In the exhibition entitled, Nuances, weaver and designer, opened on Friday 28th November, Joanna Louca, presents a collection of hand-woven throws, displayed through a site specific installation at Phytorio (Visual Artists Association), designed especially for this event.
The collection specifically designed and made for interiors, consists of unique, one- off, hand-woven pieces for the home in general. The journey of creation is a sensationally emotional one, a journey in which a harmo- nious combination is at play, balancing perfectly, between an incessant challenge to cross the boundaries of stereotype weaving techniques and restrictions, and a process of creative meditation, in which the weaver’s hands and mind, come together to com- pose a fabric that is pleasing to the human senses.
Unusual and controversial yarns and meticulous, intricate and innovative hand-weaving processes, come together to produce fabrics that vary in weight, colour and texture, from feather-light to felted to quilted and from monochrome, to degraded, to striped.
The collection is inspired simultaneously by the technical challenges faced during production and the abstract ideas that materialize from unexpected sources, like a portrait painting, a poem, a smell, a gesture. Displayed along the length of the space, the individual pieces, come together, in a unified installation, as an interwoven unity, of ever-changing nuances, silently nar- rating a story of subtle distinctions and variations, in colours and texture, that can be experienced through a voyage of physical interactions and sensual stimulations.
~ Each hand-woven throw is labelled with the yarn composition, the size and the price.
To Phytorio, Nehrou 2 , Nicosia Municipal gardens, 1102, Cyprus
Τhe Arab Guggenheim Museum, is the predominant name by which the Hollow Airport Museum has been widely known, emphasizing on the sociopolitical connections of Cyprus, where the Museum is located, with the Middle East and the nearby Arab countries. HAM, which plays the role of a cultural meeting point of the area, emblematically houses its activities at the abandoned International Airport, in the contested zone – the Green Line – that divides the island in two, as a result of a violent and catastrophic war in 1974, between Greek-Cypriot and Turkish military forces.
Airports, airplanes and the cross Atlantic journeys, have been the symbol of progress and evolution from the end of nineteenth until the first half of the twentieth century; but it was only in Kennedy’s glorious era that the apotheosis of the sky conquest would have reached its peak, stigmatizing every aspect of everyday reality, literature and art, architecture and fashion. Everything real progressive and advanced should have been connected with the space achievements and the human desire to explore the planetary system.
Having Kennedy’s bunker as starting point of reference, the participating artists are called to present different approaches and positions with regard to the motif and functions of a contemporary civil refuge. The artists may draw inspiration from a wide array of archetypical sources, extending from the claustrophobic Platonic cave to the argophilia of the One-Way Mars Colony Project. Nowadays, on the verge of a new gold war and while the sight of our planet from Mars may seem to be a routine, what is tomorrow‘s perspective? Just what is that makes space getting so critical, so politicized?
Participating Artists: Moataz Nasr (Egypt), Olaf Nicolai (Germany), Robert Wilson (USA), Khaled Hourani (Palestine), Tarohei Nakagawa, Yukihiro Taguchi, Ryosuke Kido, (Japan), Helidon Gjergji (USA- Albania), Mounir Fatmi (France-Marocco), Baptiste Debombourg (France), Txuspo Poyo, Orlando Brito Jinorio (Spain) Adrian Scicluna (Malta), Juraj Dudas, Erik Binder, Svatopluk Mikyta (Slovakia) Democracia (Spain), Driant Zeneli, Artan Shabani (Albania), Dionisis Christofilogiannis, Yioula Chatzigeorgiou, Eva Marathaki, Evangelos Kaimakis, Giorgos Papadatos, Eva Mitala, Efi Spyrou, Artemis Potamianou, Aggelos Skourtis, Nikos Papadopoulos, Stelios Alexakis, Dimitrios Antonitsis, Maro Michalakakos, Nikos Larios, Lito Kattou, Voula Karampatzaki, Pela Kalogirou, Pantelis Chandris (Greece)
Concept and Curating by Nicos Charalambidis 17 May– 14 June 2014 REH TRANSFORMER Kopenhagener str. 17, 10437, Schönhauser Allee, Berlin, Germany www.rehtransformer.com
Ennio Capasa, in London for "Italian Fashion and Cinema", for a unique on-stage interview by Camilla Morton
Fashion and Cinema is a series of events exploring the relationship between fashion and cinema and how the two have always fed into each other, featuring on-stage conversations, seminars and screenings.
The events take place at the Victoria and Albert Museum and at the Ciné Lumière from the 5th to the 13th of April . Italian Fashion & Cinema is part of this program that highlights the Italian beauty. Ennio Capasa has been invited for an exclusive on stage interview with Camilla Morton on Monday April 7th at Ciné Lumière at 7PM.
Together they will retrace the history of the Maison, the collaborations with cinema and the current projects of the brand. The on stage interview will be accompanied by screening of images selected specifically for the occasion. Fashion and Cinema is an initiative by Tristana Media in media partnership with Vanity Fair and in collaboration with the Victoria and Albert Museum and Ciné Lumière.
