the constant contemporaneity of the artwork is the source of inspiration and development of flashback art class. Starting with its own claim, flashback has organized a series of art history lectures by collaborating with art critics and historians to examine the artwork as a living creature in a timeless horizon.
What is ‘new’? What is fundamental?
How do we relate a meaningful and revolutionary artwork to its context?
From Caravaggio to Pollock, from Masaccio to Fellini, Christian Caliandro’s lessons have focused on the gap between the artwork and reality.
The flashback è Opera Viva project was born in 2013, by which artist Alessandro Bulgini stated the event and all the masterpieces presented as Opera Viva/Living Work. In 2014, Opera Viva left the spaces of art to move to the suburbs with the curatorship of Christian Caliandro.
A billboard of 3 per 6 meters in the roundabout of Piazza Bottesini, at the heart of Barriera di Milano, one of the most interesting districts of Turin, rich in history, identity and future; six artists, different from each other for background and style who – though – share an original innovative approach to the artistic practice; six artworks that translate into an adver- tising-like manifesto that denies the language of advertising at the very moment in which it uses it and which transforms the viewers – residents, visitors, motorists, passers-by, curious – into explorers of another dimension, of an area that works according to the rules and values of an unknown world; six artworks – together with all the collected fragments of life – gathered in one exhibition to narrate this window opened to the world and for the world: this is the project.
It is through this six-month project, that flashback connects different areas of the city of Turin and different time zones (the ancient, the modern, the contemporary in its making): in the belief that art should leave the institutional spaces, get off on the street to penetrate inside reality, to constantly move in it, to happily integrate into the dimension of our daily existence.
In the 2018 edition of Opera Viva Barriera di Milano, the Manifesto has followed the theme of flashback sixth edition in- spired by the sci-fi novel The shores of another sea by the anthropologist writer Chad Oliver. The silver thread is therefore, just like for the fair, ‘diversity’: cultural diversity, identity diversity, diversity of interpretations. Diversity taken, therefore, as an asset and not as an obstacle, as an eye opener and not as a barrier, as a widened horizon and not its closure. Diversity as a raw material.
Jardins d’Eté is the name of the artwork by the young artist Quayola. The work consists in a video-installation inspired by Impressionism in high resolution. The main focus is the experimental use of technology: light sources, artificial wind and cameras all create the conditions to film something close to the gardens of Chateau de Chaumont-sur-Loire as painted by Monet.
In post-production – through analysing the composition’s movement and the colour scheme – algorithms are generated to create an immersive piece of work. We land therefore on the shores of another time, in which, with contemporary tools and languages we build a memory of what we were and what we will be. In Quayola’s work time loses its meaning, it gets suspended, mirroring exactly what happens to Chad Oliver’s main character when he finds himself in Africa. Once again confirming the timeless quality of art.
Quayola. Jardins d’Eté curated by Federica Barletta
Jardins d’Eté is the name of the artwork by the young artist Quayola, born in 1982. The work consists in a series of video-installations inspired by Impressionism in high resolution. The main focus is the experimental use of technology: light sources, artificial wind and cameras all create the conditions to film something close to the gardens of Chateau de Chaumont-sur-Loire as painted by Monet.
In post-production – through analysing the composition’s movement and the colour scheme – algorithms are generated to create an immersive piece of work. We land therefore on the shores of another time, in which, with contemporary tools and languages we build a memory of what we were and what we will be. Next to the work by Quayola time loses its meaning, it gets suspended, mirroring exactly what happens to Chad Oliver’s main character when he finds himself in Africa. Once again confirming the timeless quality of art. Nevertheless, Quayola is not simply quoting Monet, in fact there are parallels between the two works. The first one is a research of a translation of the impression into an image, into a vision. The main focus of this process is the light, which is essential for both Monet and Quavola.
If for the former it is the result of an emotional impetus to “transpose” the feeling, for the latter it becomes the expression of a mechanical stimulus, a necessary action for the camera to record data, which isn’t emotional but digital.
