*CuradurĂa contemporánea*
Curso dirigido a artistas, curadores, museĂłgrafos y gestoras culturales sobre la figura del curador y sus metodologĂas en el ámbito del arte y los procesos sociales.
El programa, compuesto por 5 mĂłdulos semanales de 3 horas cada uno, incluye la asesorĂa personalizada de la docente durante el periodo de las 5 semanas, ejercicios personales y colectivos, clases frontales, cĂrculos de estudio, debates, exposiciones y la escritura de un proyecto curatorial por cada participante.
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Como propuesta polĂtica y utĂłpica de una sociedad futura “Coexistencia, revoluciĂłn” invita a imaginar una nueva identidad colectiva, unida por la lucha contra la explotaciĂłn de todas las formas de vida. El biotariado (Stephen Collis, 2016), es toda existencia considerada un recurso para quienes dirigen y se benefician de la acumulaciĂłn de riqueza, como lo son los seres humanos que son explotados para el trabajo productivo y reproductivo, la mayorĂa de los demás animales y plantas, incluidos los árboles y los ecosistemas de bosques, manantiales y praderas, el agua, el aire, la tierra y los minerales que yacen bajo la superficie.
La exposiciĂłn trasciende los lĂmites de la museografia y se presenta como proyecto curatorial radical que más allá de la representaciĂłn invita a la experiencia directa, a compartir, a convivir.
From the river to the sea is a call to participate in a confrontation in which there are not only bombs and missiles. In a conflict of ideas, culture and art are our weapons. 75 years after the Nakba, Palestinian people live a new challenge, tracing on the map of world history another chapter that speaks of freedom and resistance. This river and this sea belong to all of us, and with them the land that thousands of Palestinians have been defending today and for many years resisting the Israeli occupation. It is time for artists to take their active place in this struggle against imperialism and corporate-state interests in defense of the people and the land.
We want to demonstrate that art is not a mere propaganda tool in the hands of power and to reappropriate this means of expression of dissent and the struggle against economic and cultural hegemony.
Existence/Resistance
curated by Giovanna Maroccolo and Patrick L. Jaimes
Exhibition promoted by fusion Art Center as part of the international conference "The Emergence of the Animal in the Contemporary World: Trust and Distrust in Times of Crisis", 9/10/11 June 2022, jointly organised by Bergische Universität Wuppertal and Universidad Andina Simón Bolivar.
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Fusion Art Center, art residency
“Art as a tool for social and ecological struggles in Chiapas, Mexico”
Curator of the residency, artist in residence Simona Sala
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hear the noise!
Training meetings for artists and curators, for the development of critical thinking, curated by Giovanna Maroccolo
“One of the tricks of the human mind is that once a certain noise is heard constantly and repeatedly, our consciousness starts to force it down into a silence that can easily be ignored or at least be tolerable.”
The phrase quoted above speaks of “noise” as a sort of habit, a succession of stimuli which if listened in a constant and repeated way stop being perceived as sounds, bringing our consciousness to weave them together in a negligible silence.
What if this happens with everything we intend to be our life-system? Our culture, our history, our habits, what we identify as bad and what is tolerable, are not they a texture of information that we have accepted as “normal” and that we take for granted?
If a system is taken for granted, disappearing in our eyes as a separate system, then without its architectures of values and hierarchies, how do you put it into question? It would be like questioning that we exist. What emerges in these cases is only those who disobey, those who do not take for granted what for everyone else is normal, those who question the obvious, who saw something and can not go back. Who is not content to collect data but transforms data into tools.
hear the noise! is the will to bring out all this, in a moment, ours, which requires those who can and want to communicate using the tools of storytelling, curating, art, to observe our time with criticality, to hear that noise and make it feel to others. These meetings will begin in November 2018 and will take place at Neo, the space for artistic generation, headquarters of the Fusion Art Center in Padua.
Click here for the complete program:
http://www.fusionartcenter.it/portfolio/hear-the-noise/
out of the studio
Exhibitions and meetings created to deepen the process of young artists's work curated by Giovanna Maroccolo
Artists: Barbara De Vivi, Valentina Rosa, Yiming He, Xhimi Hoti, Matteo Vettorello.
This is a collaboration between Fusion Art Center and Bevilacqua La Masa Foundation, a historic point of reference in Venice for emerging art in Italy and international artist's residence. The project was created with the aim of bringing attention to everything that in an artist's work precedes the creation of the work, to design an exhibition in which the artifact is not the subject but the process that precedes it.
Today artists and curators find themselves operating in a socio-economic context in which even art and works are forced to adapt to the dynamics of a consumerist market that is always dissatisfied. This very often involves the sacrifice of research and depth, for the benefit of form and fast production.
