Exhibitions, Italy, Venezia, 01 June 2011
Round the Clock
Collateral event at the 54th Biennale of Venice
Curator Martina Cavallarin
Organization: Di Segno in Segno
The place: Spazio Thetis, Arsenale Novissimo, Venice
june 4 - novembre 27. 2011
Artists invited:
Francesco Bocchini
Ulrich Egger
Eva Jospin
Chiara Lecca
Serafino Maiorano
Gianni Moretti
Maria Elisabetta Novello
Svetlana Ostapovici
David Rickard
Antonio Riello
Matteo Sanna
Wilhelm Scheruebl
Silvia Vendramel
Devis Venturelli
Peter Welz
Round the Clock is a project which starts off from two complementary and intersecting necessities or the incessant and obsessive extension, always open to questions and doubts of contemporary art and the need to live and coexist with a new humanity consisting of greater sensibility for our habitat and a respect to be recovered for the resources and energies of the planet Earth. In this sense,
Round the Clock represents the attempt to have art and sustainable ecosystems dialogue in a choral exhibition by international artists who, through the energetic and inquiring force of their works, establish itineraries and cross over in their attempts. The art exhibition as it is realized in its current form is circular, including title, work, language and visual impact. In these terms, packaging, assembly and reuse are part of the process investigated by the artist from the intellectual point of view as a base for an organic and progressive reflection. This convergence takes place through the analysis of an itinerary which is based on a strong idea, realized using poor instruments. The work is the final part of a complex procedure, narrated by the evocation of objects that are as silent as they are energetic, powerful and subtle, extended by the estranging amplification of “gentle thought”, i.e. an intellectual and conceptual work expressed with modest means: paper, cardboard, ashes, plastic, Plexiglas, iron, stone, copper, steel, glass, water, fabric, earth and light. The media used range from photography to installation, from video to performance, from sculpture to embroidery to earth, for an exhibition that penetrates the emergency of a better liveability, but avoiding the more ordinary display methodologies with a complex, conceived, contemporary, alienating and visibly equally effective chorality. The “24 hours a day” of Round the Clock offer a complete and representative map, as the individual works are a biological machine compressed in a single breath, recovered through a theory of passages inseparably linked to one another, marked by an art that pushes towards the existential condition of reality, succeeding in making the effect and the totality of the whole felt.
Collateral event at the 54th Biennale of Venice
Curator Martina Cavallarin
Organization: Di Segno in Segno
The place: Spazio Thetis, Arsenale Novissimo, Venice
june 4 - novembre 27. 2011
Artists invited:
Francesco Bocchini
Ulrich Egger
Eva Jospin
Chiara Lecca
Serafino Maiorano
Gianni Moretti
Maria Elisabetta Novello
Svetlana Ostapovici
David Rickard
Antonio Riello
Matteo Sanna
Wilhelm Scheruebl
Silvia Vendramel
Devis Venturelli
Peter Welz
Round the Clock is a project which starts off from two complementary and intersecting necessities or the incessant and obsessive extension, always open to questions and doubts of contemporary art and the need to live and coexist with a new humanity consisting of greater sensibility for our habitat and a respect to be recovered for the resources and energies of the planet Earth. In this sense,
Round the Clock represents the attempt to have art and sustainable ecosystems dialogue in a choral exhibition by international artists who, through the energetic and inquiring force of their works, establish itineraries and cross over in their attempts. The art exhibition as it is realized in its current form is circular, including title, work, language and visual impact. In these terms, packaging, assembly and reuse are part of the process investigated by the artist from the intellectual point of view as a base for an organic and progressive reflection. This convergence takes place through the analysis of an itinerary which is based on a strong idea, realized using poor instruments. The work is the final part of a complex procedure, narrated by the evocation of objects that are as silent as they are energetic, powerful and subtle, extended by the estranging amplification of “gentle thought”, i.e. an intellectual and conceptual work expressed with modest means: paper, cardboard, ashes, plastic, Plexiglas, iron, stone, copper, steel, glass, water, fabric, earth and light. The media used range from photography to installation, from video to performance, from sculpture to embroidery to earth, for an exhibition that penetrates the emergency of a better liveability, but avoiding the more ordinary display methodologies with a complex, conceived, contemporary, alienating and visibly equally effective chorality. The “24 hours a day” of Round the Clock offer a complete and representative map, as the individual works are a biological machine compressed in a single breath, recovered through a theory of passages inseparably linked to one another, marked by an art that pushes towards the existential condition of reality, succeeding in making the effect and the totality of the whole felt.
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