minguez Almeida decided to challenge reciprocal tourist-territory expectations and show the potentiality and the criticality of often ignored areas.
The locations were chosen on the basis of research undertaken in the months leading up to the inauguration. The research, based on a questionnaire of twelve questions, aimed at revealing uncomfortable aspects of the landscape, usually kept quiet by local authorities.
"If you wanted to commit suicide, what bridge/river/road would you chose?" Offering tourists only what they expect restricts the Sabina's development to set models. On this basis, Gabriela Minguez Almeida decided to challenge reciprocal tourist-territory expectations and show the potentiality and the criticality of often ignored areas.
Escola Massana de Barcelona ⋅ Gemma Barbany Arimany ⋅ Telegiornale
Telegiornale, a video by Gemma Barbany Arimany, will be on show at Toffia's "New Age Bar". The bar is a traditional meeting place to socialise and strengthen the sense of community. Daily events are discussed, perhaps heard about whilst watching the news on the bar's television.
The artists intervention is a video that follows the format of Italian television news, but that presents images taken from daily life.
Telegiornale, a video by Gemma Barbany Arimany, will be on show at Toffia's "New Age Bar". The bar is a traditional meeting place to socialise and strengthen the sense of community. Daily events are discussed, perhaps heard about whilst watching the news on the bar's television.
The artists intervention is a video that follows the format of Italian television news, but that presents images taken from daily life.
Escola Massana de Barcelona ⋅ Mireia Coromina Portas ⋅ tessendo la terra
Mireia Coromina Portas's work is exhibited under an olive tree, near Farfa Abbey. An extensive crochet web, stitched by various women, who collaborated on the work both from Catalonia and the Sabina, without necessarily knowing each other.
Each woman involved made up to three small rectangular pieces, which were unified a few days before the show's opening. In this way the work passes from a private context (typical of crochet) to a public one. The exhibited rug recalls, in fact, the nets used to collect olives, a collective and collaborative practice. The work is purposefully collective, woven by a multitude of creators.
Mireia Coromina Portas's work is exhibited under an olive tree, near Farfa Abbey. An extensive crochet web, stitched by various women, who collaborated on the work both from Catalonia and the Sabina, without necessarily knowing each other.
Each woman involved made up to three small rectangular pieces, which were unified a few days before the show's opening. In this way the work passes from a private context (typical of crochet) to a public one. The exhibited rug recalls, in fact, the nets used to collect olives, a collective and collaborative practice. The work is purposefully collective, woven by a multitude of creators.
Escola Massana de Barcelona ⋅ Miquel Olle Aguilò ⋅ Il sussurro dell'ulivo
The Spanish artist presents a sound installation of micro-sounds from the Olivone (the Great Olive Tree); the thousand-year old tree that grows in Canneto is one of the biggest in Europe. A number of speakers reproduce the sounds from points that correspond to the coordinates of their registration.
It is a work on proliferation, realized through the gentleness of listening to nature. The gaze, in itself, has a violent nature, but recording the sound, and not the sounds, would have violated the polyphonic sacredness of nature.
The Spanish artist presents a sound installation of micro-sounds from the Olivone (the Great Olive Tree); the thousand-year old tree that grows in Canneto is one of the biggest in Europe. A number of speakers reproduce the sounds from points that correspond to the coordinates of their registration.
It is a work on proliferation, realized through the gentleness of listening to nature. The gaze, in itself, has a violent nature, but recording the sound, and not the sounds, would have violated the polyphonic sacredness of nature.
Escola Massana de Barcelona ⋅ Noemì Vilarò Servera ⋅ Sons
In Bocchignano's streets, next to the rocky walls, the artist's intervention is barely perceptible: a multitude of fibrous Coccothrinax miraguama fruits cover the surfaces along the path, giving it an ethereal and dreamlike atmosphere. The presence of this dreamlike fruit is juxtaposed by the solidity of the walls, which attest to the town's medieval history and rural traditions. This minute presence gives the stones a voice, through the movements of the miraguano in the wind. The title is in Catalan, as it has a double and untranslatable meaning. Sons, is the plural of both sound and sleep. Both concepts have an internal conceptual dualism of material and ideal; solid and volatile. Sounds are produced by the percussion of solid bodies, which produce material vibrations, but which are received in a spiritual form. Sleep sees a detachment of the normal harmony between body and mind, and produces what we call dreams.
