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Intersezioni digitali (Digital intersections). Group show at Chiesa Storica, San Martino di Lupari, Padova, Italy

Intersezioni digitali (Digital intersections). Group show at Chiesa Storica, San Martino di Lupari, Padova, Italy

… “These works, mostly in movement, intersecting music and dance, tend to include the audience in an interactive way, as in the best tradition of kinetic art; above all they develop a dialogue on knowledge, in which artists collaborate with the frontier areas of emerging sciences and technologies.

That movement that we had left to grips with mathematics and geometry, today we find it engaged in fields such as biology, neurobiology, robotics, the physical sciences, the technologies of experimental interfaces (such as speech, gesture and facial recognition), artificial intelligence and information displays.

The great Intersezioni Digitali exhibition, hosted in the Historical Church of San Martino di Lupari from the 14th to the 28th of October,  presents a wide panorama of the best international research that moves in that direction.”

Abstract from the critic text of the curator Ennio Bianco.

14-28 October 2018

With works by Alessandro Capozzo, Andrea Gregori, Andy Lomas, Boredomresearch, Can Büyükberber, Kevin McGloughlin, Letizia Galli, Lia, Markos R Kay, Matthew Gardiner, Max Cooper, Maxime Causeret, Pier Giorgio De Pinto, Vincenzo Marsiglia.

Cartografia sensibile. Artist residency at CARS, Omegna. Italy

Cartografia sensibile. Artist residency at CARS, Omegna. Italy

“Cartografia sensibile” project is a sentimental, artistic investigation of the poetics of the Italian territory of “VCO – Verbano Cusio Ossola “, a fluid project that aims to gather in the course of a three-year period 2017/18/19, a “sentimental relief” of the geographic-naturalistic-anthropological-cultural area of the extended territory of the VCO through the definition of a “Sensitive Cartography”, freely prepared by a variable number of Italian contemporary artists.
Cartography is the set of scientific, technical and artistic knowledge aimed at a representation of the symbolic but truthful geographical information – or statistics, demographic, economic, political,
culture of a given place, its study through the definition and vision of images and archiving the collected information.

De Pinto’s temporary residency in Omegna
De Pinto visited the Strona Valley and the coasts of Lake Orta. He identified and focused his research on the northern shore of Lake Orta; Omegna and surrounding areas as a starting point.
Omegna is an Italian town of 15’541 inhabitants in the province of Verbano-Cusio-Ossola and is the main center of Cusio, an area located at the extreme northern outskirts of Lake Orta.
Starting from Omegna as a place belonging to the mountain community Due Laghi, Cusio Mottarone and Val Strona, De Pinto moved towards ten stages / basic itineraries within a stay on July 2018.

An affective cartography
A sentimental journey in solitary but with continuous contacts with people who live in those lands. A sort of affective cartography of places and people.
A narration between past and present realized through the interpretative tools that De Pinto normally use as impromptu watercolors, on paper and digital drawings, photographs, printed texts and maps, use of 3D objects, augmented reality, qr codes.
To give back a symbolic but truthful tale, using gateway such as sacred geometry, the study of energy sources and of the specific Genius Loci of a particular area.
A collection of material that can be made accessible to the public in the form of a documentary installation, as a total work of art, but also through the publication that will  be produced at the end of a three-year period and which will contain, as mentioned in the announcement, the different materials produced by the involved artists.
De Pinto’s research, and the consequent final visual and tangible documentation, will privilege those subjective elements typical of the relationship between man and territory; the artist will use social sciences and forms of communication such as literature and history; above all looking at the cultural expressions in the regional context and taking into account the axiom yesterday-today-tomorrow.

The extended museum: between viewing and participation. Interactive tour with the audience. Museum Villa dei Cedri, Bellinzona,Ticino, Switzerland

The extended museum: between viewing and participation. Interactive tour with the audience. Museum Villa dei Cedri, Bellinzona,Ticino, Switzerland

The Museum Villa dei Cedri extended its own spaces to the digital world through some simple tools: an interactive  tour to the exhibition “Burri Fontana Afro Capogrossi” with the guidance of Pier Giorgio De Pinto. On the occasion De Pinto used technologies such as QR codes and Augmented Reality. A QR code allows us to access, via a smartphone, digital content on the web, dedicated to the works of the four artists on display. Augmented Reality is an interactive graphics system that generates a stream of images, texts and videos in real time. Augmented reality starts from what already exists, but is modified with the addition of information and digital content.

Enigma and Desire: Intimate Thoughts about the Functionality of Art, Intangibility and Diagonals in Time

Enigma and Desire: Intimate Thoughts about the Functionality of Art, Intangibility and Diagonals in Time

 

Watercolour on paper, gouache, watercolouring pencil, pencil Caran d’Ache 6901, 19.5 x 42.5 cm (33 x 45 cm).

Private collection, Switzerland.