The second one is the necessity to accomplish the creative act en plein air, thus coming into contact with nature, to interpret its most intimate and little shifts. For Monet, the place dedicated to artistic creation is the garden, bathed by the sun, where the artist awaits and participates. For Quavola instead, the roles get reversed: the painter is no longer the one who “lives the experience” en plain air, but the recipient of it. The “place of the flowers” becomes a movie set where the lights are carefully and technically positioned.
A third reflection arises: if the impressionist canvas describes a precise atmosphere, Quayola’s work instead elaborates a series of moments, digitally synthetizing them within a fluid motion, where the enigma of nature is expressed through what is called an algorithm-painting.
What do these two seemingly analogous processes share then?
It is complex to explore the real connection that exists between the two. Still, we can state that these flowers share an image of fluidity and aesthetic harmonies even though they are rooted in different grounds. However, there is something that we can safely say: Quayola’s work is a prime example of how the history of art is a never-ending source of lifeblood for contemporary art.
produced by Ncontemporary
in kind partner bitforms gallery (New York), Barco, Fast Events
The flashback talks have reached the 6thedition of flashback and have explored the themes of temporal analysis of cultural and artistic phenomena. In 2018 the aim was to merge the differences by contextualizing the subjects in time but also by taking them out of their context to understand the actual timeless value and impact they can have.
thursday 1 november
h. 11,15 / the main legal issues relating to the movement of artworks the art market has never been so vast, both in terms of economic value and of geographical borders, but also with regard to the norms and laws by which the collector, artist and art dealer have to abide. speakers: Vanessa Carioggia (Galleria d’arte Casa d’Aste Sant’Agostino), Francesco Fabris (ArtLawyers.legal), Simone Morabito (ArtLawyers.legal), Remo Morone (notary)
h. 15 / another seashore. From Artemisia to @iGirls, the role of women in art from the woman as the “subject of art” to the woman as an “artist”: the history, the roots and the socio-cultural context of polish contemporary art that sees women as protagonists in the global landscape of postfeminism. speakers: Patrizia Bottallo (curator), Francesca Sandroni (artist), Tea Taramino (artist), Agnieszka Zakrzewicz (journalist) moderator: Roberto Mastroianni (philosopher)
h. 16,30 / Italy/Cathay/Italy. the silk of ancient times to contemporary stylists the tale of the refined and intricate entanglement that connects Italy, and Europe, with the magical and mysterious East that used to stretch from Persia to Cathay, to mysterious Japan. A geographical and temporal journey that connects ancient times to the contemporaneity of designers. speakers: Gianluca Bovenzi (scholar of textiles and embroidery), Monica Bruno (Iconica co-curator)
h. 18 / behind the artwork – wealth management services the market, protection of the artwork and heritage. speakers: Edoardi Bosi (head of art advisory), Valter De Franceschi (head of fiduciary services)
friday 2 november
16,30 / LA STAMPA introduces “temporality in art: boundaries in dialogue” speakers: Arturo Galansino (general director of Fondazione Palazzo Strozzi), Thomas Marks (director of Apollo Magazine) moderator: Luca Ferrua (editor in chief La Stampa)
saturday 3 november
h. 15 / LA STAMPA introduces “diversity as a raw material: opera viva barriera di milano“ speakers: Alessandro Bulgini (artist), Christian Caliandro (art critic and historian), Irene Pittatore (artist) moderator: Luca Ferrua (editor in chief La Stampa)
h. 16,30 / going beyond. artist studios and art production sites. ‘going beyond’: this is the main logic behind the project Studi d’Artista. The production places of art that have been involved, in three editions, 72 studios, 90 artists and 14 galleries, outline differences and peculiarities of the urban territory related to Turin contemporary art. An unusual journey through the city ateliers to share with the public the cultural experience of living the backstage of the artistic creation. speakers: Stefania Dassi (creator of the project, segretariato regiornale del MiBAC per il Piemonte), Carlo Gloria (photographer artist), Francesca Leon (assessora alla cultura della città di Torino), Gennaro Miccio (direttore del segretariato regionale del MiBAC per il Piemonte), Silvia Reichenbach (photographer artist), Nicolò Taglia (photographer artist), Carla Testore (journalist and art critic) moderator: Liana Pastorin (journalist)