In Bocchignano's streets, next to the rocky walls, the artist's intervention is barely perceptible: a multitude of fibrous Coccothrinax miraguama fruits cover the surfaces along the path, giving it an ethereal and dreamlike atmosphere. The presence of this dreamlike fruit is juxtaposed by the solidity of the walls, which attest to the town's medieval history and rural traditions. This minute presence gives the stones a voice, through the movements of the miraguano in the wind. The title is in Catalan, as it has a double and untranslatable meaning. Sons, is the plural of both sound and sleep. Both concepts have an internal conceptual dualism of material and ideal; solid and volatile. Sounds are produced by the percussion of solid bodies, which produce material vibrations, but which are received in a spiritual form. Sleep sees a detachment of the normal harmony between body and mind, and produces what we call dreams.
Escola Massana de Barcelona ⋅ Raquel Rivero Làzaro ⋅ Sabinone
The Sabinone is a work with which Raquel Rivero Làzaro wishes to give the territory's identity a chromatic interpretation.
The title is a play on the words Sabina and Patone (the US company that process the graphic industry standard colour identification system).
Through the abstraction of certain photos taken during the first visit to the Sabina, the artist obtained a spread of the Sabina's colours. From this chromatic scale, monochromatic panels were printed and installed like a giant fan; a colour chart of the Sabina
The Sabinone is a work with which Raquel Rivero Làzaro wishes to give the territory's identity a chromatic interpretation.
The title is a play on the words Sabina and Patone (the US company that process the graphic industry standard colour identification system).
Through the abstraction of certain photos taken during the first visit to the Sabina, the artist obtained a spread of the Sabina's colours. From this chromatic scale, monochromatic panels were printed and installed like a giant fan; a colour chart of the Sabina
Escola Massana de Barcelona ⋅ Selva Aparicio Altuna ⋅ Offerta
Selva Aparicio Altuna's installation uses hundreds of olive stones and gold leaf. With this artwork, the fruit of months of patient work, the artist shows the duplicity of the olive's worth for the Sabina: both nutritional rich and an artistic treasure. The olive embodies this ambiguity and the artist shows this by only lacquering one of the stone's sides in gold. All the stones have a hole in the centre, so they can be used to form a mesh. This mesh, gold on one side and the stones exposed crust on the other, will be backlit, like a double-faced curtain, in front of one of the Torre Ugonesca's windows.
Selva Aparicio Altuna's installation uses hundreds of olive stones and gold leaf. With this artwork, the fruit of months of patient work, the artist shows the duplicity of the olive's worth for the Sabina: both nutritional rich and an artistic treasure. The olive embodies this ambiguity and the artist shows this by only lacquering one of the stone's sides in gold. All the stones have a hole in the centre, so they can be used to form a mesh. This mesh, gold on one side and the stones exposed crust on the other, will be backlit, like a double-faced curtain, in front of one of the Torre Ugonesca's windows.
Escola Massana de Barcelona ⋅ Victoria Torres ⋅ Salarium
The artist produces ingots of salt, cooked in the oven, which are exhibited like a treasure in a vitrine of the archaeological museum of Fara in Sabina, along the salt road that brought much economic and cultural richness to the territory.
Victoria Torres's work was born in the moment that its location was chosen: the museum connotes the creation of a worth removed for the objects intrinsic properties. It is this effect of museumification that the artist wishes to utilize in Salarium, a mechanism to give a sense of the importance of salt in the culture of the Sabina.
Salt is an element that must enter into the history that the Sabina must conserve and emphasize.
The artist produces ingots of salt, cooked in the oven, which are exhibited like a treasure in a vitrine of the archaeological museum of Fara in Sabina, along the salt road that brought much economic and cultural richness to the territory.
Victoria Torres's work was born in the moment that its location was chosen: the museum connotes the creation of a worth removed for the objects intrinsic properties. It is this effect of museumification that the artist wishes to utilize in Salarium, a mechanism to give a sense of the importance of salt in the culture of the Sabina.
