- SPRING BOX #01

Calle de la Madonna, 1976 – 30125 Venice (Campo San Polo)

SPRING BOX #01 is the pilot episode, curated by Margherita Morgantin, which inaugurates a new exhibition line of the gallery, specifically dedicated to emerging artists.
Izabela Bardhoshi and Tatiana Stropkaiová graduated from the Academy of Fine Arts of L’Aquila. Within the exhibition path, their research is united by the almost total absence of images: both artists work on sound, air, the substances of nature, writing and voice. They are part of the WRG collective, which was formed in the context of the Academy of Fine Arts of L’Aquila and is consolidating and evolving elsewhere.
Within the exhibition, Margherita Morgantin’s contribution is not limited to curating. While Ca’ Pesaro dedicates her the solo exhibition DAMA LIBRE (25 September – 7 November, 2021), on the occasion of the acquisition of VIP = Violation of the Pauli exclusion principle SOTTO LA MONTAGNA, SOPRA LA MONTAGNA, the artist presents COSMIC SILENCE 3, Fluorescence 2 in the new Beatrice Burati Anderson’s gallery, two steps away from Campo San Polo. The work is part of COSMIC SILENCE (Fluorescence) installative and performative project, which took place at the Serralves Museu de Arte Contemporanea in Porto in the context of O Museu como Performance. In turn, COSMIC SILENCE sinks its roots within VIP, the research project produced by Xing and realized thanks to the support of the Italian Council 2020, in which Morgantin explores the relationship between subnuclear and astroparticle physics, artistic imagination and personal sensitivity.
The experiments conducted as part of COSMIC SILENCE, currently underway, aim to deepen the study of the molecular mechanisms involved in the biological response to environmental radiation in model systems, both in vitro and in vivo, at different levels in the phylogenetic scale. The windsock, a symbolic element connected to weather that has accompanied the artist’s research for years, is also a literal signpost of the highway areas exposed to strong winds scattered along the route the artist traveled from Italy to Portugal The windsocks are sewn including fragments of the fluorescent clothing worn by the workers working on the highways. The audio commentary that can be perceived, produced in collaboration with the electronic musician Beatrice Goldoni, recomposes the sound translation of the radiative spectra of the nuclear physics experiments in the Gran Sasso laboratories with the sounds recorded along the way of the overland journey originated by the need for geographical verification of the world after the months of lockdown.
“While invisible and microscopic elements redefine the rules of movement and the destinies of bodies on the planet, a new audio-visual road signs system accompanies the experience of a space that has been rediscovered or, perhaps, available for the last time.” (M.M.)

Margherita Morgantin is an italian visual artist born in Venice who lives and works in Milan. She graduated in Architecture at the I.U.A.V. Department of Technical Physics investigating systems for forecasting natural light. Her work is articulated through various languages, ranging from drawing and installation to performance, and moving on a thread that connects language, philosophy, mathematics and visual culture. Contact and cohabitation, observation and imagination, are the open intervals that characterize Morgantin’s work.
She has contributed to group shows and festivals in Italy and abroad. Recent projects of hers include: VIP = Violation of the Pauli exlusion principle, SOTTO LA MONTAGNA, SOPRA LA MONTAGNA (2020-21); Doing Deculturalization (Museion, Bolzano 2019); Mi-abito (Farmacia Wurmkos and Museo del 900, Milano 2019); BienNolo (Spazio ex Cova, Milano 2019); Vetrine di Libertà, La Libreria delle donne di Milano, ieri, oggi (Fabbrica del Vapore, Milano 2019); Artworks that ideas can buy (Arte Fiera/Oplà. Performing activities, Bologna 2019); Hospitality (Non-objective Sud, Toulette, France 2018); Embracing the moment (Beatrice Burati Anderson Art Space and Gallery, Venezia 2018); AndarXporte (Palazzo Archinto, Milano 2017); Et in terra (Beatrice Burati Anderson Art Space and Gallery, Venezia 2017); Drawings (Auditorium del Parco di Renzo Piano, L’Aquila 2017); Flow (Basilica Palladiana, Vicenza 2017).

Izabela Bardhoshi (1992, Lezhe, Albania) graduated in Photography and Advertising Graphics in 2012 at Istituto Statale d’Arte V. Bellisario in Pescara; in 2021 she obtained a Second Level Diploma in Painting at the Academy of Fine Arts of L’Aquila. She has participated in several group exhibitions: with the WRG collective, MOA Performance review of ABAQ students at the CONTACT(LESS) Festival, Maxxi Museum, L’Aquila (2021); with the WRG collective, C.U.O.R.E. (Cryogenic Underground Observatory for Rare Events) impermanent observatory, curated by Margherita Morgantin, Palazzo Lucarini Contemporary, Trevi (2021); Umbra Key, online, (2020).

Tatiana Stropkaiová (1993, Košice, Slovakia) graduated in Painting in 2016 from Technická Univerzita Košice, Faculty of Visual Arts, and received a Second Level Diploma in Painting in 2020 at the L’Aquila Academy of Fine Arts. Her artistic practice mainly moves between painting and performance. she lives and works in L’Aquila. She has taken part in numerous group exhibitions: with the WRG collective, MOA Performance review of ABAQ students at the CONTACT Festival (LESS) Maxxi Museum, L’Aquila (2021); with the WRG collective, C.U.O.R.E. (Cryogenic Underground Observatory for Rare Events), impermanent observatory curated by Margherita Morgantin, Palazzo Lucarini Contemporary, Trevi (2021); Umbra Key, online, (2020); Care, Manifattura Tabacchi, Florence (2019); Heart, Tobacco Factory, Florence (2019); actions-arms, Piazza d’Armi, L’Aquila, (2018); Hic et Nunc, Archaeological Area of ​​Amiternum, San Vittorino, (2017).