sunday 4 november
h. 15 / LA STAMPA introduces “from community to community: a new life for the places of worship” speakers: Luca Ferrua (editor in chief La Stampa), Francesco Novelli (architecture and design department of Politecnico di Torino)
h. 16,30 / Nella Marchesini: an artist of the 20th century from 1920 to 1953 Nella Marchesini devoted her life to painting. She was Felice Casorati’s first pupil, Piero Gobetti, Ada Prospero and Carlo Levi’s friend and Ugo Malvano’s wife. Her artistic journey in the relatively unknown history of the Italian women artists of the twentieth century stands out for its ground-breaking nature. The authors of the General Catalogue of her works explore the main events in her career through her paintings and the more recent research. speakers: Giorgina Bertolino, Alessandro Botta
h. 18 / behind the work of art. art advisory new services services dedicated to managing, maximising, and enhancing the artistic heritage. speakers: Edoardo Bosi (Azimut head of art advisory), Paolo Ceroni (manager Azimut)
The project, which reaches its 6thyear, promotes, through narration the awareness and the direct and active involvement of the public; an innovative key of interpretation, stimulating the development of a critical sense aimed at increasing the interest and the attention paid to art, keeping in mind its cultural, political and economic significance. The guided visits, choosing to focus on specific artworks, artists and artistic approaches, create a brief and immediate interaction, genuine flashbacks concentrating on the history and curiosities of the chosen artwork.
flashback sound is the vibrant and vivacious palimpsest dedicated to music, ranging from the past to the present, and that this year has been focused on the mixité of languages: melodies coming from different backgrounds have been blended together to create new forms of dialogue and comparison between different kinds of music.
art lounge room curated by Andrea Vailati Canta
On the evening of the 31st of october flashback opened its lounge to the sounds of deep techno, darker and heavier, and to funkier sounds, mellow and smooth, along with hard techno; the mood is set by Stefano Prezioso, SINGS and Niko Favata, the last two have just come back to Italy after the ADE (Amsterdam Dance Event 2018).
The live experience has followed the boiler room format, that over the years has gradually gained importance and authenticity and where the public, behind the DJ, becomes part of the performance.
Kenöpsia / Stefano Prezioso and Andrea Vailati Canta (Sunup Records) SINGS (aka Andrea Vailati Canta) and Stefano Prezioso start the project Kenöpsia in 2016 and, within a short time, take part in music festivals such as the Street Parade in Milan and the Sun Up in Crema where they have shared the console with DJs such as Magdalena, Lehar, Pisetzky and Giorgia Angiuli, to name a few. In 2018, they set up the record label Sunup Records.
SINGS (Sunup Records) With his 20 years’ experience, SINGS’s tracks are characterised by an emotional melody with a dominant role played by ethnic instruments. His engineering approach to music is the product of dedication and daily work, constantly looking to better oneself with records, software and musical instruments.
Niko Favata (Expatriate Records) Niko Favata launches Expatriate Records in 2013 with the clear intention of starting his own music production: the critical and commercial success comes quite naturally and soon the label grows and new artists, DJs and producers join in, with whom new, amazing results have been achieved in the best clubs and electronic music festivals, both Italian and international.
mixing sounds curated by Mauro Battisti
Anais Drago (violin, loop station) Born in 1993, eclectic violinist with an impressive resume, Anais Drago projects in a personal way the sounds of folk music, of jazz and of pop within the spaces of flashback. Remarkable improv artist and virtuoso violinist, the artist will take inspiration from the artworks and the objects displayed to create a musical adventure full of charm and mystique.
