SCONFINAMENTI #3

to edited by ACHILLE BONITO OLIVA

artists

ANTONIO BIASIUCCI

PETER BOTTAZZI

MARCO DELOGU

LAURA FERRARI

MIMMO JODICE

LUISA MENAZZI MORETTI

LUCIANO ROMANO

LINDA SALERNO / ELENA MORANDO

creative direction Elisabetta di Mambro and Franco Laera

Change Performing Arts project

coordination Virginia Forlani

**ANTONIO BIASIUCCI **

RES

musical counterfield **Gwyn Pritchard **RES

From naked bodies, skin textures and bread scales, to volcanoes and immense panoramas of cow bodies, we now move among science museum display cases of stuffed animals, stumble over Pompeii artifacts, gears, irons, steels, motionless gazes and seemingly impossible casts of anthropomorphic figures appear: organic and industrial emerge from the penumbra as the metamorphoses of a world in continuous and pulsating transformation, where past, present and future are seamlessly remixed. The lens rewrites the nature of things, and primary elements mingle with the memory of origins. Entanglements, cross-references, intersections of matter, offer us the wonder of a new look at creation.

The research completed in 2000 encompasses multiple subjects; and to each one Biasiucci devoted time to, adopting a methodology fundamental to him. The war in Kosovo becomes the inspirational source of the first part of the work: the Italsider in Bagnoli, a decommissioned steelworks area, represents the dismantling of the world, gathering its opaque remains, the wreckage of abandoned civilizations.

The other subjects, which hand to hand expanded the work, reinforce its drama of loneliness, abandonment, and the end. Frost and the absolute. Each individual shot embodies a metaphor, and all together they construct the fantasy novel of a suspended world.

**Antonio Biasiucci **was born to Dragoni (Caserta) in 1961. In 1984 he began a collaboration with the Vesuvius Observatory, doing extensive work on active volcanoes in Italy. In 1987 he met actor and director Antonio Neiwiller, with whom he collaborated until 1993, the year of his death. From the beginning, his research has been rooted in the themes of personal memory, and in recent years has been transformed into a journey within the primary elements of existence. He has received important awards, including, in 1992, in Arles, the "European Kodak Panorama" award; in 2005, the "Kraszna/Krausz Photography Book Awards," for the publication of the volume Res / The State of Things (2004) and, in the same year, the "Bastianelli Award." Numerous solo exhibitions and participations to group exhibitions to national and international festivals and reviews. Many of his works are part of the permanent collection of museums and institutions, in Italy and abroad, including MAXXI, Rome; MADRE-Museo d'Arte Contemporanea Donna Regina, Naples; Metropolitana di Napoli; Galleria Civica di Modena; Peggy Guggenheim Collection, Venice; Fondazione Sandretto Re Rebaudengo per l'Arte Contemporanea, Guarene (Cuneo); Bibliothèque nationale de France, Paris; Maison Européenne de la Photographie, Paris; Centre de la Photographie, Geneva; Mart, Rovereto.

PETER BOTTAZZI

MOCK ROOM

soundtrack to by the artist

"Camera Finta" is a visual intrusion that begins where Camera Pinta was left, taken and left, and taken again. Actions and reiterations that leave their mark, that injure and alleviate to alternating phases the previous phase. What has been there before and now is, is MINT CAMERA. Just as each snapshot image will be, only moment of an hour that will be faded pinto of a time propelled and inevitably repelled from successive now from this now.

Camera finta is no less true than pinta but consequential to it and for that matter a blatant interpretation of its predecessor. Fake Room is a continuation of a marvelous, faded narrative, perfect in its fragmentation and conforming to our crumpled senses in a skin-stanza.

If such a room has also been a prison, it arises spontaneously and legitimately to understand that such painting has been erased, or rather confiscated, in the sublime attempt at the zeroing-cancellation of time to the detriment of men forced to to deprive themselves of everything except the now, now and always the same to itself, kaleidoscopic absence of the world. Diabolical inventiveness to turn human beings into perennial bearers of useless time to all but to the conscious dissipation of it. I therefore staged an hour that only magnifies and underscores man's shaky march outside and inside himself. I have tried to to show an hour that is the only possible fruit of the absence of a before, imagining filling those pauses, those scars that leap to the eye on a par with the pinto, not to contact of that first pinto time that was, but a hypothetical heap of instantaneous fragments.

A meeting of distant times in an attempt to merge, or rather con- fuse, passions and visions, stories and drives through the mixing of a vertical absence of a before that becomes a cumbersome horizontal presence now, placed on a different temporal-spatial-mental axis but no less unfinished and hopefully magical."

