Curated by Fulvio Chimento e Luca Panaro
From 18 March to 7 May 2017, MATA, the new space in Modena devoted to contemporary culture, will host the show EFFIMERA – Sounds, Lights, Visions, curated by Fulvio Chimento and Luca Panaro, exhibiting works by Carlo Bernardini (1966), Sarah Ciracì (1972), and Roberto Pugliese (1982). The opening is scheduled for 18 March at 6 pm. The artists will be present. Admittance is free. The show is organized in collaboration with Modena's Galleria Civica and comes with a rich schedule of collateral events of interest, featuring the exhibiting artists but also thinkers and experts in the field of "art and technology". The show has been realized with the support of Coptip and of Gruppo Fotografico Grandangolo BFI.
Effimera is at its second edition, consistent with the intention stated by its curators in 2016: finding and promoting artists, preferably Italian artist with some international experience, that make the advanced use of technology their signature style. This exhibition aims at a critical investigation of the most recent artistic trends characterized by the "New Media", moments of growth and nation-wide aggregation around key theme such as art, technology, and communication.
In 2016, Effimera found its core in the Web, meant as an instrument of artistic and relational knowledge thanks to the artists that were featured in that edition, like Eva and Franco Mattes, Carlo Zanni, and Diego Zuelli. The 2017 edition, focuses on the analysis of the immaterial component of today's artistic research, exposed (and summarized) within an exhibit tour that also includes the creation of a sensorial journey through recent artistic trends.
In 2017, the curators have divided the 500 sq. m. of MATA into three different spaces: there, the point of departure for the sensorial journey is sound artist Roberto Pugliese's research on sound, whereas the point of arrival are the optical fiber light installations by Carlo Bernardini. Finally, the tour articulates around Sarah Ciracì's fluctuating digital frescoes.
EFFIMERA – Sounds, Lights, Visions is built around an eminently immersive exhibit tour, specifically designed and structured for MATA: three imposing environmental installations, adjacent but separate, mark a linguistic and temporal distinction, but at the same time suggest an idea of continuity within the development of art. The message the curators of the 2017 edition want to convey is: art is a total and totalizing experience that can stimulate the intellect but also jeopardize the senses.
In order to emphasize the specific quality of the approach they opted for, the curators sought to involve artists belonging to three different generations – to the 1960s, 1970s, and 1980s respectively – reflecting an equal number of ways to understand the interaction between art and technology. Effimera's distinctive trait is the investigation of an artwork with a focus on its immaterial components, so to shed light on its intrinsic dimension. Indeed, the production of the artists of the last generation is characterized for its highly ephemeral component, which is connected with their modus operandi, expression of the times we are living in. Not by chance, this initiative is named after that animal species with the shortest life-span on earth: the ephemera, a small aquatic insect similar to a dragonfly whose existence lasts around an hour and a half. Another pillar of Effimera is the consideration that for today's observers, the artwork is no more a unique fact: thanks to technology, any single copy has the same quality of its original, to which its is practically identical.
Fulvio Chimento (b. 1979) has curated more than 30 exhibitions. His interests focus on the various forms of art communication and on the genesis of the creative process. He has devised and launched the art residency “Italia-Oriente” (2012-2015) and the traveling project Ailanto (2016). He is also the curator of Terzo Paradiso,a performance connected to the international project by Michelangelo Pistoletto (2016). In 2014 he published Arte italiana del terzo millennio (Mimesis). He writes for the magazines Inside Art and Espoarte. More info on his website: www.fulvio-chimento.it
Luca Panaro (b. 1975) art critic and curator, teaches at the Accademia di Belle Arti di Brera in Milan. Among his publications: L’occultamento dell’autore (2007), Tre strade per la fotografia (2011), Conversazioni sull’immagine (2013), Casualità e controllo (2014; English trans. 2016), Visite brevi (2015), Photo Ad Hoc (2016). He also published on Enciclopedia Treccani XXI Secolo (2010) and co-curated the multi-volume work Generazione critica (2014-2017), besides a number of catalogues and monographs on contemporary artists. More info on his website: www.lucapanaro.net
Saturday, 25 March, 5 pm: "Arte e tecnologia: dai primi Duemila a oggi", a talk by Fabio Cavallucci, Director of Centro Pecci in Prato.
Saturday, 8 April, 5 pm: meeting with artists Carlo Bernardini, Sarah Ciracì, Roberto Pugliese.
Saturday, 29 April, 5 pm: "Suoni, luci, visioni. Arte e filosofia dell'effimero", a talk by Tommaso Tuppini, Associate Professor of Theoretical Philosophy at the University of Verona.
All the events will feature Fulvio Chimento and Luca Panaro as moderators.
