Alberto Burri, Cellotex, 1980. Cellotex, acrilico, vinavil su tavola 70,5 x 100,5 cm (da https://www.arte.it/calendario-arte/perugia/mostra-la-luce-del-nero-84335#_)
“Appena inaugurata, la rassegna, che dura sino al 28 agosto, raduna lavori, tra gli altri, di Bizhan Bassiri, Enrico Castellani, Lucio Fontana, Hans Hartung, Emilio Isgrò, Jannis Kounellis, Robert Morris, Louise Nevelson, Nunzio, Claudio Parmiggiani, Antoni Tàpies, più facsimili di opere di Burri che si possono toccare”.
Il nero prima di ogni altro colore, il buio prima della luce. Una immersione sensoriale, un invito a scoprire l’ arte toccandola per dare via libera allo sguardo interiore e alla percezione più profonda.
con pubblicazione dei relativi cataloghi digitali di ogni mostra — entro il 2022.
In attesa del 30 aprile e del 1 maggio 2022, date delle prime due mostre di R.J., si può vedere qui allego la card 15×21 dedicata.
La prima mostra del 30 aprile su SANDRO BONGIANI VRSPACE presenterà in sette stanze virtuali 184 opere ancora inedite che fanno parte dell’Archivio Coco Gordon di Colorado.
La seconda mostra del 1 maggio 2022 su Collezione Bongiani Art Museum ospiterà in tre stanze virtuali 72 opere del progetto realizzato nel 1987 da Ruggero Maggi per l’Archivio Amazon di Milano.
Successivamente nei primi giorni di luglio 2022 ci saranno, sempre nelle due gallerie, altre due mostre collettive internazionali del progetto add to & return dal titolo: “Banana to Ray Johnson for 59. Biennial of Venice 2022.
Infine l’ultima mostra il 20 settembre fino al 26 novembre 2022 su SANDRO BONGIANI VRSPACE dal titolo “Ray Johnson and Coco Gordon in collaborative collaborations” con lavori inediti dei rispettivi autori americani che per oltre un ventennio hanno collaborato attivamente in interessanti scambi creativi.
Alle luce del grandissimo numero di visitatori al Museo Bilotti per la mostra di arte contemporanea sull’Hanji “CartaCoreana”, la mostra continuerá fino al 22 maggio 2022.
from SHIFT (a 2011 interview to Atsuhiro Ito by Julie Murikawa, http://www.shift.jp.org/en/archives/2011/03/atsuhiro_ito.html):
Atsuhiro Ito “crafted an instrument called the “OPTRON,” which outputs noise from the electrical discharge of a fluorescent light, when he was working on fluorescent light art exhibits in the 90’s. He plays the OPTRON not only as a solo act but also with other musicians both in Japan and overseas”.
An excerpt from the interview:
Why did you want to be an artist? Could you tell us the process of becoming an artist?
This is a problem of wording, but I have never been wanted to become an “artist.” (To me, it is hard to understand what people in this country want to achieve by becoming artists. It almost seems like the word “artist” itself can impress people. I know that it is a very convenient word to explain what people do though.)
In my case, rather than trying to contribute to the world, I’m more interested in creating things with my own hands and playing and listening to sounds. Since I have never stopped doing this, people started to think that this person might be an “artist” and refer to me as such. I have never really added any meaning or social contributions to my art and performances, and will continue to create and perform just because the visual and audible joy and stimulation keep me excited. By the way, my social positions are ‘an art creator and an OPTRON player.’
[…]
If you were not an artist, what would you be instead?
I don’t even know. Maybe a criminal or something. I bet that I’d be making a little better money than my current situation.
Asemic Sound Cycles at Galeri Salihara
April 10, 2022 – April 24, 2022
Asemic Sound Cycles (2022), by Félix-Antoine Morin, is an exhibition specially developed for the Salihara Arts Center (Jakarta, Indonesia). This exhibition consists of a series of graphic scores on polyester film as well as a sound installation in the center of the exhibition space.
Asemic Sound Cycles consists of a series of graphic scores on polyester film as well as a sound installation in the center of the Salihara Gallery.
Félix-Antoine Morin’s graphic scores represent existing musical forms whose basic structures are drawn from his repertoire of compositions. By this process, Morin maps out the metamorphosis of sound phenomena through a rhythmic and poetic graphic expression. He encourages the ambiguity between musical notation and pure pictorial symbolism.
The kinetic sound installation arranged in the center of the space is inspired by the “locked groove” technique, an expression invented by Pierre Schaeffer in the mid 20th century to describe this phenomenon in which the needle of a record player falls indefinitely in the same record groove. In the same way, this sound installation follows a unique circular route. This consists of a microphone that reacts like the needle of a record player on materials and textures arranged throughout the floor.
Asemic Sound Cycles is an exhibition specially developed for the Salihara Arts Center.
Félix-Antoine Morin’s graphic scores represent existing musical forms whose basic structures are drawn from his repertoire of compositions. Through a syncopated visual construction, by which he instinctively creates new connections between signs, he shifts the initial writing toward material abstraction. Preserving traces of the sound origin, the accumulation of elements gradually transforms each composition into an autonomous language that no longer references music.
By this process, Morin maps out the … [click to read more]
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First solo exhibition of Félix-Antoin Morin in Turkey: Asemic Sound Mappings (Feb 19th – Mar 12th, 2022):
[…] The graphic language of the artist does not tend to have a fixed meaning, leaving the interpretation of the works free to the viewer, encouraging the ambiguity between musical notation and pure pictorial poetry. The artworks at the “Asemic Sound Mappings” exhibition display layered elements moving in the void, carrying rhythm to the surface by simultaneously expressing Morin’s musical and pictorial sensibilities […]
Brani della serata del 21 marzo 2022 a Roma dedicata a Carmelo Bene nel ventennale della morte, trasmessi da Rai Radio 3 e introdotti da Francesca Rachele Oppedisano dell’Associazione l’orecchio mancante e Luisa Viglietti. Con le voci di Tommaso Ragno, Enrico Terrinoni, Federica Fracassi, Marco Foschi, Filippo Timi, Silvia Pasello, Iaia Forte, Lino Musella, Paolo Mazzarelli.
