Exhibitions of the City of Spoleto
to curated by Gianluca Marziani

(AIR)

ITALY PAVILION: UMBRIA
The Venice Biennale to Palazzo Collicola
to curated by Vittorio Sgarbi and Gianluca Marziani
Piano exhibitions
Arrives to Palazzo Collicola the "Umbria" section of the Italy Pavilion, a major event of the 2011 Venice Biennale conceived from Vittorio Sgarbi. On display is a selection with the best living artists of the Umbria region, brought together for a surprising and rigorous regional journey, diversified in languages and narratives that will arise between the rooms of the museum in Spoleto. Works by: Andrea Abbatangelo, Marco Agostinelli, Sauro Cardinali,Cristiano Carotti, Carmine Ciccarini, Diego Cinello, Michele Ciribifera, Mario Consiglio, Desiderio Elena, Di Felice Tommaso, Faraci Marino, Ficola Simona, Frillici Kindergarten, Ugo Levita, Giorgio Lupattelli, Bruno Marcelloni, Francesco Marcolini, Marco Mariucci, Rita Miranda, Gianluca Murasecchi, Riccardo Murelli, Andrea Pinchi, David Pompili, Sabrina Ragucci, Pierpaolo, Ramotto Silvia Ranchiccio, Piero Raspi, Nicola Renzi, Paolo Rinaldi, Sofia Rocchetti, Mario Santoro

(EARTH)

COSMOGONIA volume two
VALENTINA MONCADA_ODISSEA CONTEMPORARY
to edited by Valentina Moncada and Gianluca Marziani
Piano Nobile

The project that places contemporary art among the restored rooms of Palazzo Collicola′s Piano Nobile is back. Keeping with the idea of setting up the works in mimetic form, without altering anything of the pre-existing furnishings, comes for 2011 a proposal that mixes the pleasure of collecting with the profession of the gallerist. Valentina Moncada takes us among the works of Donato Amstutz, Richard Avedon, Tony Cragg, Carlo Gavazzeni, Anselm Kiefer, Yayoi Kusama, Donatella Landi, Francesco Mernini, Luigi Ontani, Pablo Picasso, Jose Maria Sicilia, Hiroshi Sugimoto, James Turrell, Cy Twombly, Rachel Whiteread, Chen Zhen

(EARTH)

1... 2... 3... STELLA
Three editions of the Terna Prize, forty-six winners, one exhibition
to curated by Cristiana Collu and Gianluca Marziani
Sale Biblioteca Piano Nobile
Three years of Terna Prize winners, brought together in a homogeneous journey that brings together the special bond between an Italian company and the culture of visual art. Forty-six works that tell the story of a Prize and the artists who have made it a staple in the Italian cultural landscape.

Giovanni Albanese, Riccardo Albanese, Andrea Aquilanti ,Francesco Arena, Elena Baldelli, Emanuele Becheri, Simone Bergantini, Davide Bertocchi, Gabriele Bonato, Stefano Cagol, Laura Cantarella, Stefano Canto, Andrea Chiesi ,Ciriaca Erre, Giulio Delvè, Rocco Dubbini, Eron Marco, Fedele Di Catrano, Mauro Folci ,Ren Hang, Meena Hasan, Hotel de la Lune, Ma Gang, Alberto Garutti, Gabriele Giugni, Francesca Grilli Isola and Norzi Michele Manzini, Raffaela Mariniello, Paolo Meoni, Liliana Moro, Andrea Nacciarriti, Giancarlo Norese, Luigi Ontani, Giovanni Ozzola, Dino Pedriali, Riccardo Previdi, Antonio Riello, Alia Scalvini, Marinella Senatore, Francesco Simeti, Ettore Spalletti, Davide Tranchina, Cai Weidong, Yiquian Zhao Zimmerfrei

(AIR)

COLLICOLAB The Rocco Foundation Collaboration Lab.