Carlo Bernardini (b. Viterbo, 1966) works and lives in Milan. He has been using optical fiber since 1996. He exhibited at: XII Rome Quadriennale (1996); XX Milan Triennale (2002); Sculpture Space in Utica (NY); la XIV Quadriennale at Palazzo Reale (Naples, 2003). He produced installations at Museu Paço Imperial (Rio De Janeiro, 2004); in Valencia (2008); at the Ciudad De Las Artes Y Las Ciencias, Event Horizon (2007); at Swing Space of New York. In 2009, for Art First, he presented Codice Spaziale in Piazza S. Stefano, Bologna, and invited by D.U.M.B.O. Art Festival in New York, and by Musei della Lombardia for the project Twister at MAM in Gazoldo degli Ippoliti, near Mantua ad at GAM in Gallarate. In 2010 Bernardini realized the large installation for Luci d’Artista in Turin, La Scultura Italiana del XXI sec. at Milan's Fondazione Arnaldo Pomodoro, in Amsterdam, at The Hague, and at Art Light Domaquarée in Berlin. To 2011 date the shows at Berlin's Delloro Art Contemporary, at The Arc Show in London, at Kinetica Art Fair at the University of Westminster, and at MACRO. In 2013 he was invited in London at House Peroni, where he realized the installation Infinity, and in Metz for Nuit Blanche 06 with Submerged Breath at Square du Luxembourg, by the Moselle Canalisée, the river that flows through the city. In 2014, for the city of Prato, in collaboration with Museo Pecci, Bernardini produced the permanent installation called Il Passo della Luce and presented the project Invisible Dimensions for the 4th edition of the Bienal del Fin del Mundo a Mar del Plata and in the Arab Emirates for the 17th edition of the Islamic Art Festival of Sharjah, at the Sharjah Art Museum. In 2015 Bernardini was invited to the Bienal de Curitiba at the Museu Oscar Niemeyer, with the project Invisible Dimensions and, in the same year, he presented Light Transformation at Pop Austin (Texas). In 2016 he realized Dimensioni invisibili for the Terminal 1 of Malpensa airport and the installation of the Global Innovator Conference 2016 at 898 Innospace in Beijing.
Sarah Ciracì (b. Grottaglie, 1972) works and lives between Grottaglie, near Taranto, and Milan.
Her research investigates the consistent ambiguity of antinomies, disseminates doubts, offers suggestions, and provides reflections emerging from the contradictions of the present time, in order to raise questions and expose its aporiae. To describe her visionary world, over the last decade Sarah Ciracì has been using technological apparatuses, electronically-manipulated digital pictures, videos, and installations. Her works are populated by flying saucers and spaceships reinstating stereotypes seen on TV, in movies, Japanese cartoons, and popular sci-fi, and that the artist contaminates with the high language of art. Her more recent production deals with a more delicate equilibrium, where the scientific interpretation of the world flows into spiritual quest. In such a dimension, the evocative import of the scientific theories is imbued with philosophical, literary, and fantastic implications. Sarah Ciracì participated to many collective and solo exhibitions in private galleries and international museums: she took part to Campo 6, curated by Francesco Bonami, Turin (1996); Oh My God is Full of Stars, MACRO, Rome (2004); Intramoenia Extra Art, curated by Achille Bonito Oliva and Giusy Caroppo, Castel del Monte, Bari (2005); Tangent, Aomori Contemporary Art Center, Japan (2007): Apocalittici e integrati, MAXXI, Rome (2007); I paesaggi e la natura dell’arte, curated by Danilo Eccher, Arcos, Benevento (2009). In 2004 she was awarded the New York Prize. In 2013 she presented her video Watershed at Rome's MAXXI and in 2016 she exhibited at Fondazione Museo Pino Pascali in Bari.
Roberto Pugliese (b. Naples, 1982) works and lives in Bari. He earned his B.A. in Electronic Music at San Pietro a Majella Conservatory in Naples, under the guidance of Maestro Agostino di Scipio. He currently teaches Digital Music Systems, Electroacoustic Lab, Informatics, and Sound Art in the same conservatory, but is also a composer and a creator of sound installations. His research is inspired chiefly to two artistic trends: Sound Art and Kinetic Art. He masters software-driven mechanical apparatuses able to interact with each other, with the environment, and the public. Pugliese's goal is to explore new fields of research dealing with phenomena connected to sound and to the analysis of the mental processes that the mind uses to distinguish between innate structures and those of artificial origin. Central to his work is the dichotomy between man and technology, and between art and technology without losing sight the visual and structural appearance of an artwork. So, sound becomes object of extended research and means of expression, pure energy, guiding principle analyzing and stimulating the human perception. He currently teaches Multimedia at the Conservatorio Piccinni in Bari. Among the exhibitions he participated to: Ivy Noise, IED, Madrid (2010); Unexpected Machines, Galerie Mazzoli, Berlin (2011); Gervasuti Mix, omaggio a Cage, Gervasuti Foundation, Venice (2012); Volta NY, New York (2012); Concerto per natura morta, Muse, Trent (2014); [boˈloɲɲa], Villa delle Rose, MAMBO, Bologna (2016).
dates March 18 – May 7, 2017
opening March 18, 6 pm
opening for the press March 16, 11.30 am (visit of the show with the curators to follow)
Thursday to Sunday 11.00 am – 1 pm / 4 pm – 7.30 pm