Peter Bottazzi

Peter Bottazzi (Imperia, 1965) began his creative journey in theater as a puppeteer first and then lighting designer and set designer for the Carlo Colla & figli company in Milan. His ability to examine and solve difficult issues in stage performance took him around the world, giving him the opportunity to consolidate his craft and gain professional recognition on an international scale. Peter Bottazzi has turned his work into a philosophy of life, a useful cultural tool for exploring otherwise inaccessible areas of knowledge, communicated to audiences with an artistic language that is highly suggestive and impactful because of the power of the expressive simplicity with which it manifests itself. He has met and collaborated with many directors such as Peter Greenway, Moni Ovadia and Robert Wilson. He has curated in recent years some of the most striking arrangements of art and photography exhibitions, among which are from remember those of Steve Mc Curry (Milan, Perugia, Genoa, Monza, Rome), Giorgio De Chirico and Andy Warhol. He conceived and curated the installation of the MUDEC in Milan with the design of the exhibition spaces of the two inaugural exhibitions. On the occasion of Verdi's bicentennial he created 'See, Wines, Verdi' a series of multimedia installations to Palazzo Morando in Milan.

**MARCO DELOGU

THE OTHER EGO

Chet Baker musical counterfield Every time we say goodbye

The photography of Giosetta Fioroni as Joan of Arc in Dreyer's film was done in 2001, using a view camera that allowed me the effect of selective focus.

As Erri De Luca writes: "Giosetta Fioroni is not yet ready for the enterprise of Senex, but she scrutinizes in her face the prophecy of the forwarding body. She is at the full point of experience, she wants to have her ventura read from Marco Delogu, photographer immune from clemency. He sends her back portraits of an uprooted sibyl on smoked paper of burnt laurel." Eleven years later, in 2012 we continued. Time passed, but the desire to experiment, to play, to become children again did not pass. Giosetta added, I took away. In the end a few images remained. This one of Giosetta in the green dress leaning against the wall was the first in the new series. I wanted to play more and I used a digital camera, faster and in a way more from children, more direct.

Marco Delogu

**Marco Delogu **was born to Rome in 1960. His photographs have been shown in numerous solo and group exhibitions in Italy and abroad. In the fall of 2008 a major retrospective of his work was presented at the Academy of France Villa Medici. Editor and curator in 2002 he conceived FOTOGRAFIA - International Festival of Rome, now in its fourteenth edition. From 2012 to 2013 he was curator of photography at MACRO in Rome. to March 2015 he was appointed director of the Italian Cultural Institute in London. He has published more than twenty books, including his latest work "Luce Attesa," a study of the inverse polarity of light in Rome accompanied by essays by Éric de Chassey and Bartolomeo Pietromarchi and short stories by Edoardo Albinati and Jhumpa Lahiri , published from Punctum.

**MIMMO JODICE **

DANCERS FROM THE PAPYRUS VILLA

musical counterfield Beethoven Sonata No. 2 in G minor for piano and cello

He wandered all over the Mediterranean in search of the tracks of the past. And he discovered that the statues, temples and ruins speak instead more to the present. It is the journey to back in time that Mimmo Jodice has undertaken, between realism and imagination, to recompose the image of our civilization, in a path to stages: from Palmyra to Pompeii, from Athens to Carthage, from Agrigento to Petra to meet Apollo, Athena, Venus and Ulysses, warriors and Amazons, gods and heroes who regain life by becoming people.

"I have tried to convey to whoever looks at my work the sense of loneliness and anguish that never leaves me. I have tried to express myself by photographing the people-I reiterate that for me they are not just statues and ruins-that I have encountered in my travels; people who express anxiety, love, pain, greed, tenderness. They are not feelings of the past but ours, in the present and in the future," the Neapolitan photographer explains.

Archipelago of the Ancient World is thus a survey of our civilization with which Jodice, from more than 30 years old, recounts the priceless historical heritage that our cities and those bordering the mare nostrum hold, continuing to to amaze audiences around the world. to him, one of the great masters of Italian photography, the Photography Foundation of Modena is dedicating a major exhibition, which can be visited until Jan. 11.

Archipelago of the Ancient World came about because of Mimmo Jodice's connection with Naples, his hometown, where he has lived since 1934. He recounts, "I started "Mediterraneo" out of a need for reassurance. I felt the need to find strong references again. And I went in search of my roots," Jodice continues. "Naples is an ancient city, rich in testimonies and Greek and Roman culture. The journey along the Mediterranean coast was a journey in search of memory, a journey through time, where places are not ruins but cities in which life continues. The study of the past helps me to understand the present. It is a quest that still continues and is now part of my life."