Salt is an element that must enter into the history that the Sabina must conserve and emphasize.
Escola Massana de Barcelona ⋅ Jaime Genovard Colomer ⋅ Stanislav Dravoneg
This techno-rural installation sees the reconstruction of the studio of a character named Dravoneg Stanislav. The sense of chaos is not only due to the accumulation of a large amount of heterogeneous material, but it is also a result of the desired confusion, subtly reproduced by the artist, between documentation and fiction, reality and artifice.
Objects from the Sabine countryside are interspersed with technological devices, but often that which conserves a traditional aura of originality does so through an able manipulation of technology. What does it mean today to live traditionally? Memory, culture and communication mix, making it hard to give an answer.
This techno-rural installation sees the reconstruction of the studio of a character named Dravoneg Stanislav. The sense of chaos is not only due to the accumulation of a large amount of heterogeneous material, but it is also a result of the desired confusion, subtly reproduced by the artist, between documentation and fiction, reality and artifice.
Objects from the Sabine countryside are interspersed with technological devices, but often that which conserves a traditional aura of originality does so through an able manipulation of technology. What does it mean today to live traditionally? Memory, culture and communication mix, making it hard to give an answer.
Escola Massana de Barcelona ⋅ Jordi Lòpez Soldevilla ⋅ Olio in Sabina
In one of the rooms of the Torre Ugonesca there is only one window from which light enters. The Spanish artist uses this opening, inserting a double glass panel, filled with oil from the Sabina.
The result is a diffused yellow light that fills the room, in the same way that the importance of oil is diffused in the Sabina.
Placed between the sun and the room, the artist's intervention is a threshold between the internal and external and, if we consider the rose window of a church, it becomes the threshold between the earthly and the transcendental.
In one of the rooms of the Torre Ugonesca there is only one window from which light enters. The Spanish artist uses this opening, inserting a double glass panel, filled with oil from the Sabina.
The result is a diffused yellow light that fills the room, in the same way that the importance of oil is diffused in the Sabina.
Placed between the sun and the room, the artist's intervention is a threshold between the internal and external and, if we consider the rose window of a church, it becomes the threshold between the earthly and the transcendental.
ARTWORKS 2010 ⋅ Real Academia de España en Roma
Real Academia de España en Roma ⋅ Jaime Conde-Salazar - Francisco Villar ⋅ Still alive. A project by Doris Sterling and Dr. Rigon
The work is a collaboration between Jaime Conde-Salazar and Francisco Villar, a performance artist and a photographer, who have in common the construction of narrative and fiction.
Their project for 20eventi is based on the discovery of some clues to the disappearance of a fictional character: Doris Sterling. Sterling is an American conceptual artist who, following an artistic crisis, decides to return to painting in the cradle of western civilization: the Sabina. Bewitched by the landscape, she soon loses herself within it.
A few weeks later, her assistant (Dr. Rigodon) receives and develops the negatives. The photos are still lifes featuring Doris Sterling's personal possessions, who, on opening day, is declared missing.
Real Academia de España en Roma ⋅ Amaya Bombìn ⋅ No Titled
A long rocky wall of an ex-quarry, along the road that leads from Toffia and Fara Sabina to Farfa, painted entirely red.
The strong visual impact acts on the perception of who passes, inducing reflection and the intuition of utopian scenarios. The unexpected chromatic glare offered by the artist to ordinary travellers, more so than 20eventi visitors, puts their imagination into motion, which will try to fill the red space with intimate projections.
The paint used is not harmful for the environment and will disappear after a few weeks.
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A long rocky wall of an ex-quarry, along the road that leads from Toffia and Fara Sabina to Farfa, painted entirely red.
The strong visual impact acts on the perception of who passes, inducing reflection and the intuition of utopian scenarios. The unexpected chromatic glare offered by the artist to ordinary travellers, more so than 20eventi visitors, puts their imagination into motion, which will try to fill the red space with intimate projections.
The paint used is not harmful for the environment and will disappear after a few weeks.