DA-JAXX / Diego Borotti (tenor sax, Akai pro Ewi) and Marcello Picchioni (piano, synth, drums programming) Analogue samples, synthetized sounds, hip-hop rhythms and all the intensity and freshness of jazz improvisation, all this is DA-JAXX. Challenging musical mixité, these two artists, who share the same background (blues, soul, r&b and mainstream jazz), breathe life into this new project with a refined and captivating way to mix electronics and acoustics.
L.I.M.A 2 / Simone Bellavia (electric bass, double bass, loop station, electronics) and Toti Canzoneri (flute, cajon, drums, keyboard) L..I.M.A., the historic world-jam that started 18 years ago and enlivens every week the spaces of the cafè des arts of Torino, has landed on the shores of flashback 2018 in a peculiar fashion. His brilliant creator, Toti Canzoneri, and the wonderful bass player Simone Bellavia redesign with skill, a musical path based on boundless improvisation. Ranging from afro to rock, from psychedelic rhythms to the roots of flamenco, with acoustic and electric instruments and with the help of electronic effects, the two musicians will explore music and its constantly changing qualities.
ACDS / Alessandro Chiappetta (electric guitar) and Donato Stolfi (drum set) The drum set and the electric guitar, a peculiar couple, the result of the meeting of two incredible musicians that have always been interested in contaminating and mixing languages. AS/DS is a “high voltage” musical duo that puts audaciously forward an exiting journey through the melodies of rock, pop, world and jazz.
ADD performance by Francesca Sandroni
ADD is a project that adds, and tends to overlap, different elements, cultures, styles and languages, creating a sound layering through the sampling of noises generated by symbolic objects. The performance as an impromptu, playful act of unity and interaction with the “other”: the active participation that changes the narrative, life’s everyday flow. A vulgar symphony, a ringing “voodoo” in which we were all included and responsible, in an absolute dissonance.
Sunken treasures. the city: free space, gallery of wonders, the educational project, for the schools, the families and the citizens, is the result of the collaboration between Atelier Héritage and flashback, determined to explore the theme of the fruition of art as a cultural experience of awareness and citizenship. Sunken treasures has been conceived as a path to delve into art, ancient, modern and contemporary, that is rooted in urban history and connected to the territory, aiming to provide the participants with a ‘toolbox’ to help them recognise the beauty in their everyday life. This process of awareness is designed to be a ‘free action’, most of all when set in a public space and a product of the effort on the part of the new citizens, new because of age or citizenship.
The educational program, which involved over 250 primary and secondary school students from November to May, began with a visit to the works by Alessandro Bulgini, in the districts of Aurora and Barriera di Milano, it passed through Palazzo Madama and the galleries to then end with a thematic workshop that took place within flashback. The interdisciplinary contents have been taken up and processed through a workshop activity in the school classes too. Moreover flashback organized a special activity for families and for Gramps, the grandparents who collaborate with Atelier Héritage in the districts of Barriera di Milano and San Donato.
The sixth poster concludes the 2018 edition of Opera Viva Barriera di Milano, a project by Alessandro Bulgini, curated by Christian Caliandroand dedicated – as its sponsor Flashback – to the theme of diversity and cultural, social mixité.
“Bulgini’s image frames a urban corner of Barriera di Milano, and a series of ruined closet doors against a brick wall: on three of these we find a timeless marine scene, with sailing ships, waves and sailors gathered on the shore, telling stories. Cutting the poster in half, a red ribbon (placed on the line of “opera viva” that characterizes the artis’s research, and is the title of the entire project) shows the “free access to the sea” as a fundamental and inalienable right. Why pointing it out here, in Barriera di Milano in Turin, a place both physically and spiritually far from the sea and the Italian seas? Here lies the diversity that has been the silver thread running through all of the artworks and posters that have been part of the project. The sea and the free access to it become an extreme possibility, an ability to reverse the point of view and recreate a reality where only potential and imagination matter: which is the real meaning of art, of every time. This is how a closet door, a simple closet door can in an instant become an open window on another world, on another dimension” C. Caliandro
Bulgini gives us a door to the sea, a free sea, a gateaway to another world. The Opera viva (the waterline), the red ribbon is the demarcation, the border that separates us from what lives in another place, another time. The path towards freedom implicates overcoming the barrier to gain access to the sea.