Arianna Catania, The Huffington Post

Mimmo Jodice is one of the great names in the history of Italian photography. He lives to Naples where he was born in 1934. An avant-garde photographer since the 1960s, he lives to in close contact with the most important avant-garde artists who frequented Naples in those years: Wahrol, Beuys, De Dominicis, Paolini, Kosuth, Lewitt, Kounnellis, Nitsch and many others. In 1970 he began to teaching experimental courses at the Academy of Fine Arts in Naples, where he would later teach Photography until 1994. His first exhibition was presented at the Palazzo Ducale in Urbino in 1968 and in 1970 at Diaframma in Milan. In 1980 he published " Views of Naples." In 1981 he participated in the exhibition "Expression of Human Condition" at the San Francisco Museum of Art with Diane Arbus, Larry Clark, William Klein, Lisette Model. Solo exhibitions include: Memorial Federal Hall, New York 1985; Musée Réattu, Arles 1988; Philadelphia Museum of Art, 1995; Kunstmuseum Dusseldorf, 1996; Maison Européenne de la Photographie, Paris 1998; Museo di Capodimonte, Naples 1998; The Cleveland Museum of Art, Cleveland 1999; Galleria Nazionale di Arte Moderna, Rome 2000; Castello di Rivoli, Turin 2000; Galleria d'Arte Moderna, Turin 2000; MassArt, Boston 2001; Wakayama, Museum of Modern Art, Japan 2004; The Museum of Photography, Moscow 2004; MASP - Museu de Arte de Sao Paulo, 2004; MART - Museo di Arte Moderna e Contemporanea di Trento e Rovereto, 2004; Galleria d'Arte Moderna, Bologna 2006; Spazio Forma - Centro Internazionale di Fotografia, Milan 2007; Palazzo delle Esposizioni, Rome 2009; Maison Européenne de la Photographie, Paris 2009; Louvre Museum, Paris 2011. In 2003 the Accademia dei Lincei awarded him the prestigious 'Antonio Feltrinelli' prize given for the first time to Photography. In 2006, the University of Naples Federico II awarded him an Honorary Degree in Architecture.

**LAURA FERRARI **

IN LIMINE

musical counterfield **György Ligeti **Harmonies

from always the mask reveals an ambiguous identity nature suspended between two opposing states: the dualism that by custom spatially divides the subjective interior from the objective exterior thins out into a place of passage in which identity is at once a unveiling of the self and an enclosure in a codified object. With an unusual reversal of planes, the images here reveal the inner part of the mask, the part that with use remains inaccessible, constricted between two juxtaposed and never coinciding fronts, reactivating its meaning and expressive potential and giving rise to to a reflection on the accessibility of self-perception and the surprises it entails.

Laura Ferrari (Lodi, 1976) photographer, after an art-historical education, specializes in the performing arts, collaborating since 2006 with the main Italian theaters ofopera and prose, and follows many international productions. The encounter with theater becomes an opportunity to give direction to her language in the different themes she deals with. In 2012 she is called from Marina Abramović to documenting the performance _The Abramović Method _at the PAC in Milan. She completes her professional career with teaching: since 2011 she has been teaching stage photography and digital processing at the Accademia del Teatro alla Scala.

**LUISA MENAZZI MORETTI **

P GRECO

Massive Attack musical counterfield_ Paradise circus_

I wanted to dedicate the P Greco series, whose series includes 16 images, to the circular shape. The circle is magic, prescience, perfection, divinity, universe, sky, spirit, levitation, ascent, harmony, speed, suction escape...and so much more. For this exhibition, I have chosen five images from the P Greco project: Whenua, a word from the Mahori language meaning "earth and placenta," itself, in Mahori mythology, the begetter of the earth, but also the form of our first home. Daisy's petals refer to the purity of the love feeling, to the game of "loves me not loves me," to the absurd search for 'love through a color that here becomes gender and, like a magnet, can attract, but also repel and release to make room for a new search. Unexpected suggests the idea of the unexpected in an overly straight and monotonous life, while Eyewitness recalls a barred eyeball as a screen of things experienced. Finally_ Soul _where, the sublime calligraphy of a prophet whose verses recite the Quran, "Allah is unique, God is absolute!..." is overlaid by a pure white soul floating ever more distant from the words of man.

Luisa Menazzi Moretti

**Luisa Menazzi Moretti **was born to Udine in 1964. At the age of thirteen she left Italy to move to Texas in the United States where she attended high school and then continued to Houston and then in Italy her university studies. During his American years he began his passion for photography and favored black and white printing. He returned to living in Europe, first to London, and then to Bologna, Rome, Naples and Venice. In 2012 her first solo exhibition opened to Naples. from then her projects Magic Mirror, Words, Nature's Things/Nature's Matters and _Ingrendients for to Thought _have been exhibited in museums, foundations and public and private galleries. The publishing house Arte'm has published two catalogs of Luisa Menazzi Moretti's work: Words (2013) and Cose di Natura /Nature's Matters (2014).