Real Academia de España en Roma ⋅ Yolanda Del Amo ⋅ Camera Obscura
Yolanda Del Amo is a Spanish artist based in New York. As a photographer, she felt that no prints I would hang on the walls of Toffia would be able to compete with the powerful landscape outside; therefore she decided to create build a Camera Obscura in one of the rooms of 33officinacreativa cultural center, in order to create a dialogue between the exterior and the interior space.
Yolanda Del Amo is a Spanish artist based in New York. As a photographer, she felt that no prints I would hang on the walls of Toffia would be able to compete with the powerful landscape outside; therefore she decided to create build a Camera Obscura in one of the rooms of 33officinacreativa cultural center, in order to create a dialogue between the exterior and the interior space.
Real Academia de España en Roma ⋅ Juan Faubel ⋅ Urban Splendour
Juan Faubel's work is a large-scale photograph taken after an installation work near Toffia. The installation saw the insertion of small but significant urban materials directly into the landscape. The country path is turned into a motorway through the juxtaposition of the small bits of glass, which represent road markings, and the natural environment.
A natural element like glass, used in metropolises and by the media, becomes the bridge between nature and the lights of the city.
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Juan Faubel's work is a large-scale photograph taken after an installation work near Toffia. The installation saw the insertion of small but significant urban materials directly into the landscape. The country path is turned into a motorway through the juxtaposition of the small bits of glass, which represent road markings, and the natural environment.
A natural element like glass, used in metropolises and by the media, becomes the bridge between nature and the lights of the city.
Real Academia de España en Roma ⋅ Santiago Morilla ⋅ Il pesce trascendente ⋅ Gioco Mostruoso
Santiago Morilla's intervention in Farfa consists of seven affiches inside the windows along the internal courtyard of the Abbey. The location is simultaneously a centre of meditation for religious people and of relaxation for tourists. Santiago Morilla, who often deals with contamination in his street art style, has realized a series of hybrid fish-men. These figures identify a link between religion and the symbol of the fish, as well as the mixture of traditions between the fish in Christianity and the exotic provenance of the goldfish that swim in the fountain.
Santiago Morilla proposes to have a game of football, a friendly match between mixed teams of artists, organizers and inhabitants. The game will take place on Montopoli's sports ground in the afternoon of the 19th of May. For this date, the artist will have realized a chalk drawing on the pitch that will be visible only from above. In fact, the match, and the drawing's subsequent rubbing out, will be recorded from above.
Santiago Morilla's intervention in Farfa consists of seven affiches inside the windows along the internal courtyard of the Abbey. The location is simultaneously a centre of meditation for religious people and of relaxation for tourists. Santiago Morilla, who often deals with contamination in his street art style, has realized a series of hybrid fish-men. These figures identify a link between religion and the symbol of the fish, as well as the mixture of traditions between the fish in Christianity and the exotic provenance of the goldfish that swim in the fountain.
Santiago Morilla proposes to have a game of football, a friendly match between mixed teams of artists, organizers and inhabitants. The game will take place on Montopoli's sports ground in the afternoon of the 19th of May. For this date, the artist will have realized a chalk drawing on the pitch that will be visible only from above. In fact, the match, and the drawing's subsequent rubbing out, will be recorded from above.
ARTWORKS 2010 ⋅ FROSINONE
Real Academia de España en Roma ⋅ Dalila Carcasole ⋅ 1924
Two videos by the artist are projected onto the hemispheres of a suspended sculpture that represents the brain, interviewing the guests of Montopoli's retirement home "Santa Maria degli Angeli".
The work, with discretion, looks into the loss of memory. The artist has developed an idea originally based on the evanescence of her grandfather (born in 1924), transposing it onto the collective memory. From the collective loss of memory a background of recurring motifs are collected, that connect the various memories interspersed with touching personal experiences.
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Real Academia de España en Roma ⋅ Cristian Rizzuti ⋅ L'invisibile
L'invisibile (the invisible) is a site-specific performance that consists of a real-time video projected in the apse of a late Romanesque structure. A narrative voice interprets a text that generates, through the sounds, images of synthesis in real-time.