“L’opera” is alive and is therefore, in its least accessible part, a part that has to be willingly inspected by looking beyond the horizon. The “opera” (the work) and life live there, on the shores of another sea, where sailors live and stories fade, where time and differences are suspended but the access to the sea feels like freedom.
Francesco Valeri The shores of another sea live painting
Francesco Valeri, Porto San Giorgio 1979, known as ‘Lu FRA’, was one of the artists called upon to interpret flashback 2018, dedicated to sci-fi anthropology, to the meeting between worlds and the contact among them. Francesco Valeri’s work is characterised by a powerful colour, a trait both naive and caricatural, both from the past and the future, charged with humour and sarcasm. His figures have an African touch, a continent which holds a special place in his heart. His artistic expression is by and for the people which are also the subject of his work.
The image represents a timeless context, hanging in the balance between past and future, between new and ancient; two characters belonging to different traditions and identities establish a contact, a meeting made by strange tools: a bulb comes out of the westerner’s ear, while the club-scepter of the “indigenous” tickles his cheek. What world are we in? Francesco Valeri’s sign tells us that – between Picasso and the graffiti – the very role and function of art is to overstep andcross the space-time dimensions, to intersect and connect the levels and reactivate the ‘mechanism of thinking’. In this saturated colorful universe, every option suddenly becomes viable, provided that we remain open and willing. Thus, every age is actually present and we can again today – as in other moments of our history – deeply connect different temporal areas: the ancient, the modern and the contemporary in its becoming.
For flashback he has created live The shores of another sea: a 60 sqm live painting that has embraced the theme of the event and has projected it in a timeless dimension.
Tony Matelli The Wanderer, Hunter and Reverie courtesy Gian Enzo Sperone
Three life-sized figures are placed on plinths, some shaped as rocks, some shaped as logs. Around the sculptures, the walls are decorated with a wallpaper with sea motifs: a digitized picture of waves dissolving on the horizon. Tony Matelli erases reality and unveils a far, imaginary place, on the shores of another sea. We, therefore, like survived castaways from an island of dreams, are invited to embrace our fears, our anxieties, and our curiosity and sense of mystery. The three figures, all self-portraits of the American artist, present almost grotesque characteristics, maybe displaying the way the emotions are animating the artist’s mind. In every character we find conflicting impulses, the same impulses, the same fears and the same curiosity that are part of the journey towards the ‘other’ and the ‘beyond’.
In Wanderer the artist portrays an explorer that travels with a long stick, accompanied by three monkeys, and even though the group seems more likely to be found in the city maybe it’s in the new equipment that we find what we need to imagine a new world. Reverie (the dreamer) represents a character who is apparently carefree, with workout clothes and white socks, playing a small guitar. It’s as if every doubt evaporated in a moment of relaxation. But the tree behind the figure and the rope hanging from a branch behind his neck symbolise the lurking fears. In Hunter Matelli becomes an unlikely hunter, armed with only a rope and whose clothes are seemingly inappropriate. It’s as if the camouflage fabric, suitable to hide among the leaves, had been replaced by a fantastic uniform, perfect to wander in the world of dreams. The stunned expression on his face reminds us of the feeling of smelling a mysterious smell, halfway between repulsion and attraction, between the fear of finding out something unpleasant and the desire to meet something new.
All characters, all castaways, all of them busy trying to represent the contrast and the comparison between fear and curiosity, between bewilderment and desire for knowledge, all visions and feelings resulted from the journey towards the ‘other’ and the ‘beyond’.
Tony Matelli (1971 Chicago, Illinois) is an American sculptor who belongs to the realist sculpture school. He’s known to the general public for the artwork Sleepwalker. He exhibited in the greatest museums in the world such as the Palais de Tokyo in Paris and the Hermitage in Saint Petersburg and with important international galleries such as Marlborough Gallery, Andréhn-Schiptjenko, Gary Tatintsian and Perrotin.
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