**LUCIANO ROMANO **

SPIRALS

musical counterfield **Arvo Pärt **_Fratres _

At the summit you are assailed by vertigo.

The head turns on the axis of the vertebrae!

From the top of a staircase everything seems to swirl around to you, especially if its shape is enveloping. Almost all ramps wind around to an axis - vertical, I would say spinal - in the forms of a helix or spiral.

Careful to not to fall.

Fortunately, here the hand can rest to a railing that does not exist in the mountains.

Never descend a staircase without your eye watching where you put your feet, without your hand helping your step, do not forget to sing or count, all the senses are involved, the whole restless body is in celebration.

With my eyes open, I seem to see the similar rhythm to a swaying frequency, to a rising, descending melody that seduces the hearing.

Then, music, poetry, and storytelling, all three of which are related to time, invade painting or drawing, which live in the spatial dimension.

Then the arithmetic account invades geometry.

Then time floods space.

Michel Serres

May-June 2015

**Luciano Romano **does constant research work around the language of the image. Among the winners of the 2003 Italian Atlas Prize, he was nominated for the Prix Bmw - Paris Photo in 2007 and exhibited at the 10th Venice Architecture Biennale in 2006. In 2010 he authored the photographic corpus for the installation Italy of the Cities made from Peter Greenaway at the Shanghai Expo. Nine of his large photographs are the contribution to the permanent installation created from Shirin Neshat for the Toledo station of the Naples Metro (2013).

His works focused on the representation of space are held in public and private collections, such as the photography collection of the MaXXI Museum to Rome, the Robert Rauschenberg Foundation, MeMus, Museo del Teatro di San Carlo to Naples. He is the author of numerous edited volumes from Taschen, Citadelles&Mazenod, Franco Maria Ricci, Skira.

**LINDA SALERNO / ELENA MORANDO **

THE EIGHTH STEP

photos and drawings by Linda Salerno

video, staging and soundtrack by Elena Morando

to edited by Martin Kunz

_The Eighth Step _explores theopera and poetics of Italian-American artist Linda Salerno, witnessing her thought to starting from content related to her method of pictorial and photographic composition, between poetic synthesis and physical gesture. Seven steps tell the story of this research. Approach: I approach, I look, I have the feeling of something coming. Reveal: suggestion becomes form and still contemplating an undefined space, I undergo a fascination until the form is revealed. Gaze: I fix my gaze to give precise contours and be able to make memory of the vision itself. Balance: I stand bravely poised before the task ahead to give form to the unspeakable. Release: I release everything within me that has nothing to do with that vision, making room for the next step. Surrender: I surrender and yield to theopera that speaks pointing me to form. Flourish: theopera blooms. The eighth step is to collect theopera, andopera, the trace of a body: the woman disappears and reappears from the veils, in a game of appearance and disappearance, to signifying the game of art, where everything, once composed, can have different readings and meanings.

Linda Salerno was born October 20, 1950 to York, Pennsylvania. From 1972 to 2002 she lived and worked in her loft to SoHo, New York. From 2002 for health reasons she moved to Switzerland, with regular stays to New York. He died on July 17, 2011 to Lugano. In 1982 he exhibited at the Drawing Center in New York, Art in General, East Village Galleries and many university galleries and museums. In 1985 he exhibits "The Eighties" for the first time in Europe at the Gallery of Modern Art in Bologna and in museums in Rimini, Imola and Ravenna, in exhibitions to curated by Renato Barilli, Flavio Caroli, Corrado Levi. Recent solo shows are in 2009, Who Are You? Works from the Black Mirror Series, Officinaarte, Magliaso/Lugano, Switzerland; 2011, CCNY (Camera Club New York) The Black Mirror Series, to curated by Allen Frame; Centro Luigi di Sarro, Rome, Linda Salerno Black Mirror Series, to curated by Roberto Mutti. "Linda Salerno," published by Charta Books in 2010 with contributions by Klaus Honeff, Elisabetta Longari, Roberto Mutti; includes the complete series of The Seven Steps and The Black Mirror Series.

Elena Morando is an interdisciplinary artist whose work intersects and researches themes related to writing, video and performing arts. From 2010 is the collection-opera first of poetry "Mai più la parola cielo" published from Aìsara, selected in the shortlist of ten finalists of the 2011 Mario Luzi Prize. With "Vicino al cuore" he won the Claudia Sbarigia-Storie per il cinema scholarship - Premio Solinas 2009. "The Evident Harmony of Things" winner of the 2008 Avisa Competition and produced by Isre, Sardinia in 2010 is his first medium-length film.