The lit spherical surface interacts with the spherical surface of the eye becoming its background and evoking a bijective correspondence between spirit and reality. A short-circuit is created between the possible and the impossible: the eye as a window on reality and door to the soul.
L'invisibile (the invisible) is a site-specific performance that consists of a real-time video projected in the apse of a late Romanesque structure. A narrative voice interprets a text that generates, through the sounds, images of synthesis in real-time.
The lit spherical surface interacts with the spherical surface of the eye becoming its background and evoking a bijective correspondence between spirit and reality. A short-circuit is created between the possible and the impossible: the eye as a window on reality and door to the soul.
Real Academia de España en Roma ⋅ Katia Aversa - Giuseppe Sarra ⋅ La forma della Vacuna
La forma di Vacuna is a sound video-installation inspired by the mythology of the goddess of rural leisure venerated by the Sabine people. With this work the two artists propose a revaluation of the ecological message of the Sabine pagan cults, renewing them and freeing them from legend. They filmed during excursions along Farfa river. During the videos projection, the viewer feels immersed in a dreamlike journey of chromatic and acoustic nuances, in a nature that has become art. A kind of spiritual exercise; it is not meditation or thought, it does not start from within, but that is where it arrives.
La forma di Vacuna is a sound video-installation inspired by the mythology of the goddess of rural leisure venerated by the Sabine people. With this work the two artists propose a revaluation of the ecological message of the Sabine pagan cults, renewing them and freeing them from legend. They filmed during excursions along Farfa river. During the videos projection, the viewer feels immersed in a dreamlike journey of chromatic and acoustic nuances, in a nature that has become art. A kind of spiritual exercise; it is not meditation or thought, it does not start from within, but that is where it arrives.
Real Academia de España en Roma ⋅ Paola Cappabianca - Marco Fratarcangeli ⋅ Infinity
The work is located in a pre-existing architectural space in the Torre Ugonesca, an unusual place for the exhibition of an artwork, a trapdoor at the top of a spiral staircase.
The work is a game of mirrored lights that return a sense of infinity to human perception. This infinite is generated by man himself, who recreates it from a few visual elements, in what psychologists call spatial compensation. The fact that this perceptual opening takes place in an unexpected place increases the impact of the work.
The work is located in a pre-existing architectural space in the Torre Ugonesca, an unusual place for the exhibition of an artwork, a trapdoor at the top of a spiral staircase.
The work is a game of mirrored lights that return a sense of infinity to human perception. This infinite is generated by man himself, who recreates it from a few visual elements, in what psychologists call spatial compensation. The fact that this perceptual opening takes place in an unexpected place increases the impact of the work.
Real Academia de España en Roma ⋅ Sara Ciuffetta ⋅ Piazza sosta del Pensiero
The artist will exhibit geometric volumes, ordered by harmonic proportion, in one of Fara Sabina's squares.
Sara Ciuffetta's intervention in this public spaces aims to give a new sense to both the square (alleviating frenzied movement) and to painting (transposing monochrome technique into three dimensions).
The aim is to construct a place of mental and visual respite for the viewer. The traditional superficiality of the monochrome changes if applied to parallelepipeds ordered in space. This technique contributes to giving a sense of clarity to a true sosta del pensiero (place to rest your mind).
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The artist will exhibit geometric volumes, ordered by harmonic proportion, in one of Fara Sabina's squares.
Sara Ciuffetta's intervention in this public spaces aims to give a new sense to both the square (alleviating frenzied movement) and to painting (transposing monochrome technique into three dimensions).
The aim is to construct a place of mental and visual respite for the viewer. The traditional superficiality of the monochrome changes if applied to parallelepipeds ordered in space. This technique contributes to giving a sense of clarity to a true sosta del pensiero (place to rest your mind).
Real Academia de España en Roma ⋅ Avelino Sala ⋅ Poetica della fuga
Avelino Sala's work is articulated on various levels and moments, all revolving around Ezra Pound. A supporter of the fascist regime, and considered a traitor by his American countrymen, in 1943 Pound fled from Rome. Heading north, along the via Salaria, he stopped in Fara Sabina.
