Luisa Catucci Gallery

Ort: Luisa Catucci Gallery bis: 2018-01-07

Künstler: Lido Rico

Thema: Lidó Rico sculptures focus on the human subject, with a particular attention to human brain and their scientific and philosophic coexistence. The brain, as the organ of the mind, has implications for broader philosophical problems, such as the nature of free will, moral responsibility, self-deception, personal identity, and perception. More and more today is getting clear how the humanist culture and the scientific one, need one another and are looking one into the other, abandoning the past behavior of living back to back inattentive one to the other. In the society of information the transversality between disciplines, the implementation of new models and methodological strategies, the open intellectual debate, are the central axes around which rotate the relations between science and culture, scientist and artist. Lidó Rico in his brain sculptures approaches the syndromes of different addictions, chemical and behavioral, that grip humanity in the contemporary society. Above this, the sense of human freedom, the cultural plot of our emotions, the psycho-social tiredness that seems to invade the contemporary individual also arise in front of the viewer’s eyes when confronted with Lido’s work. Also the expressive gesture of his self-portraits works, although being a faithful representation of the emotional state of a single person, is deprived of his individuality thanks to the use of masks or stereotyped extreme gestures, and becomes universal. Maintain a theatrical distance from authenticity, Lido’s gesture appears to be strictly related to performance. But is truly this sort of tension between two apparently contradictory elements – reality and fiction- becomes a fundamental topic in the work of the Spanish artist, a friction where every gesture is and, at the same time, is not what it represents. Finding the balance between these contradictions, Lidó Rico’s work addresses the universal while focusing on the individual, in the attempt of freeing a grimace that is never fully subjective but belongs to that “other” in which everybody can easily recognize him or herself. Since the beginning of his career, the Spanish artist has been developing one of the most regular, constant and personal body of works inside the Spanish art scene. A body of works in which the eminent aesthetic of the materials used in his sculptures combines itself with an indisputable performative and gestural component. Result of a violent process of gestation where the artist, in a sort of ritual act, submerges his body in plaster in order to create an empty mould that will be subsequently filled with polyester resin, Rico creates fragmented bodies and dislocated faces that literally emerge from the walls as if they wished to find relief from their own tyranny.

Ort: Luisa Catucci Gallery bis: 2017-11-30

Künstler: Eleonora Roaro

Thema: Loops is the solo show dedicated to the young Italian artist Eleonora Roaro, with a selection of works about repetition and self-portrait she made over the last five years. Focusing on video and archaeology of cinema, the exhibition underlines the performative aspects of her practice through the set up of repeated and obsessive actions that become metaphors for human limits. On one hand, pre-cinematic devices such as zoetropes and magic lanterns question the perception of artworks in the space, on the other the loop is not conceived as a a creative hardship but as a narrative engine: in this way, stories are told with only a few elements. Moreover, the repetitiveness of movements helps to deconstructs the actions, revealing their both mechanical and fictional dimension. The sound also contributes to creating a meditative atmosphere: from the internal rhythm of the sequences on loop to the inaudible music coming from the vinyl records placed under the zoetropes, the viewer is constantly lead to experience the “hinc et nunc” of the display. Not only are cyclical time and self-portrait recurring themes of the exhibition, but so too are balloons, an ironic metaphor for ephemerality. In the one-second videos of 00:00:00:01, their pops remind us of the catastrophic impact of human actions on the Earth’s ecosystem, whereas in the zoetrope Farewells Never Are Farewells, a black gas balloon flies away and always comes back, highlighting paradoxical aspects of life. Eleonora Roaro was born in 1989 in Varese (IT). She studied Photography (BA – IED, Milano), Visual Arts and Curatorial Studies (MA – NABA, Milano) and Contemporary Art Practice (MA – Plymouth University, UK). Currently, she lives and works in Milan.

