Categoria: English

Giovanna Pennacchi è lieta di presentare la mostra

L’Archivio del segno. Đanino Božić e Jack Sal

a cura di Manuela De Leonardis

13 – 30 Aprile 2019

inaugurazione alla presenza degli artisti

sabato 13 aprile, 18.30-20.30

 

L’idea intorno a cui ruota il progetto espositivo è l’esplorazione del concetto di archivio come memoria personale (archivio del sé) e collettiva attraverso un approccio concettuale del segno grafico reiterato. Entrambi gli artisti usano un linguaggio in cui è presente la fotografia.

La mostra è anche un’occasione per festeggiare i 25 anni di attività della galleria, alcuni lavori storici di Jack Sal, artista statunitense che proprio all’Acta International, nel 1996, ha presentato la personale Paper / Negatives e dell’artista croato Đanino Božić che espone per la prima volta in Italia l’installazione Self-Portrait e alcune opere della serie Metals.

(M. De Leonardis)

This exhibition revolves around exploring the concept of the archive as a personal memory (archive of the self) and also collective by means of a conceptual approach of repeating the graphic sign. Both artists use a language in which photography is present.

This exhibition also presents an opportunity to celebrate 25 years of the gallery’s activity, some historical works by Jack Sal, an American artist who presented his one-man show, Paper / Negatives, exactly in 1996 at Acta International Gallery and the Croatian artist Đanino Božić, who is exhibiting his Self-Portrait installation and some works of his Metals series in Italy for the first time.

(M. De Leonardis)

Đanino Božić (Pula, Croazia 1961, vive e lavora tra Novigrad/Cittanova e Labinci). Si è laureato presso la Facoltà Pedagogica di Fiume nel dipartimento di arti visuali. Si ocupa di pittura, scultura, installazioni e deisegno. Dal 1984 espone in mostre personali e collettive in Croazia e all’estero.

Tra le mostre recenti: 2015 – Scultori della Mitteleuropa, Spazio Lazzari, Treviso; 2014 – Rencontre Internationale de Painture Tourves; 33° Sculpture symposium “Terra”, Kikinda (Serbia)¸ 2011- Ph6 Koroška galerija Sloven Gradec; 2010 -2014 – Festival vizualnih umjetnosti Arterija Novigrad; 2009-2010 – Moja zemlja Štaglinec; 2008 – Hrvatski trijenale crteža; 2006 – New Delhi, Contemporay Croatian Art; Mediascape Novigrad – Berlin. Tra i numerosi riconoscimenti che ha ricevuto: Rijeka Biennale of Young Artists 1989; International Exhibition of Drawing 2001; Association of Croatian Artists 2001; III Triennale Croata di Disegno, Zagabria 2002. Nel 2012 è stata la prima monografia dedicate al suo lavoro e nel 2013 la sua scultura Fingers è stata allestita nell’Europa Park di Novigrad (Croazia).

Jack Sal è nato a Waterbury (USA) nel 1954, vive e lavora a New York. Nel 1981 l’International Museum of Photography/George Eastman House di Rochester ospita la sua prima personale in un luogo istituzionale. Nel 1986 realizza il ciclo di affreschi nella settecentesca Cappella Gandini (Santa Maria della Maternità) a Montà, Padova e nel 2006 White/Wash II, monumento permanente per le vittime del pogrom del 1946 a Kielce (Polonia).

Tra le mostre personali recenti: 2018 – Photography & Technology, Roonee 247 fine arts gallery, Tokyo; 2016 – Building/Block, Stal Gallery, Muscat (Oman); 2014 – Ring/Rings/Ring, MAC – Museum of Contemporary Art, Lissone; 2011 – O/Ring/O, Stiftung für Medien Kunst und Philosophie, Berlino; in/line ARTCore Contemporary Gallery, Bari; Action/Re/Action, Palazzo Morelli, Todi; De/Portees, IIC of Osaka and Kyoto Museum for World Peace, Ritsumeikan University; Jack Sal. Fotogenic Nan Sen, Roonee 247 Gallery, Tokyo; New Works, SoHo Art Gallery, Osaka; De/Portees, IIC New York; De/Portees, Casa della Memoria e della Storia, Roma;  2009 – Re/Vision, ZONE Contemporary Art, New York. Le sue opere fanno parte di numerose collezioni pubbliche, tra cui MOMA – Museum of Modern Art, New York; Ludwig Museum, Köln; Museum moderner Kunst, Wien; Detroit Institute of Art, Detroit; International Center of Photography/ICP, New York; Museum für Kunst und Gewerbe, Hamburg; Museum of Contemporary Photography, Chicago; Stedelijk Museum, Amsterdam; Bibliothèque Nationale, Paris; Israel Museum, Jerusalem; Baltimore Museum of Art, Baltimore; Center for Creative Photography, Tucson; Kunsthalle, Bielefeld, Bielefeld; Istituto Nazionale per la Grafica, Roma.

