Statistics
We looked inside some of the posts by ilarianv and here's what we found interesting.
Average Info
Notes Per Post
89
Likes Per Post
48
Reblog Per Post
40
Reply Per Post
0
Time Between Posts
3 months ago
Number of Posts By Type
Text
5
Photo
11
Quote
1
Last Seen Tumblr Blogs
Fun Fact
Premium Tumblr themes are available from anywhere between $9 to $49.
Text
Martina Brembati. Quando non c’è lavoro... come passare il tempo?
Harlem Room 6.10 - 24.11.2016
In occasione della mostra di Martina Brembati, Harlem Room si trasforma in vera e propria officina con il piano da lavoro, una sfilza di tubi in ferro e ottone, una ritmica di forme cilindriche e quadrate, un compressore. L’installazione sonora e le proiezioni video instaurano continui rimandi con il solido dalle tonalità grigie dello spazio espositivo il quale, preservando la memoria dell’autorimessa dotata di porta basculante, è concepito come laboratorio per la sperimentazione e creazione.
Il fare artistico di Martina Brembati nasce in maniera quasi spontanea dal suo relazionarsi con lo spazio circostante, da un’immersione fisica e sensoriale in un luogo del quale coglie una miriade di sfumature diverse. Questo aspetto è particolarmente evidente in Quando non c’è lavoro… come passare il tempo? una serie di lavori complementari che prende forma e consistenza durante una di quelle visite all’officina paterna che sin da bambina era solita frequentare. L’artista si appropria dell’ampio spazio con i portoni monumentali percorrendolo, riempiendo ogni anfratto con un urlo che rimbomba nell’aria e torna indietro carico di messaggi. Soffia in tubi metallici in attesa di essere scartati o trasformati da mani forti e sapienti, scoprendone una voce primordiale. L’ambiente lavorativo, gli attrezzi si caricano così di nuove valenze ludiche e di svago.
Ilaria Déspina Bozzi
http://www.harlemroom.it/2016/09/martina-brembati-quando-non-ce-lavoro-come-passare-il-tempo/
0 notes
Text
Gianni Moretti. Studi per la biblioteca di ghiaccio e di sale
Harlem Room, aprile 2016
I cinque monotipi presenti in mostra si riferiscono a un progetto installativo realizzato negli spazi del Centro Arti Opificio Siri (CAOS) di Terni ed esposto al pubblico nel periodo dicembre 2015 - febbraio 2016.
Impalpabili e volatili nella loro consistenza di carta velina, le cinque xerografie implodono di un’energia quasi magnetica, misteriosa. Forme circolari dorate, come oculi aperti su un’altra dimensione, emergono dallo sfondo nero dell’inchiostro tipografico che a tratti lascia intravedere la doratura sottostante del velo cartaceo. Ampie aree della figurazione all’interno del soggetto circolare sono state volutamente tralasciate dall’artista. Solo dopo un’analisi attenta iniziamo a riconoscere forme precise e note che ci rimandano a figure umane, inerti e sbiadite. Il rapporto visibile-invisibile, di qualcosa che si rivela a poco poco attraverso un nostro allenamento percettivo, è una costante dell’intera poetica dell’artista.
I lavori qui esposti nascono da una riflessione sulla memoria, attraverso l’utilizzo di una serie di immagini appartenenti a la “Topografia del Terrore”, centro di documentazione berlinese sul nazismo. Proprio le riproduzioni di queste fotografie diventano l’oggetto di un lungo processo di stampa dai molteplici passaggi scanditi nel tempo: la preparazione del supporto, l’inchiostrata, la repulsione tra sostanze grasse e acqua, l’imprimersi dell’inchiostro tramite la pressione del torchio sulle veline. Abilità tecnica e manualità che non limitano bensì accrescono e nutrono il processo conoscitivo e di formalizzazione messi in atto dall’artista.
Ilaria Déspina Bozzi
http://www.harlemroom.it/2016/04/gianni-moretti-studi-per-la-biblioteca-di-ghiaccio-e-di-sale/
http://www.giannimoretti.com/
1 note
·
View note
Text
Budapest. A place for young artists
11.12.2014
Judit Lilla Molnár is a very interesting young Hungarian artist, student at the Hungarian University of Fine Arts and member of The Studio of Young Artists’ Association (SYAA) in Budapest. The SYAA is an independent organization which aims to facilitate the emergence and the work of its members in the cultural and artistic life. The last collaboration between the SYAA and Judit is in Protekt, a reflection on the many parallel narratives of Hungarian society.
