Autore: Acta International

INCONTRO CON LA NATURA

(WORK OF NATURE)

 

Photographs by Guillermina De Gennaro

curator Manuela De Leonardis

 5-25 febbraio 2022

inaugurazione alla presenza dell’artista sabato 5 febbraio ore 18.30 – 20.30

Fai clic per accedere a CS-INCONTRO-CON-LA-NATURA.pdf

Giovanna Pennacchi is delighted to present the personal exhibition “Incontro con la natura (Works of Nature)” by the artist, Guillermina De Gennaro, curated by Manuela De Leonardis, in collaboration with Misia Arte.

Visitors may access the gallery in compliance with current regulations on measures to combat and contain Covid-19.

Confronting the existential themes of memory, uprooting, travel, returning home and identity, for Guillermina De Gennaro the encounter with nature is inevitable. Her multidisciplinary works include a combination of aspects of a “natural”, anthropic dimension, guardian of secrets and “artificial forcing”, sometimes associated with the experimental music of the artist musician Davide Viterbo. The color photographs in the Ready for Nature series, as part of the Works of Nature project, are precisely the subjective registration of a territorial reality that belongs to everyday life experience. The artist created them during the lockdown, in spring 2020 and then in 2021, on her long walks around her home, along the provincial road that leads from San Giorgio to Triggiano, in the Bari area. Works of Nature, previewed by Misia Arte in Bari, as a side event of the Biarch – Bari International Archifestival 2021, is the evolution of the previous Neonature works and the Inglobe cycle. The inspiration comes, once again, from an inexhaustible source: the reading of Gaston Bachelard’s essay, The Poetics of Space (1957). Another literary reference is the writing of Amitav Ghosh, an author committed to eco-environmental activism. With these literary suggestions, Guillermina De Gennaro rediscovers the awareness of her intimate relationship with the theme of her surroundings, of which nature is an essential part. The very force of nature is a central element in expressing that ability, surviving the human being with his dynamic and creative immanence of adaptation, production, and reproduction, as well as the urgent need to involve the viewer in the feeling and care of a portion of the world.

Manuela De Leonardis

 

Guillermina De Gennaro (Buenos Aires, Argentina vive e lavora a Bari). Nel 1991 si diploma in pittura presso l’Accademia di Belle Arti di Bari. Nel 1993, a Roma, frequenta una scuola di pittura giapponese con l’artista Ikuio Ciba, e successivamente l’Accademia internazionale d’arte di Salisburgo con Tone Fink; si specializza in seguito in Tecnologie della comunicazione formativa e Cromodidattica presso la facoltà di Lettere e Filosofia di Bari. Nel 1996/97 collabora con il Teatro di figura la Casa di Pulcinella nei laboratori d’arte per l’infanzia. Attualmente è nel direttivo artistico del festival internazionale di musica contemporanea Time Zones a Bari. Cura la sezione arti visive della rassegna itinerante Experimenta. All’attività artistica unisce l’impegno sociale occupandosi di inclusione e svantaggio socio-culturale in ambito della didattica e comunicazione dell’arte contemporanea. Tra le mostre recenti: 2021 – Natural Connection Ventoblu Gallery, Polignano a mare (Bari); Work of Nature, testo di Manuela De Leonardis, BIARCH – Bari International Archifestival, Misia Arte, Bari (personale);  Welcome Back, arte urbana nel centro storico di Corato (Bari) a cura di Carmelo Cipriani e Alexander Larrarte; 2019 – Oiseaux, a cura di Domenico Doria, Alliance française, Bari; 2018 – Dimensione fragile, Biblioteca Vallicelliana, Roma; 2017 – Inglobe, a cura di Nicola Zito e La Corte Fotografia e Ricerca, Fondazione Museo Pino Pascali, Polignano a mare, Bari (personale); Festival I libri aiutano a leggere il mondo, Manifattura dei tabacchi, Cagliari; 2014 – L’Arte per la Natura, a cura di Rosalba Branà, Castello di Carovigno e Riserva Naturale di Torre Guaceto, Brindisi; Codici dell’Apocalisse, a cura di Marcello Pecchioli e Lucilla Boschi, Palazzo Grassi, Arte Fiera, Bologna; 2013 – La consolatrice molesta, a cura di Giuseppe Pinto, Galleria Omphalos, Bari (personale); Volver sin Volver, progetto europeo Watershed, a cura di Giusy Caroppo, installazione nel porto di Rotterdam (personale); Arte e Natura sono un Dio bifronte, a cura di Roberto Lacarbonara, Antonio Frugis, Parco Botanico Lama degli Ulivi, Monopoli; 2012 – Test 3, a cura di Anna D’Elia, Echos Gallery, Roma; 2011 – Pino Pascali – Ritorno a Venezia/Puglia Arte Contemporanea, a cura di Giusy Caroppo e Rosalba Branà, Palazzo Bianchi Michiel, evento collaterale della 54. Biennale d’arte di Venezia; 2010 – Sud Generation, a cura di Rosalba Branà, Palazzo Pino Pascali, Polignano a Mare, Bari; Miraggi – Intramoenia Extrart, a cura di Achille Bonito Oliva e Giusy Caroppo, Castello Alfonsino, Forte a mare, Brindisi 2009 – In Phase (La bellezza difficile), a cura di Antonella Marino, Spazio Hair in progress, Bari (personale); A Sud, a cura di Rosalba Branà e Angelo Dellisanti, Palazzo Delli Ponti, Taranto; 2008 – L’altro senso, a cura di Serena Dell’Aira, Museo archeologico, Sulmona (personale); Apulian Rainbow, a cura di Rosalba Branà, National Gallery, Ciftè Hamam, Skopije; Inside, a cura di Lucia Anelli, Torrione Angioino, Bitonto, Bari; 2007 – Fuerza en tus ojos, a cura di Maria Vinella, Museo Nuova Era, Bari (personale), 2006 Adios, Galleria Omphalos (personale), Terlizzi-Bari, a cura di Pietro Marino.