Ort: Luisa Catucci Gallery bis: 2017-10-31

Künstler: Colin Dutton - Andreas Fischbach

Thema: Paying homage to a great French writer, George Perec, this exhibition will focus on space as an element that forges the relationship between the individual and the other as well as that between the single and the self. Cherishing the difference between photography and painting, the works of Colin Dutton and Andreas Fischbach confront us with two different visions of space, involving the observer in a sort of perceptual journey able to affect their body as well as their gaze. Interested in the global “machines” that sustain our contemporary lifestyle, Dutton realizes photographic panels by assembling different satellite images. In his series, "Co-ordinates", each panel is made up of between 100 and 3.000 individual pieces representing world cities, freight containers, Ikea stores, power stations, steel works and refugee camps. By adopting a panoptic vision which elevates the viewer’s gaze to that of “a solar eye looking downwardly like a god”, Dutton creates suspended landscapes that tell us stories about a mankind which remains entirely absent, hidden in those small spaces within the panels. It is a sort of visual fiction that these images create, a perceptual illusion where differences and singularities tend to be excluded, allowing the observer to indulge in the pleasure of “seeing the whole”. Inspired by the aesthetic of satellite images, which have only recently become part of our visual culture, the artist seems to look at the "non-lieux" of our modernity almost through the same detached and judgmental lens of an architect or a town planner. With a particular attention to the detail, Dutton creates mosaics of our time where the artificial viewpoint is compounded by the viewer’s experience and knowledge, becoming the missing panel of a way too abstract representation of our world. Compared to Dutton’s photographic work, the installation realized by the Swiss/Berlin based artist, Andreas Fischbach brings the spectator’s gaze back to earth. The exhibition combines painted portraits of three different people coming from three different countries. Each picture is associated with a video projection showing a list of statistic data concerning the economic, political and demographic condition of the country where the portrayed person comes from. A big world map where the three countries are highlighted complements the installation. By juxtaposing a world map together with three acrylic painted portraits and video projections, the artist’s installation, "Meccanismo d’informazioni", wants to be a reflection on how the information we receive every day from the mass-media about other countries, tend to influence our own personal representation of reality. By using the expedient of the chance meeting between the spectator and the portrayed figure, the artist wants us to reflect on how this overload of scientific information not only affects our own perception of the other but also influences the way we relate to them. At the end of a real Icarus’s journey which saw the spectator confronting with two very different ways to intend the relationship between man and space, we are left with only one question: which viewpoint is the most deceptive one?

Ort: Luisa Catucci Gallery bis: 2017-08-31

Künstler: Giuseppe La Spada, Edoardo Romagnoli

Thema: In the attempt to explore the place beneath superficial tension, hiding underneath the subtle transparent membrane which keeps us separated from the real world, Giuseppe La Spada’s work focuses on water as an element of suspension and balance between several ancestral dualisms: life and death, light and darkness, visible and invisible. Water is a dimension where all the sensorial perceptions change, affecting the relationship between reality and fiction but also representing a space of possibility for the individual to get in touch with the deepest part of the self, in a kind of vertical journey where body and water share the same fluid materiality. Like mythical creatures, halfway between human and animal, La Spadas’ subjects are never fully underwater, floating quietly over the transient place in-between the surface and the sea bottom. Focusing only on natural elements, La Spada’s work also share certain sensitivity toward environmental issues. Aside from taking part to several ecological projects, in 2007 the artist won the prestigious Webby Award, thanks to the web project “Mono No Aware” made in collaboration with the Oscar winner artist Ryuichi Sakamoto. Giuseppe La Spada was born in Palermo in 1974. In 2002 he graduated with honors in Digital Design at Istituto Europeo di Design in Rome, where he remained as a professor until 2004. In 2006 Istituto Europeo di Design Rome conferred him the prize for best carrier in Visual Arts. Currently La Spada lives and works in Milan, embarked in a relentless research not only in terms of aesthetic artistic mission, but also human and ethic, aiming to give a real contribution to human society. The very first encounter between Edoardo Romagnoli and the moon has to be be traced back to 1990 and since then, the love story between the Italian artist and the elusive satellite has never come to an end. Almost indulging the moon’s changing nature, Romagnoli always seeks her under her own terms: “I have to go to places where the moonlight doesn’t have to compete with unnatural light such as glare or reflections from street lamps. These are usually peaceful and remote places that are also conducive to thought and would be inspiring even without the moon”. While most photographers try to capture as much light as possible, Romagnoli does just the opposite, allowing his favourite subject to glow with her own special light without adding any artificial enhancement that would deprive her of her mystery. By pointing the camera toward the sky, Romagnoli engraves the darkness with cryptic messages, creating nocturnal visions which become as silent, mysterious and metaphysical as the moon. Edoardo Romagnoli lives and works in Milan. He started in the late ‘80s developing his own expressive search and since then he has been exhibiting in solo and group exhibitions in Italy and abroad. The first photo of the moon dates back to 1988 and represents the beginning of his most known artistic carrer. His first solo exhibition was in 1991 at “Il Diaframma” of Lanfranco Colombo. The moon is an object of an untiring observation; Romagnoli makes it the protagonist of his long experimentations renewing in every release the original charm that ravishes him. The photos are realised moving the camera and they have been in any way modified in postproduction.