A modern vintage revolutionary song, an homage to our great glam and progressive rock heroes of the 70's. The hero of “A Childish Dream” feels and dreams that he is being completely manipulated. He feels and dreams that his very existence and life are going against his will, until he decides to dream differently, until he decides to take matters in his own hands Musicwise the song's character originates from the exciting rock musicals of the 70's era. The Who's “Tommy” and A.L.Weber's “Jesus Christ Superstar” contain elements that one can find in “A Childish Dream” . Glam and Progressive acts such as David Bowie, Roxy Music, Queen, Elton John, Marc Bolan and Sweet have also been sources of inspiration for the songwriters. All the above blend harmonically with 21st century independent music movements.
After her participation to dOCUMENTA(13), Chiara Fumai -- winner of the Furla Prize 2013 -- opens her first solo show at A Palazzo Gallery that includes all the directions of her work: collage, photographies, video and performative installations will be on stage in the gallery spaces.
Critical text by Francesco Urbano Ragazzi
Hell is other people, of course. But we knew that already. Instead, it is harder to say exactly who are these elusive others that we speak about. Wouldn’t it be equally terrible to discover that they are our mask, or worst, our mirror? On the occasion of her solo exhibition in the rooms of A Palazzo Gallery - With Love from $inister - Chiara Fumai presents an army of numerous others by which she has been possessed from 2007 to today during performances, monologues and invectives.
The infinite alter egos that occupy the rooms of the gallery, it is evident, are always the same person: the artist. None of her faces is missing. There is Zalumma Agra, the mute Circassian beauty who performed in silence at the Barnum Circus and who, at dOCUMENTA (13) found again the words of Carla Lonzi and Rivolta Femminile (Female Revolt); the medium Eusapia Palladino, an illiterate maid from Puglia whose sessions were attended by with conviction- amongst others - Cesare Lombroso, the Nobel prizes Marie and Pierre Curie, Tsar Nicholas II of Russia; and again the terrorist guide who explains with symbolic language the hidden messages contained in the paintings of the Venetian Fondazione Querini Stampalia (Furla Prize 2013). There is even space for two men, one of whom is an absolute new entry: the baron Julius Evola, dadaist, occultist, chauvinist and Italian philosopher whose ideology is disrupted in a series of new collages, and the illusionist Harry Houdini, having converted to anarchic socialism after his encounter with the ghost of Rosa Luxemburg which took place at the summer residence of the Fiorucci Art Trust.
The list is long. The spirits who invade A Palazzo Gallery could form a small revolutionary band. It is unfortunate that none of them wear the same uniform. One asks what keeps them together, apart from a shared passion for the clothes of Ksenia Schnaider. If there was an attempt to give an apocryphal answer, one that was not approved by the artist, it could be searched in the direction of, perhaps, the most secular of meanings that the word $inister holds. In addition to evoking the idea of the sinister in its dual form- where the left-handed throw has devilish connotations- the term is synonymous with a bastard birth. The baton sinister is in fact a heraldic sign that decorates some family crests. An oblique line that, according to historians, indicates that branch of the descendants as originating from an illegitimate offspring: the occult branch, or rather, the obscured. The same obliqueness, the same bastard nature joins all the characters reunited in the exhibition: children who were not desired, unclassifiable and maybe even embarrassing. Luminous singularities of the history of humanity that break the line of descent of the fathers and their children like lightning in a clear sky. Even if speaking of the lesser children, we are not in front of losers. The circus phenomena and the mediums of Chiara Fumai have lived- and still live through she who adopted them- phantasmagorical lives: lives that, let us say it clearly, many of us dream of. They are all existences that are protagonists of a flaming ransom, possibly thanks to the surrealist power that they have to steer their own destiny through scams, spells and miracles, without perceiving any differences. Their drama is not defeat then: it is something else. Since these are unique heroes, eccentric subjects who escaped from history before even having entered it, they cannot present themselves neither as tragedy the first time, nor as farce the second: they have no possibility of having their stories told and they are forced to make a virtue of necessity, staggering always between the comical and the tragic. It must be due to this that in front of the exhibited works we are not sure whether we should laugh, cry or be scared to death, as if in front of a new feeling and therefore a new genre. We mentioned earlier, none of the artist’s faces is missing. Not one is missing and yet all are absent, including the body of the performer, which embodies all these identities with huge effort. But in this exhibition there is something more precious than the purity of being here. Each exhibited work equals a small key that reveals the tricks and sources that Chiara Fumai loves utilising. Her presence is hidden, that is true, but this is in order to reveal the other side of her practice: the landscape behind the star. Let’s take the collages, for example, that are preparatory sketches for a number of performances; or the gimmick, the circus performer’s apparatus that in this case are clearly visible in front of our eyes as well as the costumes and the set-designs. Enjoy this slice of truth that Chiara Fumai offers on herself and her career for as long as you can. While crossing the rooms of the gallery it is possible that you could soon encounter the skin of the artist enclosed in a case, abandoned like the skin of a snake that has already shed. It will be in that moment that you will realise that you are now alone in the room. The others are not there.