Fai clic per accedere a bio-Guillermina-De-Gennaro.pdf

In collaborazione con Misia Arte Bari

 

Dal 5 al 25 febbraio 2022

ACTA INTERNATIONAL

direzione: Giovanna Pennacchi

via Panisperna, 82-83 – 00184 Roma

dal mercoledì al sabato ore 15,30 – 19,00

info@actainternational.it

www.actainternational.it

Giovanna Pennacchi is pleased to present

Destiny

Lim Young Kyun the Korean photographer’s one-man show,

Manuela De Leonardis, Curator.

4 november-7 december 2021

inauguration in the presence of the photographer

ore 18.30 – 20.30

Lim Young Kyun is exhibiting his work in Italy for the first time. An interpreter of unhurried and meditative photography, Lim Young Kyun is an attentive observer of human nature. In his photography one is always aware of his interest in detail, captured in the immediacy of the moment. The result is a testimony of research reaching beyond appearance, emphasized by using black and white permitting Lim Young Kyun, expert in traditional developing and printing techniques, to control light and shade, darkness, and shades of grey, the basis of his expressive form. In his show Destiny, the Korean photographer is presenting a selection of images from the projects Daily Life Landscape and Nam June Paik 1982-2006: photographs shot in diverse moments and places, particularly in South Korea and in New York, where he lived from 1980 through 1988. At that time his only goal was to make ordinary daily life both extraordinary and precious. For him, photographing was the same as writing a personal diary.

“New York was a vast school” Lim Young Kyun affirms, “Numerous important artists taught me great lessons, as did the museums and galleries.  I remember, when I had just arrived in the autumn of 1980, visiting the Light Gallery, and being profoundly struck by the photography of Arnold Newman. In front of a portrait of Igor Stravinsky I had a sort of auditory hallucination. It was the power of the photograph shot with a very large camera. I learned a lot when I worked as assistant to Alex Kayser, a Swiss photographer who had studied with the legendary Otto Steinert. His way of photographing was very different from what I had learned in Korea where I experienced my first emotions tied to the discovery of photography. But at that time, I was like a scientist obsessed with accuracy, not allowing myself the slightest transgression. In New York I learned to look in another manner.”