Ort: Luisa Catucci Gallery bis: 2017-07-01

Künstler: Enrico Pietracci, Jürgen Bürgin

Thema: Fließende Körper is the end point of a long series of artistic experimentations by the Italian/Berlin based artist Enrico Pietracci. With the aim to reach a renewed esthetical form, the artist explores a new way of expression where visual and performance art fuse themselves in-between the pure lines connecting the moving bodies and the graphic painting. What emerges from this fusion is a particular esthetical form, able to overcome the incommunicability of the dynamic and emotional actions while promoting the interactions between the artist and the subject. The photographic result of this form of “light painting” is what allows the traces left by the dancers in the very present moment of their action to extend the effect of their vital force, reaching the balance between the bodies’ disruptive expressiveness and the composedness of the line. 2015 represents a sort of turning point in the artist’s creative growth: after several years experimenting with drawing, he finally discovered the medium of photography. Constantly looking for a new esthetical form of expression, Pietracci finds in the “light writing” par excellence, the perfect field for the development of that open dialogue between the subject and the artist, which stays at the core of his artistic vision. Every photo session takes place in the contest of the artist’s personal atelier, where the dancer/performer is free to move around the space allowing the photographic eye to record their action. The photographs are realised by using a Reflex camera and the effects are the result of an accurate work trough a specific use of lightening and exposure time. No work has been in any way modified in postproduction. A wondrous world of dazzling illusions and crafty (dis)simulations, authentic space of daring feats and extreme acts, a field of adventure and drama – all this and more is the sandy arena known as circus that lives and dies, everyday, by suspense, contrast and contradiction. Circus is creation, creative invention and physicus fiction. Together, the Berlin photographer Jürgen Bürgin and the literary scholar Anna-Sophie Jürgens explore these imaginaries of the Arts of the Ring. Taking the circus(‘) shadow as point of departure, Exposure illuminates the affinities between circus and fiction while unveiling the arena where its traditional dimensions ends and the fiction begins in the shadow of the history of Circus Arts. Jürgen Bürgin, born in 1971, is a photographer living and working in Berlin. His works have been exhibited at the South Street Seaport Museum in New York, at the Fotogalerie Friedrichshain in Berlin, at the Galerie Lardon in Ahrenshoop, at the Deutsche Bank in Berlin-Charlottenburg, at the Galerie Aspekt in Neustadt an der Weinstraße, at Cologne Art Fair, at the Affordable Art Fair in Hamburg, at the Galerie im Saalbau in Berlin, and at the Galerie Seifert Lardon in Berlin. His photographs have been awarded several times, e.g. by the renowned Berlin based photography gallery C/O Berlin. He has been shortlisted for the Sony World Photography Award, as an Urban Photographer of the Year and he took second place at the Brennpunkt Award of the Browse Fotofestival in Berlin. In 2016 his photo book URBAN FEVER – Scenes from city life has been published. Anna-Sophie Jürgens is a scholar of Comparative Literature and currently a Humboldt Postdoctoral Fellow at the Humanities Research Centre of the Australian National University in Canberra. In 2016 she published a monograph on “The Poetics of the Circus – The Aesthetics of Hyperbole”, which is the very first comprehensive comparative discussion of circus in fiction, especially in contemporary novels.

