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Contrappunti #01 Marco Fusinato / Vettor Pisani

Data:

12/07/2018


Contrappunti #01 Marco Fusinato / Vettor Pisani

Contrappunti #01 Marco Fusinato / Vettor Pisani

(12 luglio - 7 Ottobre 2018)

Mostra di arte contemporanea, curatore Eugenio Viola

Vernice: giovedì 12 luglio 2018

Media Release

Counterpoints # 01
Marco Fusinato / Vettor Pisani
Curated by Eugenio Viola

‘Counterpoint’ is a term that defines the art of combining note against note in one or more melodies more or less independent of each other. By extension, the term counterpoint can be used to define any artistic work capable of returning a story focused on themes, motifs or contrasting tones, opposite, yet complementary.

Counterpoints is a multi-year project, developed through a series of exhibitions that aims to juxtapose, by affinity or divergence and beyond any generational logic, the research of some of the most intriguing Italian and Australian artists, whose work is related to contingencies very distant from those that belong to their respective contexts. The intent is to highlight, beyond a supposed distance, physical but above all cultural, art’s capability to create unexpected short-circuits, welding distances and eliminating differences.

Counterpoints #1 displays in dialogue works of the Australian, Marco Fusinato and Italian, Vettor Pisani.

Marco Fusinato (Melbourne, 1964), is an artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording. Combining allegorical appropriation with an interest in the intensity of a gesture or event, his projects often investigate opposing tensions such as the ones between high and underground culture, noise and silence, Minimalism and Maximalism.
Vettor Pisani (Bari 1934 – Rome 2011), was a real precursor who successfully combined conceptual investigation with irony, the play of language with role-playing, masking with the search for truth, significant history with the chronicle of the trivial, the sacred with the profane, the art of the past with provocations of the present. He usually defined his work as “a philosophical and cognitive theatre of the modern history of Europe”. Pisani was one of the most important artist in Italy from the ‘70s, as well as one of the most personal and visionary authors on the art scene of his generation.

Despite the fact that their research and their work blossomed in entirely different socio-political and cultural contexts, both Fusinato and Pisani employ a multidisciplinary approach in their practice, crossing through a variety of mediums and genres. Both their aesthetics widely use existing imagery to create a new association of ideas. Furthermore, both artists believe that re-contextualising the original materials, allows the viewer to renegotiate the meaning of the original in a different, often subversive (and more current) context.

A subtle joke of correspondences connects all the exhibited works: Vettor Pisani often conceived his oeuvre in relation to Joseph Beuys. One of his most iconic performances, for example, re-enacted several times, is titled The rabbit doesn’t like Joseph Beuys (1976) , and even the Blue semi-cross (1980), was imagined connected with Beuys’Eurasia (1966) . The Beuys’ multiple Rose for Direct Democracy (1973) , is also the starting point of Fusinato’s A Dozen Roses (2006). He developed this photographic series taking the multiple of the German artist to a commercial photographer with a bouquet of fresh long-stem roses. Each flower was placed into the cylinder then photographed and printed at 1:1 scale and then exhibited all together as a newly imagined arrangement. Fusinato’s interest in the discourse of Italian radical politics, from Autonomia to anarchist polemicist Alfredo Bonanno, crucial in the research of the Australian artist, resonates in Pisani’s Untitled (2011), that belongs to a series of political works the Italian artist did on the themes of Judaism, Nazism, and the compromised European identity. Furthermore, the violin included in this work recalls the Mass Black Implosion series (2007-17). Here Fusinato reproduces at original scale a selection of scores by avant-garde composers, ruling a line from every note to an arbitrarily chosen point as a proposition for a new composition, in which every note is played at once, as a moment of consolidation and singular impact.
Eugenio Viola

*****

Marco Fusinato (Melbourne 1964, where he lives and works), has been exhibited in many exhibitions worldwide, including 21st Sydney Biennale, 2018; 56th International Art Exhibition of the Venice Biennale, 2015; ‘Soundings: A Contemporary Score’, the first ever exhibition of sound at the Museum of Modern Art, New York, 2013; 30th Sao Paulo Biennale, Sao Paulo 2012; 1st Kochi-Muziris Biennale, India, 2012; 12th Adelaide Biennial of Australian Art; Centro de Arte Dos de Mayo, CA2M, Madrid, 2010; Kunsthalle Düsseldorf and the Museum of Malmö, Sweden, 2009; MCA Museum of Contemporary Art, Sydney, 2008; Yerba Buena Center for the Arts, San Francisco, 2006; Australian Centre for Contemporary Art, Melbourne, 2006; Art Gallery of New South Wales, Sydney 2005; Auckland Art Gallery, 2005; Monash University Museum of Art, Melbourne, 2005.
Fusinato also performs regularly in the experimental music underground, releasing many music related artefacts on numerous international labels. He explores the idea of noise as music, using the electric guitar and mass amplification to improvise intricate, wide-ranging and physically affecting frequencies.
Marco Fusinato is represented by Anna Schwartz Gallery, Melbourne


Vettor Pisani (Bari 1934 – Rome 2011). In 1970, Pisani moved to Rome, where he had his first solo exhibition at the gallery La Salita, titled ‘Masculine, Feminine and Androgynous: Incest and Cannibalism in Marcel Duchamp’. The exhibition already included many of the themes that the artist would pursue throughout his career. That year he won the prestigious Pino Pascali Prize and had another solo exhibition at the Castello Svevo in Bari, where he presented his celebrated work Lo Scorrevole (Zip-line) for the first time. The following year, the artist took part in his first Paris Biennale and began a collaboration with Michelangelo Pistoletto – Plagio (Plagiarism) - that was exhibited at Gian Enzo Sperone Gallery in Turin, the Frankfurter Kunstverein in Frankfurt, and Galleria Marlborough in Rome. In 1972, Harald Szeemann invited him to participate in Documenta 5. 1972 was also the first year he took part in the Venice Biennale, where he would return in 1976, 1978, 1984, 1986, 1993, and 1995. It also marked the start of a long series of solo and group exhibitions at international institutions (Guggenheim Museum, New York; Hayward Gallery, London; Kunstverein and Lenbachhaus, Munich; Grand Palais, Paris; Museum Folkwang, Essen; Peggy Guggenheim Collection, Venice; MoMA PS1, New York; Museum of Contemporary Art, Shanghai). In 2013, Madre Museum in Naples organized his most comprehensive exhibition (Heroic / Anti- Heroic: a retrospective) and published a complete monograph about his work.

Special thanks to: Fondazione Morra, Naples, Italy / Anna Schwartz Gallery, Melbourne

 

Informazioni

Data: Da Gio 12 Lug 2018 a Dom 7 Ott 2018

Orario: Dalle 09:30 alle 18:00

Organizzato da : IIC Melbourne

In collaborazione con : Anna Schwartz Gallery, IIC Sydney

Ingresso : Libero


Luogo:

IIC Melbourne, 233 Domain Rd, South Yarra

804