In New York, a particularly significant meeting was that with the artist Nam June Paik (Seoul 1932-Miami 2006), the ironic neo-Dada re-elaborator of heterogeneous materials and important video art innovator. We met in 1982 at the Whitney Museum on occasion of one of his surprising, unsettling performance events with the avant-garde cellist Charlotte Moorman. Since then, Lim Young Kyan’s photographs have recounted moments of sharing and esteem: in private locations (the studio of Paik in the New York neighborhood known as SoHo or the portraits of his friends John Cage and Allen Ginsberg) as well as documenting numerous performances, shows and events, all of which had as protagonist the noted artist, culminating in the retrospective The Worlds of Nam June Paik (2000) at the Guggenheim Museum of New York with the performance In Memory of Charlotte Moorman. “From a great artist such as Nam June Paik, I learned the meaning of simplicity and passion. One of the most noted portraits I shot of him was the one where he was looking through a television screen. I took this picture in early summer 1983. It was published on January 1, 1984 in the New York Times. A photograph that expresses my new concept of photography in action.”

Manuele De Leonardis

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Lim Young Kyun (Taegu, South Korea 1955, lives and works in Seoul). After receiving his diploma in Fine Arts at Chung Aug University of Seoul, he completed his studies with a masters at New York University and studying photography at ICP International Center of Photography of New York. From 1983 to 1988 he lived in New York, working as reporter for the Korean newspaper, JoongAng Daily. On his return to Korea, in addition to his professional activities (in 1999 he acted as official photographer during the visit of Queen Elizabeth II) he assumed various academic positions such as adjunct professor at the Department of Photography, New York University New York (1993 2008), Professor of Photography in the Department Photography at Chung Ang University, Seoul (1999
2012) as well as Director of the Department of Education at Daegu Arts University, Daegu (2017 18).
Among his recent exhibitions: 2019 – Nam June Paik, Now Here, 2G1L29 Gallery, Seoul, (solo show):
2018 – Winter Olympics Pyoungchang, Olympic Hall, Korea (solo show); History of Photography,
George Eastman Museum, Rochester, New York; 2014 – A Day with Nam June Paik, Gyoungido
Museum of Art (solo show); In Memory of Nam June Paik, Korean Institute of Culture, Paris (solo
show); 2013 – Camera Work, Seoul Museum of Art; 2012 – Global Visionary, Nam June Paik,
Smithsonian, Washington DC; 2009 – Last Paradise, Photographic Gallery, Tokyo (solo show);
Destiny, Space DA 798, Beijing (solo show); 2007 – Portrait of Nam June Paik, British Museum
London (solo show); 2005 – Portrait of Nam June Paik 1982-2000, Seoul Museum of Art, (solo show).
Among his published books: Nam June Paik, Now Here (2019); Unjusa (with a poem by Jean-Marie
Gustave Le Clezio, 2016); The Antarctica Story (2010); New York Story (2006); Daily Life Landscapes
(2003); Art Vivant (1994); Portraits of Artists, 1980-1993 (1993).
The photography of Lim Young Kyun is represented in many important collections, among which are:
MoMA – Museum of Modern Art, New York; ICP – International Center of Photography, New York;
George Eastman Museum, Rochester, New York; Landesmuseum für Kunst und Kulturgeschichte,
Oldenburg, Germany; Thessaloniki Museum of Photography, Thessaloniki, Greece; National
Museum of Contemporary Art, Seoul; National Museum of Korea, Seoul; Seoul Museum of Art,
Seoul; DMA – Daejeon Museum of Art, Daejeon, Korea.

Giovanna Pennacchi è lieta di presentare la mostra

Plantarium

Fotografie di Giovanni Cocco

a cura di Deanna Richardson

20 maggio – 10 giugno 2021

Inaugurazione alla presenza dell’artista

20 maggio ore 18,30 – 20,30

In collaborazione con Ilex Gallery

In conformità con le disposizioni di sicurezza per il contenimento del COVID-19, l’ingresso in galleria sarà contingentato e sarà obbligatorio indossare la mascherina durante la visita.

Gradita la prenotazione a info@actaintenational.it

La Garbatella e la sua flora rappresentano un segreto di Roma molto ben custodito. Si tratta di un quartiere unico, dal carattere esotico, che ha appena celebrato il centenario dalla sua fondazione (febbraio 1920). Noto per la sua architettura basata sui lotti popolari, costituisce un particolare esempio di edilizia sociale realizzata secondo lo stile del Barocchetto romano e sul modello dell’English Garden City Movement, con edifici di pochi piani e grandi aree verdi condominiali a collegamento del costruito.