Ort: Luisa Catucci Gallery bis: 2017-05-28

Künstler: Francesco Kiàis (IT-GR) | PASHIAS & PAPPAS (CY) | Zierle & Carter (DE-UK) | Nicolina Stylianou (CY) | Eru and Seven of Eglise (DE) | Hector Canonge (RA-USA) | Ruth Biene (DE) | Andy Tam (HK) | Marta Lodola + Valerio Ambiveri (IT) | Anniken Weber (NOR) | Patrick Jambon (FR) | TAFT Group: Tsui Siu Hong + Lai Sin Wah + Fiona Wan Sze (HK) | Monique Yim + Wiency Wong (HK) | Alvin Cheng + Tang Tak Man (HK) | yoto (DE) | Felix Roadkill (DE) | Andrew Lam Hon Kin (HK) | Olga Kozmanidze (RUS) | SoSickCommunications (UK) | Barbara Kowa (A) + Colin Edina Leach (DE) | Sikarnt Skoolisariyaporn (THA) Nicola Fornoni (IT) | Morphon (DE) | Mathieu Léger (CDN) | Keike Twisselmann (DE)

Thema: International artists create a two-day high-energy event with an international context by presenting their work in an hourly schedule throughout the weekend. The actions follow creating a connection between the public open space of the Schillerkiez with the private indoor space of Luisa Catucci Gallery. Performers and viewers will be taking the inside to the outside and the outside to the inside. The power of momentary impulses and the power of intervention with space and time, and the encompassing mix of genres and disciplines create the action weekend to become an unforeseeable overall picture of Performances where the threshold of categories merges. Material and conceptual structures are absent and the viewers meet with their own interpretative freedom. A world within a world where one main characteristic dominates: the transformation of ideas, redirecting the expectation level for completeness into an permissiveness for surprise. 
Artists and viewers alike experience the amenable possibilities of dis-categorization between performing art and fine art. Artist next to Artist and its non-stopping continuity of actions and movement through spaces, gallery and most of all public, unexpected urban environments of Neukölln’s everyday life situations. 
Pavements transform into exciting, temporary platforms for feet and heads and the pedestrian’s stride is being interrupted. The idea that the limitations of private and public are being met and may be are distorted, at that threshold open the borders of countries and foreign cultures, the moment when artists of different nationalities engage on Cell63 as a unique, international experienced art platform.