 

Works by Katia Bassanini / Maurizio Bolognini / Giuseppe Chiari / Giorgio de Chirico / Carmelo Cutuli / Pier Giorgio De Pinto / Martin Disler / Alex Hanimann / Max Huber / Csaba Kis Róka / Ingeborg Lüscher / Rudolf Mumprecht / Meret Oppenheim / Aldo Patocchi / Ivor George Sexton / Valter Luca Signorile / Wols / Albert-Edgar Yersin.
Nineteenth- and twentieth-century works of artistic craftsmanship.
24 June – 16 September 2018

———–

ENIGMA and DESIRE are two concepts that are complementary and opposing sides of the same coin. Two aspects that defy tangibility, they come under the heading of the analytical sphere, however much they may brush against our senses and our thinking, which in themselves also remain incomplete and, to a certain extent, infinite, just as the quest for an informed definition about the utility and the functionality of art as a professional practice remains equally intangible and unsubstantiated now as it was then.

The twentieth century was crucial for the research and production of artistic and cultural fields, which attempted – and still attempt today – to go one step further, to pass over the threshold of object and objectification that they appear to have perceived in beauty, in decoration or in illustration, the ultimate ends of the creative process. There is no shortage of examples that poised to alter the history of the moment, all available for quotation, in parallel with the avant-gardes: from the Utopian-visionary movements to studies of psychoanalysis and of Rudolf Steiner’s theories, seeking at least to forecast and give some meaning to creativity in artistic fields, while also touching on attempts at magical or often spuriously energetic experiences.

In art, everything is subjective, precisely because of the antisocial dimension that underlies artistic practice and its scope: the enigmatic passage that takes place between the artist’s thinking and how it is translated by the hand into form, albeit within a merely decorative or illustrative context.

Not everything is art, yet from a certain vantage point everything is art, at one and the same time.

This is unquestionably one of the most important issues about which we have inherited awareness from the twentieth century, at least from the times of Duchamps onwards: the issue of creation as a fully-fledged, almost magical and alienating phenomenon that grows increasingly distant from reality and realism, where the component of randomness and of mystery in the creative act itself turns out to be unmanageable and unjustifiable in a rational approach. This called for the observer to make an effort of interpretation that is vital to reading the work of art.

There was no apparent utility to art, except as an investment and capitalisation of inner skills and knowledge, since the discipline remained something for the lucky few until the introduction of universal education. Not even the socio-political commitment of militant democrats proved capable of justifying the elevation of art above other trades, with the exception of the prices it commanded on the market. An old Italian proverb says that “beautiful is not what is beautiful, but what we like“. But is it actually correct to say that beautiful is not what is beautiful?

So the definition of the approach to the creative process also encompassed the creation of objects, which in reality come within the category of applied art, around which forms of refined and highly skilled decoration and embellishment developed that are certainly worth pondering.

Without going into the specifics of every work of art presented in this exhibition, and far from wanting to furnish a historiographical and analytical interpretation that would touch on a variety of complications, the curator’s selection nevertheless underscores this kind of approach to creation, yet at the same time to the definition of an endless array of incomprehensible parameters that are unreal and, to a certain extent, anti-societal and enigmatic, as indeed is art.

Mario Casanova, Bellinzona, May 2018.

Translation by Pete Kercher

Geoalchimie at MARS Milan Artist Run Space

Geoalchimie at MARS Milan Artist Run Space

Geoalchimie (Geoalchemies)

Site-specific installation by Pier Giorgio De Pinto at MARS Milan Artist Run Space, Italy

Opening May 23, 2018, 6:00 p.m.

Week-end May 26 and 27 11:00 a.m./07:00 p.m.

23 May – 1 June 2018, by appointment only

http://www.marsmilano.com/

 

The morpheme placed before the word ‘alchemy’ of the title refers simultaneously to the geographies and geometries as themes widely used by the artist.

The geometry that De Pinto uses has its roots in the study of nature, as well as in the mathematical principles that compose it. In the artist’s work there is above all a clear reference to the traditional “sacred” geometry that refers to the five Platonic solids and to the study of the ‘Divina Proportione’, text by the mathematician Luca Pacioli and illustrated by Leonardo da Vinci.

The five Platonic solids have always been related to the terrestrial geographies and those of the cosmos: the cube to the earth, the tetrahedron to the fire, the octahedron to the air, the icosahedron to the water, and the dodecahedron to the universe or prana/ether .

Plato wrote that ” The world, when viewed from above, resembles a ball sewn from twelve pieces of skin”, a direct reference to the dodecahedron as a symbol of Gaia, the living planet Earth.

REFRESH02 – #LAYERS – Contemporary Art in the Digital Era

REFRESH02 – #LAYERS – Contemporary Art in the Digital Era

#LAYERS – Contemporary Art in the Digital Era is the second event of REFRESH, an exhibition series that wants to research Italian contemporary art and offers an update on practices that confront with the issues, languages and forms emerged with the digital turn of the last twenty years.

