Archives: Eventi Speciali

On Wednesday 22 February, the National Gallery of Modern and Contemporary Art presents the catalog of shows Ciriaco Campus. Paesaggio 51,with a conversation with a multidisciplinary slant to the presence of the artist.

The exhibition displays the most recent works by Ciriaco Campus in the spaces of the Gallery’s Gipsoteca, in a impressive dialogue with the white plaster sculptures of the museum collection: large unpublished canvases, dense and wrinkled surfaces, gray and black, worked directly with the hands, on which ash thickens and debris, traces of a catastrophe that seems to have consumed every trace of biological life and human presence. As artifacts left too long exposed to the weather, or as traces charred by a fire that has dissolved all recognizable forms, the paintings of Ciriaco Campus they materialize the condition of a by now uninhabitable terrestrial landscape, perhaps deserted and sterile effect of an environmental catastrophe, perhaps of a nuclear war that has annihilated mankind.

The investigation into the contradictions of the world has always been at the center of the artistic research of Ciriaco Campus contemporary and the exploration of the ambivalent position of the artist, called to testify and together to participate in the events of their time. In this sense, a multifaceted work follows which in the course of now four decades has touched multiple limits and possibilities from time to time expressive forms, from painting to photography, from drawing to video, often appropriating images extracted from the incessant flow of the media. The presentation of the catalog will be an opportunity to deepen the work of Campus and the dynamics of this personal confrontation with current events in relation to his artistic production.

The catalogue, created thanks to Beatrice Burati Anderson Art Space & Gallery, contains a text by Stefano Chiodi and a conversation between the artist and Stefano Chiodi and Damiana Leoni.

Beatrice Burati Anderson Art Space & Gallery is delighted to announce, on Thursday, Nov. 24 and Friday, Nov. 25, the double finissage of SI VIS PACEM, the bi-personal exhibition curated by Adriana Polveroni, that compares in an unprecedented way the works of Ciriaco Campus (Bitti, Nuoro, 1951) and Italo Zuffi (Imola, 1969), and NEFFIE, the Neuroaesthetic Photography Project curated by the Research Center for Advanced Technology in Health and Well-Being of IRCCS San Raffaele Hospital, in collaboration with ICONE, the European Research Center in History and Theory of the Image of Vita-Salute San Raffaele University.

On Friday 11 November, the Galleria Nazionale d’Arte Moderna e Contemporanea in Rome puts on show the Ciriaco Campus’ solo exhibition, Paesaggio 51 (Landscape 51). On this occasion the artist presents large unpublished canvases belonging to a series he has been working on over the past year. The works present dense and rough surfaces, grey and black, modelled by hand, on which ash and debris thicken, traces of a catastrophe that seems to have consumed every trace of biological life and human presence. Like artefacts that have remained exposed to the elements for too long, or like charred traces of a fire that has dissolved every recognisable form, Ciriaco Campus’s paintings materialize the condition of a landscape now made uninhabitable, deserted and barren, perhaps because of an environmental catastrophe, perhaps of a nuclear war that has annihilated the human race.

As Stefano Chiodi, author of an essay about this important art works, says: “The canvases, with their vision of a dystopian and threatening future, are exhibited in the room of the National Gallery dominated by the collection of 19th-century sketches and plaster casts, funerary or memorial statues intended to pass on the virtues and deeds of the people portrayed in them. The contrast could not be stronger: to the moral pedagogy of the monument of the bourgeois age, to its typical rhetoric, to its declamatory tone, Ciriaco Campus opposes the bare essentiality of its matter, the silence of a now devastated Nature in which the presence of human beings seems to have definitively disappeared. What remains is the bare geological texture of a planet that may perhaps begin a new life cycle, now free of its destroyers. For the artist, the unthinkable catastrophe is also a reminder to consider the world from a perspective no longer anthropocentric, by imagining a planet that even without the human presence possesses vitality and the power of creation. As Ciriaco Campus wrote in the preparatory notes for these works, “in a distant time, when meadows, forests, and cities no longer exist, when the sky deprived of sunlight becomes solid, a naked man surrounded by piles of debris kneads mud ash and charcoal with his hands to give body to his memories. He creates landscapes that recall earthly natures and distant universes, where earth and sky, time and space, merge into each other. The matter thus shaped begins to glow with its own energy, memory comes alive again.”