Changing a system means constructing alternatives and today it is necessary to rethink the dynamics of exchange and value to create new models based on the person, on knowledge, on relationships.
The photos show some moments of the exhibition and related public meetings in which the young artists present their work to the public, curators, galleries, supported by the curator.
Intensive project platform for art innovation, that involve new graduates and their thesis from all fields together with artists, for the development and production of new creative models and the experimentation of different exhibition display.Â
#1 - the expaded states of consciusness
Graduate: Carolina Camurati
Artist: Raluca Andreea Hartea
#2 - the scientific paradigm
Graduate: Alessandro Ferraris
Artist: Ubik Collective (Francesca Sarah Toich, Andrea Santini)
#3 - War and Nomos: Conflict, Space and Law in Carl Schmitt
Graduate: Nicolò Campitelli
Artists: Sara Zanella, Jessica Marangon, Roberta Santi, Livia Rescigno, Marta Brunetti (Marta Bi), Cristiano Polato, Giada Ottone, Serena Gomiero, Gabriele di Benedetto (Akab), Anna Marzuttini, Nilo Australi, Claudia Bernardi
Click here for the complete project:
http://www.fusionartcenter.it/check-me-out/
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A collective project focused on the new digital artistic practices together with the electronic sound and research.
Each exhibition is the result of the work of two artists invited by the curators of the project, for the making of an unpublished scenario and exhibition.
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Artists :
New media artists: Samir Sayed Abdellatef, Alice Palamenghi, Lucrezia Negrini, Valerio Veneruso, Mauro Ferrario, Andrea Vitti, Daniela Di Maro.
I built a canopy for dreams, Lorenzo Passi 2017
curated by Giovanna Maroccolo
Art space Spiazzi, Venice, Italy
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According to psychoanalysis, dream censorship is a function of the psyche that prevents unconscious desires from accessing conscience directly. It is a control mechanism – exerted by the ego and the superego over memories, ideas, and impulses of the unconscious sphere – that forces dreams to conceal themselves through disguise strategies and symbolic representation.
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In the artist, we see the same basic short-circuit that takes place in the dream world, and brings about the symbolic coercion that may be recognized in the works he or she creates. Metal, a material that, in its production, is second only to glass, acts like the superego of the mind in constraining the natural expansion and expression of glass in space and behaving like a censor.
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In this manner, glass, the archetype of all things pure and essential, becomes the representation of the artist’s self, a concrete expression of the desires, impulses and emotions that are exhibited, undisguised and free of indecipherable symbolism, in uncensored dreams.
This cathartic action is no different from that which, in the course of history, all movements of the soul have sought in art; here, however, it becomes highly personal, inasmuch as the artist, from the age of 10 onwards, has had no access to any memory of the dreams that animate his nights.
This is the reason why Lorenzo Passi has built a dream-machine, a mechanical canopy capable of ferrying conscience into what psychology calls the REM phase, during which our brain is in full dream-activity while our body lies paralyzed.
Thus, the exhibition I built a canopy for dreams is articulated in phases, just like the mind when it sinks into sleep. Starting from the the first room, where the entire archive of images and memories is chaotically and fragmentarily composed in space, we move on to a place of rigorous shapes, rising vertically in a manner reminiscent of the architecture of an industrial city. Here, the narration of our existence and of what we are is determined by conventions, ideals, and stereotypes of our times, whence reason is committed to define what is right and censor the more “unacceptable” undertones of our makeup and being.
If we accept that glass is a material capable, like crystal, of emulating the purest perfection, then, likewise, the slightest irregularity, the smallest air bubble will stand out loudly over its smooth and transparent surface, and reshape work into blunder, right into wrong, beautiful into ugly.
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Only in the last room, that of dreams uncontrolled and unaware of the differences between these definitions, is our “Self” free to display all its irregularities and get rid of the distorting tension towards what is beautiful and what is right. This space is separated from the previous two because it requires leaping over a gap that is both physical and psychological. That is exactly why the canopy awaits us here: like a huge brain in full dream-activity, it produces sounds, images, and frequencies – the same that appear in meditation, hypnotic states, intuition, and creative inspiration.
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In this solo exhibition hosted by Spiazzi, glass artist Lorenzo Passi confronts the unconscious dimension that each one of us discovers personally in his or her dreams; furthermore, this dimension deals with social conflict, inevitabily leading the observer’s view-point to rise to a far broader collective level, whence one may be enticed to read the artwork on multiple levels, and engender interpretations stemming from individual experience and memories.