REFRESH 02 – #LAYERS – Contemporary Art in the Digital Era is curated by Fabio Paris and organised by iMAL, an art institution in Brussels with the objective to support artistic forms and creative practices using contemporary technologies as their medium. The exhibition presents 15 contemporary Italian artists in the effort, on the one hand, to investigate how contemporary Italian art confronted with the issues and the languages of the digital, with a specific interest in the relationships between artists and their geographical dislocation; on the other hand, in the attempt to present their work on an international platform. Broad and comprehensive as it seems, the exhibition title refers to the various ways in which the complexity of the digital environment manifests itself in the works on show: the distinction between code and interface in generative art and glitch art; the layers in a digital image; the strata of time in the archives of digital memory; the distinction between public and private, material and immaterial, visible and invisible. The exhibition is accompanied by a bilingual (Italian / English) publication, published by Link Editions.

The exhibition will take place in the Machines Room of La Raffinerie / Charleroi Danse, from April 18th to May 26th, 2018. The programme of the opening week will be completed by a public debate on Friday April 20th, organized in the frame of Art Brussels and titled “Ways beyond the post-Internet”.

PROGRAMME

Opening

Wednesday 18 April 2018, 18:30 – 22:00

Opening hours

19 April – 26 May 2018
Wed – Sat, 13:00 – 18:00
Open during the Art Brussels weekend, Sat 21 & Sun 22 April
Free Entrance

Venue 

La Raffinerie, Rue de Manchesterstraat 21
1080 Brussels

Artists
Marco Cadioli, Alessandro Capozzo, Pier Giorgio De Pinto, Luca Grillo, IOCOSE, Kamilia Kard, Eva & Franco Mattes, Marco Mendeni, Martina Menegon, Filippo Minelli, Simone Monsi, Alice Palamenghi, Guido Segni, Emilio Vavarella, Carlo Zanni

Art Brussels debate “Ways beyond the post-Internet”
Friday 20 April, 16:30 – 18:00, at Art Brussels
Art Brussels – Tour & Taxis
Avenue du port 86 C
1000 Brussels
With Yves Bernard, Peter Beyls, Josephine Bosma, Constant Dullaart, Valérie Hasson-Benillouche, Hampus Lindwall, Fabio Paris, Domenico Quaranta, Carlo Zanni.

Catalogue (Paperback and Free download PDF):
http://linkeditions.tumblr.com/layers_brussels

More info
http://imal.org/exhibition/layers

Press images
Download press folder

Credits
Curator: Fabio Paris
Production: Link Art Center
Organisation: iMAL
Partners: Charleroi Danse and Art Brussels
With the support of the Vlaamse Overheid, Fédération Wallonie-Bruxelles and the Vlaamse Gemeenschapscommissie.


Installation view of Pier Giorgio De Pinto’s Corpora Polyhedra installation (2015, on going) for REFRESH01 – #LAYERS at Spazio Contemporanea, Corsetto Sant’Agata 22, Brescia (I)
Dates: October 22 – November 19, 2016

Educational workshop leader for the exhibition Burri Fontana Afro Capogrossi. Nuovi orizzonti nell’arte del secondo dopoguerra

Educational workshop leader for the exhibition Burri Fontana Afro Capogrossi. Nuovi orizzonti nell’arte del secondo dopoguerra

Educational workshop leader for the exhibition Burri Fontana Afro Capogrossi. Nuovi orizzonti nell’arte del secondo dopoguerra (New horizons in post-World War II art) March 24 –
September 2 2018. Museum Villa dei Cedri, Bellinzona, Ticino, Switzerland
Tour guide for the exhibition Burri Fontana Afro Capogrossi. Nuovi orizzonti nell’arte del secondo dopoguerra

Tour guide for the exhibition Burri Fontana Afro Capogrossi. Nuovi orizzonti nell’arte del secondo dopoguerra

Tour guide for the exhibition Burri Fontana Afro Capogrossi. Nuovi orizzonti nell’arte del secondo dopoguerra (New horizons in post-World War II art)
March 24 – September 2 2018. Museum Villa dei Cedri, Bellinzona, Ticino, Switzerland

Contribution to the project Everything I know

Contribution to the project Everything I know

At the end of December began the adventure of Mariagrazia Pontorno for her project Everything I Know (Volume 2).
A Project curated by and developed with Elena Giulia Abbiatici and Silvana Vassallo, with the kind assistance of Ines Musumeci Greco. Boarding crew – project development: Rosa Ciacci.
In partnership with Brasilian Embassy in Rome, Austrian Cultural Forum in Rome, Kunsthistorisches Museum of Wien, Botanical Garden of Pisa, Galleria Passaggi.I have been invited to collaborate on this project with a contribution I named

Influenze tecnico scientifiche dell’uomo sugli elementi naturali prodotti dalla Natura.
(Man’s scientific and technical influences on the natural elements produced by Nature).For more information on Mariagrazia Pontorno’s project:

 

image: ​Mariagrazia Pontorno, 2014, A Samambaia dos Mares #2, lightbox, 30x40x10 cm, courtesy Galleria Passaggi, the artist.
Conversation with the body

Conversation with the body

January 12 2018

Lecture ‘Dialogo con il corpo’ (conversation with the body). Students and professionals of clinical ethics and clinical humanities at Supsi, University of Applied Sciences and Arts of Southern Switzerland. Venue: Library of MACT/CACT Arte Contemporanea Ticino (CH), Switzerland.
https://www.facebook.com/pgdepinto
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