For Ciriaco Campus, art has always been a tool for investigating the contradictions of the contemporary world and at the same time for exploring the ambivalent position of the artist, who is called upon to bear witness to and at the same time participate in the events of his own time. Hence a multifaceted oeuvre that over the course of now four decades has from time to time touched upon the limits and possibilities of multiple forms of expression, from painting to photography, from drawing to video, often appropriating images extracted from the incessant flow of media.

A catalog with an essay by Stefano Chiodi will be realized for the exhibition.
The exhibition is supported by the Beatrice Burati Anderson Gallery, Venice.

Homo Faber Event returns to Venice in 2022 to unveil an unprecedented cultural experience of craftsmanship with 15 immersive exhibitions. For its second edition, the event looks to highlight the excellence of master craftsmanship internationally. With a special focus on craftspeople from Japan, it spotlights the country’s venerated craftsmanship traditions and time-honoured skills, and showcases its influence on European creativity and craftsmanship. Together, the exhibition spaces showcase a diverse array of materials and expertise, from traditional skills in danger of being lost to the most cutting-edge contemporary techniques.
Beyond the walls of Fondazione Giorgio Cini, the Homo Faber in Città project allows visitors to experience secret Venice, exploring the craftsmanship hidden between the city’s canals through exclusive visits to Venetian artisans’ workshops and ateliers, museums, shops and more. Using the app or website, visitors will be able to create bespoke self-guided craft tours and experience the city in a completely new way.

On Saturday, 2 October 2021, on the occasion of Art Night Venezia, Beatrice Burati Anderson Art Space & Gallery opens the doors of the suggestive gallery in Calle de la Madonna proposing, from 8.30 pm to 10.30 pm, a special event of art and poetry (click here to read the poems).

The new venetian space, which adds to the beautiful Art Space in Corte Petriana and rises two steps away from Campo San Polo, currently hosts the bi-personal exhibition My Fragility, My Strength. The encounter between the two artists, Nataliya Chernakova (Ekaterinburg, 1990) and Marta Sforni (Milan, 1966), is articulated around a reflection on sensuality, attraction and the crystallized delicacy of nature. All these themes come together within an exhibition path where glass, whether painted, blown or evoked, becomes a precious metaphor of strength and fragility.
Fragility is also the fil rouge connecting the poems which, during the event, will be declaimed, each in its original language, by the actress and playwright Caroline Pagani. As a visual background to the poetry reading some images of Giorgio Giuman’s furnace in Murano, where the glass artworks were realized, will be projected through the gallery’s water gate.

THE VENICE GLASS WEEK is the international festival that the city of Venice dedicates to the art of glass, with a programme that includes exhibitions, demonstrations, guided tours, online events and more. The fifth edition will take place from 4th to 12th September 2021. Beatrice Burati Anderson Art Space & Gallery has been selected between the art galleries taking part to the Festival and, for the occasion, it will be inaugurated the new exhibition space of the Gallery in Calle della Madonna, San Polo 1976, Venezia.

Prendendo in prestito il nome di uno degli esperimenti di fisica delle particelle in corso da anni nei sotterranei del Gran Sasso, VIP è un percorso di ricerca che si esercita nell’osservazione di alcune immagini della fisica subnucleare e astroparticellare in relazione all’immaginazione artistica, alla sensibilità personale come forma di dato scientifico. In VIP = Violation of the Pauli exclusion principle il corpo e l’esperienza dell’artista sono parte degli strumenti scientifici utilizzati per la ricerca sul campo.

VIP avrà luogo SOTTO LA MONTAGNA, nel più grande laboratorio sotterraneo al mondo dedicato alla rilevazione di fenomeni rari ed eventi fisici “che non dovrebbero avere luogo”, grazie al ‘silenzio cosmico’ garantito da un massiccio strato di rocce che separa questi laboratori dall’atmosfera; e SOPRA LA MONTAGNA, sugli altipiani del parco nazionale abruzzese in un’area ambientale importante per la sua biodiversità d’alta quota.

‘I respect, love, work the earth, I make it the object of my work and for this reason I invent rituals that other lovers of nature and not only vegetal but also human and animal life are ready to share with me. This is why, between me and the other lovers of this same utopia, there is an exchange relationship that we call EARTH EXCHANGE. An exchange that blends soil from counties and soils without respecting limits and/or boundaries. A poetic ritual devoid of profit but rich in the positivity that art and poetry grant to those who renounce money and power.’

Excerpt from the text ‘Earth Exchange’ by Gianfranco Baruchello, Et in Terra, exhibition catalogue