William presents Latifa Echakhch

Rocco Guglielmo, a Calabrian notary and collector, recently inaugurated the eponymous foundation dedicated to contemporary visual arts. Here to Spoleto the foundation presents a project by Latifa Echakhch entitled "to chaque stencil une revolution (for each stencil to revolution)." It′s an astonishing 2007 mural work that has seen, among other exhibition stops, a move to London′s Tate Modern. The Moroccan artist, through a remarkable variety of media, explores the concepts of belonging and uprooting, working on the ethical tensions of identity, both individual and collective. Her works are made to from from common objects, presented as such or after simple modifications: flagpoles displayed without flags, prayer rugs whose interior has been cut out and only the edge of which remains, maps crumpled up as if they were small hemispheres, microphones without the amplification mechanism. A "poverist" essentiality that fuels the silent power of his minimal metaphors, continually intertwined with memory, the hottest political issues, the drama of religious extremism, migration and expanding violence. "to chaque stencil une revolution (for each stencil to revolution)" is composed from sheets of carbon paper sprayed with alcohol, so from lose their multiplying power, thwarting their purpose, dispersing the power of the word that becomes dripping with color, indefinite, uncertain, uncontrollable pigmentation.

(WATER)

OASI COLLICOLA
Alberto Di Fabio
In collaboration with EMU
Giardino di Palazzo Collicola
Total renovation for a garden that becomes an installation oasis with functional use. Alberto Di Fabio has designed a numbered run of outdoor from loungers, bringing back some of his pictorial motifs on the white canvas of the object from relax. Flashes of colored photons make the white canvas a reverse cosmos, a space of pure light on which the stars express their universal power. Design is transformed into inhabitable sculpture for the body, giving painting new geographies on which to express itself. A strong sign that opens up further scenarios in the museum′s interstitial spaces, creating a special dialogue between the sky above Spoleto and the artist′s cosmogonic visions.

(AIR)

COLLICOLA ON THE WALL

Alberto Di Fabio "Landscapes of the Mind"

In conjunction with the opening of "Oasi Collicola," the museum presents a mural work by Alberto Di Fabio. This is the third acquisition on one of the walls of Palazzo Collicola, to emphasizing a quality of intervention from wall that goes beyond the boundaries of street art to rediscover renaissance memories and open up to authors with heterogeneous physiognomies. Di Fabio investigates the extremes of creation (from the cellular microworld to the macroworld of stars) through a painting of refined construction, imaginative in its spirit but scientific in its approaches. A painting on the border between figuration and abstractionism, close to the burning issues of the Endangered Planet, ecological culture, and the relationships between the body and pollution.

(EARTH)

iCON Fatal attractions between imagin(ar)i and new technologies

Antonello & Montesi "New World"

Gallery Floor Exhibitions

Stereoscopy is a technique by which images, drawings, photographs and films are made, aimed to at conveying an illusion of three-dimensionality, analogous to to that generated by the binocular vision of the human visual system. As its name suggests, stereoscopic photography is a type of photographic technique based on the simultaneous shooting of the same subject from two different points of view, positioned on an ideal camera line. A technically complex research that Antonello & Montesi, experimenting with innovative machinery, applied to an artistic project on the theme of portraits. After the exhibition that recounted the "body in transformation," it is now the turn of a large diptych with which their journey in the Spoleto museum ideally closes. These are two universal and definitive images: the male and female sex organs, represented from an explosive yet aseptic three-dimensionality, a kind of reflection on the boundary of the gaze, on the voyeurism of vision, on the aesthetic codes that condition the nature of our seeing.

(WATER)

COLLICOLA TERMINAL

Maurizio Mochetti + Isamu Noguchi

New placements for two major works in the Collicola Collection.

"Bachem Natter 349 B 1944" by Maurizio Mochetti, donated to the Museum by Carispo, officially enters the Collection after its recent display in a room on the exhibition floor.

Isamu Noguchi's large sculpture "Octetra," almost a symbol of the Spoleto museum, returns to display after several months of careful restoration. The novelty concerns the placement of the Noguchi in the renovated inner courtyard of Palazzo Collicola: a true square of sculpture where several works by great Italian and international authors will be placed over time.

(AIR)

COLLICOLA RING + CHURCH SS. JOHN AND PAUL

Gianni Politi "Things will never be the same again."

to edited by Alessandro Facente

The intervention in the Church is based on three canvases in paint and pencil (White Paintings series) that show the sacrifice of as many cows, hanging and in full putrefaction, to emphasizing a sacred moment of soul′s return to the host space. At the Collicola Ring one will see, instead, three transparent vitrines that preserve, as relics of a previous self, plaster casts of parts of the artist′s body: from one side the tool to detach oneself from a suffering past, on the other side the expedient to remember how one was in a precise fragment of space and time. The vitrines are born from a personal pain, properly physical, felt and experienced by the artist in order to cure himself of an illness. from there is the necessary transition to the white canvases′ exposition, emphasizing that flavor of cathartic fulfillment toward which the entire project seems to project itself.

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