La mostra ha il patrocinio della Repubblica di Croazia – Ministero della Cultura e del Muzej – Museo Lapidarium, Novigrad / Cittanova

ACTA INTERNATIONAL

Direzione: Giovanna Pennacchi

dal martedì al sabato, ore 16 – 19,30

via Panisperna, 82/83

00184 Roma

tel 064742005

www.actainternational.it

info@actainternational.it

Giovanna Pennacchi is delighted to present for the first time in Italy The Sleepers Series by Sana Kazi, a work focused on the relationship between photography and miniatures.

The Pakistani artist began by shooting photographic portraits of young subjects (women and men) that she transferred onto sheets of wasli paper, the traditional handmade paper used for miniatures that was prepared beforehand with a layer of ash.

The “sleepers” faces, painted with natural pigments made by mixing various minerals with sand and ground stones, reflect an idea of ​​suspension and the unfinished, which for the artist is conceptually significant, as it allows interaction with viewers that have the freedom to “reconstruct” those faces through their own imagination, according to their own ideas of ​​”truth.”

The aspect of repetition is just as important as it introduces the themes of continuity, harmony, rhythm, the transitory nature of time. Elements that are associated with the spiritual search for eternal love, rooted in collective memory.

In particular, they have a deep connection with the Sufi practice of repeating the name of God and His attributes, known in the Muslim religion as Zikr.

The invocation itself with its rhythm of repetition and its synchronization leads into a state of trance that is beyond space and time.

“Every single portrait gets repeated four times,” Sana Kazi affirms. “In going from passage to passage, it loses its formal consistency. These four stages of the journey are an allegory of the beginning of life, even before the spirit is blown into the womb, followed by birth, by death, and finally by eternal life. The alternation in the cyclical nature of life is shown in a serene transitory state of sleep.”

ACTA INTERNATIONAL

Direzione: Giovanna Pennacchi

dal martedì al sabato, ore 16 – 19,30

via Panisperna, 82/83

00184 Roma

tel 064742005

www.actainternational.it

info@actainternational.it

Giovanna Pennacchi is pleased to present the exhibition

CIELO E ACCIAIO – Photografs by Irene Avaltroni

Manuela De Leonardis, Curator

16 novembre – 15 dicembre 2018

Cielo e acciaio (Sky and Steel) is a selection of twenty color photographs from the body of work that Irene Avaltroni created between the second half of 2017 and 2018, during her site inspection and breaks at work in Aarhus and Copenhagen (Denmark), where the construction of a light rail and a rapid transit system respecti vely are in progress, or during her short return trips to Rome. These images belong to her daily routine as civil engineer and architect with a decided and authentic curiosity toward the photographic language. Mishima, in Sun and Steel, writes: “What I saw was not a subjective illusion but, necessarily, the fragment of a clear collective vision.” Borrowed words (even in the exhibition title) restore the sense of intuitively poetic interior research. “My glance meeting that moving wavering light blue sky, was penetrated for an instant by the pathos of the Creator,” the great Japanese writer writes again. In Avalroni’s shots, steely hardness is declined in the forms of bolts, scaffoldings, bars, armatures, cableways, supports, cranes, catwalks, pipes, hooks, nails, cables, and clamps. They lose their anonymous pride to gain a metaphoric physiognomy. A gentle (but not sugarcoated) eye brings these forms, which sometimes become repeated patterns, transforming them into fleeting visions, yet clearly real. A flowery garden, a suspended tunnel, an abstract vortex: geometries that run after each other, redefining the border of the interior photographic world and whatever surrounds it.

(Manuela De Leonardis)

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