Il quartiere è una piccola isola urbana rimasta inimitata, con il più alto rapporto, per l’Italia dell’epoca, tra superficie edificata e spazi verdi “pubblici ma privati” che sono stati, per generazioni di residenti dei lotti, luoghi di socialità e di incontro che ancora vivono solo grazie alla cura degli abitanti.

Da qui la scelta di fotografare le piante, che mostrano un tipo di esotismo estetico, comportamentale, architettonico e legato alla vegetazione di tutto il luogo fisico e che sono il simbolo dell’equilibrio tra pubblico e privato, dell’interazione riuscita tra questi due elementi.

Con la serie Plantarium, Cocco offre uno sguardo di questo tesoro, svelando la flora e la vegetazione del quartiere, i suoi incantevoli spazi verdi. Così facendo, Giovanni Cocco lavora per preservare il suo mistero, mentre prova a dare movimento alle sue nature morte in questa serie.

Deanna Richardson

The Garbatella and its flora are a well-kept Roman secret. It is an exotic and unique neighbourhood – founded in February 1920, so next to its centenary – known for its architecture based on lots, a particular kind of public housing with buildings designed according to “Barocchetto romano” style and to English Garden City Movement model.

The neighbourhood is an un imitated little urban island, with the highest ratio, in Italy of those years, between built-up surface and “private” green spaces, that are, for generations, social sites and still live on only thanks to the care of its residents.

Hence the choice to photograph plants, because they represent a kind of aesthetic, behavioral, architectural and vegetational exoticism of the entire physical place.

With the series Plantarium Cocco offers a glimpse of this treasure as he unveils the neighbourhood flora and vegetations – its enthralling green spaces. In so doing, Giovanni Cocco manages to preserve its mystery while giving movement to still life in this eloquent series.

Biografia

Giovanni Cocco nasce a Sulmona nel 1973. Nel 1998 inizia un progetto a lungo termine sulla vita di sua sorella “Monia”, premiato con il secondo premio all’Emerging Photographer Grant di Burn Magazine – Fondazione Magnum e segnalato dalla giuria del Premio Roger Pic della Scam di Parigi, che gli dedica una mostra in occasione del Mois de la Photo nel 2012. “Monia” nel 2016 vince il PDN Award e riceve il Grant della Reminder Photography Stronghold Gallery, premiato con un’esposizione a Tokyo. nel 2016 diventa un libro. Dal 2007 al 2010 completa “Burladies”, una serie di ritratti sulla vita delle donne nel mondo del Burlesque, con il quale è selezionato per il programma “Mentor” dall’Agenzia Internazionale VII, dove resterà per due anni realizzando reportage per magazine italiani e internazionali. Dal 2013 analizza il fenomeno dello spaesamento “Displacement”, che colpisce gli abitanti di molte città storiche Europee, che si stanno svuotando e spopolando dei propri cittadini a causa del capitalismo. Questo approccio si sta ora evolvendo nell’osservazione della bellezza di questi stessi luoghi, delle persone, dell’architettura, un valore evanescente e fugace della nostra realtà che si sta traducendo fotograficamente in forme concettuali profonde. Nel 2018 partecipa al bando pubblico del comune di Roma “Contemporaneamente” con il progetto “Plantarium, piccolo atlante botanico della Garbatella” all’interno del programma Garbatella Images insieme al fotografo Francesco Zizola a cura di Sara Alberani, esposto nella Galleria Page Blanche di Parigi durante il Mois de la Photo nel 2019. Le sue opere sono esposte in mostre personali e collettive e pubblicate su riviste nazionali e internazionali. Nel 2019 fonda lo studio Dot Grain a Roma dove vive e lavora.

ACTA INTERNATIONAL

direzione: Giovanna Pennacchi

via Panisperna, 82-83 – 00184 Roma

dal mercoledì al sabato 16,00-19,30

Tel +39 064742005

info@actainternational.it

www.actainternational.it