We asked Lilla about the Hungarian art education and situation, her past works and upcoming plans and perspectives.
You are still attending the Hungarian University of Fine Arts in Budapest. Do you think that the University is helpful to introduce artists in the art market?
My answer to the question is partly yes and partly no. In many ways, we have an advantage over the rural schools of Art, because we are in the capital city, but we do not get help from the university specifically. Perhaps the possibility of networking is the biggest advantage that the university provides us with, and there are some platforms where the curators and gallerists may find artworks. Of course the most important of these is the diploma show, but the end of the year exhibitions are also quite popular.
Tell us about your work as an artist. Do you recognize any development in style and poetic lately?
My artistic interest is motivated by conceptual art and it is often critical too, which is always based on personal observations. In my opinion the presence of a personal tone besides the message, being hidden or direct in the work, is essential. I can’t classify my artworks into one style either, since I choose the right technique and media to the theme. However, I always try get inspiration from life, so a significant part of my works are socially sensitive.
You have just taken part in “Protekt” at the SYAA. Can you talk about the exhibition and the presence of your work?
This exhibition deals with a very important subject, and I am happy to be a part of it. The curators Vanda Sárai and Ferenc Margl have created an exhibition, which reflects to diversification of Hungarian society and to the conflicting irreconcilable narratives. However, it avoids the one-sided political approach. My two works; the Playground and the Silence raise the issues of education policy and existential questions in the exhibition. I don’t want to give answers and solutions to these problems of the Hungarian society, I just would like to draw attention to their importance.
What is your relation with the Studio of Young Artist Association? How did you know them and what do you think about their organization?
I am a junior (under 35) member of the association since 2012, and I applied for more exhibition possibilities here. Several of my friends are also among the members, so I knew the Studio by them primarily, but the SYAA is a very important helpful community to the entrant young artists, so of course I heard about it earlier. In addition, it offers many tender opportunities for members and it plays a serious role in shaping the community.
Can you explain the situation of the Hungarian young artist? What kind of difficulties or opportunities do they have in Budapest?
It seems to me that today is a difficult time for the young artists in Hungary. After graduation, they grapple with the fact that their diploma is good for nothing, but somehow they have to earn money for the costs of living. Moreover, they must create artworks, as well. The art market does not guarantee a secure livelihood, not even for those, who managed to contract with a commercial gallery. They mostly cannot count on state support in the current situation of cultural policy. Nevertheless, anyone who wants to survive, must create and at least it stays in Budapest. Here you can get a better chance of a job opportunity, and you can keep in touch with people in the art world better than in the provinces.
Do you have any plans for the future? Are you going to continue your work in Budapest or you want to try others working experience abroad?
After getting my degree in painting I want to fulfill a one-year teacher training at the university, maybe I can get a better chance to find a job with this qualification. And I want to apply for more tenders. I really like to live in Budapest, so I don’t intend in any way to move back to my parents in Eastern Hungary, but I would like to try other working experiences abroad too. The different residency programs provide a good opportunity for which I will be sure to apply.
You can keep yourself updated about her most interesting works by following her blog (http://molnarjuditlilla.blogspot.hu/) and know more about Protekt and the upcoming exhibition of the SYAA here: (http://studio.c3.hu/en/).
Federica Benvenuto Ilaria Déspina Bozzi
https://lostandfoundinbudapest.wordpress.com/2014/12/11/budapest-a-place-for-young-artist/
0 notes
Text
Experiencing Art Market Budapest
12.11.2014
Art Market Budapest, established in 2011, has become a usual meeting point for contemporary art in Budapest. The Fair’s aim is to introduce the younger generation of galleries to the so-called ‘Young Europe’.
The first thing that we noticed when we visited the fair was its beautiful location – it is located at Millenáris Park in mid-October in Buda. In the park there are several buildings, used for cultural events and other activities. Before entering the exposition hall we unexpectedly got surrounded by large-scale sculptures which where installed in the garden. We were both glad and surprised to discover that the admission was free for everyone. The space was quite huge and all the stands were well-arranged and divided in two sections, the art section, and the one dedicated entirely to Photography.