This multilayered work on his escape is made up of various parts, amongst others: a marble plaque commemorating his stay in Fara Sabina, a video installation of a fascist march done backwards in an olive field and a poetry performance on opening day.
Avelino Sala's work is articulated on various levels and moments, all revolving around Ezra Pound. A supporter of the fascist regime, and considered a traitor by his American countrymen, in 1943 Pound fled from Rome. Heading north, along the via Salaria, he stopped in Fara Sabina.
This multilayered work on his escape is made up of various parts, amongst others: a marble plaque commemorating his stay in Fara Sabina, a video installation of a fascist march done backwards in an olive field and a poetry performance on opening day.
Special Guest 2010
Special Guest ⋅ Sergio Baldassini ⋅ Il volto di Dio
Sergio Baldassini's work takes the form of a small sacred site for the practice of the cult of market. Sixteen photos of gallerists are exhibited like religious icons, accompanied the negative responses to proposals of collaboration.
The project is a provocative intervention that not only denounces the limits and paradoxes of the art market, but also allows us to perceive gaps of transcendence in the web of teasing.
In reproducing the negative responses to the public the artist parodies a hagiographic operation and the tragic loss of God.
Special Guest ⋅ Officina Creativa 33 ⋅ Il peso della memoria
In the progressive renovation of the San Bardino complex, 33officinacreativa is working on a small forgotten communal archive. Over the years numerous artists have been inspired by this place. Identity cards, official gazettes, stamps and beautiful books make up a journey in the past.
Il peso della memoria (the weight of memory) wishes to be an installation that concludes their work. Folders become bricks of historic memory, used in a new construction. A re-elaboration of concrete objects of the past that become living matter with which to imagine the future.
In the progressive renovation of the San Bardino complex, 33officinacreativa is working on a small forgotten communal archive. Over the years numerous artists have been inspired by this place. Identity cards, official gazettes, stamps and beautiful books make up a journey in the past.
Il peso della memoria (the weight of memory) wishes to be an installation that concludes their work. Folders become bricks of historic memory, used in a new construction. A re-elaboration of concrete objects of the past that become living matter with which to imagine the future.
Special Guest ⋅ Radice di 3 ⋅ Vuoti di memoria
The artistic duo, who have been producing interactive installations for years, put a large-scale intervention to the test in Fara Sabina. With a ballot box, a polling booth and a large quantity of glass bottles, they will stimulate the memory and creativity inherent within every visitor. In Vuoti di memoria (voids of memory) the technological interactivity of many of their previous works is put to one side in favour of a more human interaction, which addresses the intimate aspect of personal memories and their objectification.
In giving each bottle the "20eventi seal of quality", they make light of the mechanisms of the valuation of contemporary art, all too often reduced to simply being goods.
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The artistic duo, who have been producing interactive installations for years, put a large-scale intervention to the test in Fara Sabina. With a ballot box, a polling booth and a large quantity of glass bottles, they will stimulate the memory and creativity inherent within every visitor. In Vuoti di memoria (voids of memory) the technological interactivity of many of their previous works is put to one side in favour of a more human interaction, which addresses the intimate aspect of personal memories and their objectification.
In giving each bottle the "20eventi seal of quality", they make light of the mechanisms of the valuation of contemporary art, all too often reduced to simply being goods.
Special Guest ⋅ Tine Fehr ⋅ Essenza
Tine Fehr is a German artist who lives and works in Milan, her work consists of a video installation and photographs, exhibited in one of the rooms of the archaeological museum of Fara Sabina.
Geometry and sensuality are the characteristics of an unordinary artistic path that crystallizes and sublimates the most fascinating matter: the origin of life.The rigidity of framing evaporates on contact with the subject, and reveals an explosion of generous forms, made of contrasts and colours.
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Tine Fehr is a German artist who lives and works in Milan, her work consists of a video installation and photographs, exhibited in one of the rooms of the archaeological museum of Fara Sabina.
Geometry and sensuality are the characteristics of an unordinary artistic path that crystallizes and sublimates the most fascinating matter: the origin of life.The rigidity of framing evaporates on contact with the subject, and reveals an explosion of generous forms, made of contrasts and colours.