In spite of the massive presence of galleries, we honestly expected a more international participation for an Art Fair which is theoretically focused on an international panorama. In fact, the main area of interest was the Eastern European, but it still worked good this way, because it was important to be aware of Eastern Europe’s Art. Looking for something that could catch our gaze, we walked through paintings and sculptures, and found ourselves struck in kitsch artwork. We burst into laughter at the sight of the weird assemblage of Rococò tea-cups and tea-pots kept together with rose and turquoise silicone used as whipped cream. All of a sudden we remembered that one of the talks organized by the art fair had already started, so we rushed to the conference hall. We loved the speech about the link between periphery and centre in the international market and the importance of the promotion and the training of professionals in the field of arts.
We left Art Market Budapest drinking a cup of hot wine in the Millenáris Park, with an abundance of images and inspirations in our mind as we chatted about the overall experience. We agreed on the significance of the event, especially for art lovers and students, and increasing its publicity was what we thought most important to reach a wide audience.
So, do not miss Art Market Budapest the next October, a refreshing fair full of potentiality to grow even more.
Federica Benvenuto Ilaria Déspina Bozzi
https://lostandfoundinbudapest.wordpress.com/2014/11/12/experiencing-art-market-budapest/
0 notes
Text
A jump to the Chinise market
19.10.2014
I have been here in Budapest for one month. Time passes in a blink of an eye and space is still a floating substance, where a place is not linked to another one. Nothing is steady but dynamic. I found a nice coffee bar with a garden in my neighborhood and then it just disappeared to show up in another spot!
In this chaos, my city map is always in my bag. I use this map so often that it’s tattered with many big crosses corresponding to something I found interesting: the Brody Studios in Vorosmarty utca, the Capa Center in Nagymezo utca, the goulash of Kasimir, La Pizzica near the Opera where you can eat really good pizza.
Looking at my Lonely Planet’s map I realized that there are several signs concentrated in the same parts of the paper. It’s like some little islands of well-known spots floating in a sea of blank, un-know places. This reminds me of the Situationist avant-guarde movement by Guy Debord and his dérive, the art of wandering through urban space and the effects of the geographical environment on the emotions of individuals.
Isn’t it true that a place is not only a mix of beautiful buildings, statues and bridges, but first of all is an emotional place?
So on a sunny morning I decided to have my own dérive, at one of those not scribbled portions of my map. I randomly chose a point in the south of Pest, I checked it out on the web and found out that there was a Chinese market in that area. Walking away from the downtown, the landscape was different. No more Art Nouveau buildings and majestic churches, but wide streets with lot of traffic! The enormous Chinese market is located in an industrial area with decaying and abandoned buildings, but still incredibly fascinating. On the other side, the merchandise has no charm! I felt overwhelmed by an infinite amount of useless plastic stuff and ugly clothes. I tried to bargain for a pot but I gave up very soon. I didn’t feel comfortable in that place but, finally, I put my nose inside a shop with traditional Chinese food and natural medicines. I spent 2 hours there smelling different kind of tea, spicy powders…
My dérive brought me a delicious and incredibly cheap dinner with noodles and spring rolls, two jars of tiger balm for this winter, and a new cross on my “emotional” map.
Ilaria Déspina Bozzi
https://lostandfoundinbudapest.wordpress.com/2014/10/19/a-jump-to-the-chinese-market/
0 notes
Quote
227. Della natura de' colori de' campi sopra i quali campeggia il bianco. La cosa bianca si dimostrerà più bianca se sarà in campo più oscuro, e si dimostrerà più oscura se sarà in campo più bianco; e questo ci ha insegnato il fioccar della neve, la quale, quando noi la vediamo nel campo dell'aria, ci pare oscura, e quando noi la vediamo in campo d'alcuna finestra aperta, per la quale si veda l'oscurità dell'ombra di essa casa, allora essa neve si mostrerà bianchissima; e la neve d'appresso ci pare veloce, e la remota tarda; e la neve vicina ci pare di continua quantità, ad uso di bianche corde, e la remota ci pare discontinuata.
Leonardo da Vinci, Trattato della pittura
0 notes