Ort: Luisa Catucci Gallery bis: 2017-05-24

Künstler: Fabio Romano, Francesco Geronazzo

Thema: Find the balance – Fabio Romano Solo Exhibition. Ranging from installation and sculpture to photography, the show will present a new series of works specially created for the occasion by the young and talented Italian artist. Always creating his works according to the space of their exhibition, the artist’s working method contains in itself a direct reference to that aesthetical dimension of “living” which is at the core of his artistic vision. Far from that typically Cartesian idea of space as ether where all the things are immersed, Fabio Romanos’ spaces are rather the result of an open dialogue where the body covers an important role in the process of re-defining the limits of the first. Inviting the spectator to move around a space in-between a “prescribed” and “not prescribed” nature, the artist manifests an attempt to physically involve them to play with it, to explore the unwritten possibilities that lie behind its mere formal organization. Suggesting a visual experience where the spectator’s body has to zigzag between the different elements as well as their eye is forced to oscillate constantly between a vertical and horizontal dimension, the exhibition space becomes the perfect field for the observer to experience that alienation effect, always present in the artists’ apocalyptic landscapes. These are desolate sceneries that never allude to a specific time or space, where reality and crea- tivity intertwine themselves in a never-ending game of creation/destruction that closely recall the mechanism of memory. At the core of an artistic vision that has its strength in the association between different media, words also play an important role. Placed on the walls around the artworks, they prefer to sur- round rather than overwrite them, by insinuating gently inside that invisible space which keeps the sculptures suspended and almost separated from their surroundings. As an “art of time”, poetry succeeds to set in motion the sculptures in the room, supporting the iconic power of both the verbal and the artistic language, in an attempt to reveal the mystery of the invisible. If, as Roger Callois suggests, poetry is what “gives to anyone, in the space of a second, the perception of an enigma”, words become here a sort of magic device, able to guide the viewer in filling the spaces left to their own imagination. Back to the roots: Francesco Geronazzo @ Luisa Catucci Gallery Project room Back to the roots: this is where Francesco Geronazzo’s exhibition at Luisa Catucci Gallery Project room is going to bring us. The show will present a selection roots’ tracings made of ceramic chalk, monotypes made with gold chalcographic ink and blue pigments on flimsy paper together with other works made on textile material. Seeds, stones, small shrubs, roots: these are just some of the natural elements that always recur in Francesco Geronazzo’s artistic practice. Reinventing an ancient technique like that of printmaking art, Geronazzo creates poetic pictures where his artisan and manual working method gives rise to an authentic “aesthetic of imperfection”. In contrast with that process of production and reproduction of images offered by modern technologies, Geronazzo creates etchings, sculptures and installations where traces of nature and lifetime memories fuse themselves in a very slow and delicate creative process. Typically associated to the idea of origin and source, roots become, in the works of Francesco Geronazzo a sort of bridge between past and future. Coming directly from Australia, a country where the artist spent a long period of time, these natural elements not only represent a kind of turning point in the artists’ life and artistic experience but also work as symbols of a new beginning, being related to a place where to possibly settle down and start a new life.

Ort: Luisa Catucci Gallery bis: 2017-03-14

Künstler: Aqua Aura

Thema: “Scintillation” is the name of the solo exhibition dedicated to the works of the visionary italian artist Aqua Aura which will inaugurate the artistic season 2017 at the freshly renewed Cell63 art platform. As a quartz that has been subjected to a thermal bath in gold vapour, altering some of its characteristics to simulate the appearance of a precious stone, Aqua Aura works as an emblem which contains in itself the story of a mutation, the conclusion of a previous existence and the beginning of a new vision of art, emancipated from his personal history and earlier production. Choosing to start the artistic season 2017 by presenting the dreamlike works of this very atypical artist is a declaration of Cell63’s self “metamorphosis”: started in October 2008 as an art platform for the alternative international art scene, Cell63 became a referential reality in the world contemporary art field. Nothing better than that “elsewhere bliss”, constantly celebrated in the works of the Italian artist Aqua Aura, seems, in fact, represents the urge of change which generated from the developing of a more mature and conscious vision in a constantly evolving artistic scenario. The exhibition will present a selection of works taken from the photographic series called Scintillation made between 2015 and 2016. Used in physics as well as in astronomy, the term “scintillation” refers to those changes in the air’s refractive index able to give rise to phenomena of warped perception. Emblems of the encounter between different universes and temporalities, the works of Aqua Aura address the spectator indirectly, inviting them to take part to a subtle translation’s game which draws from the optical unconscious with the aim to subvert it and reveal its hidden potential. The artist’s working method recalls that of an old-timey bricoleur: each one of his perfect landscapes are, in fact, the result of a selection and the subsequent fusion into a new pattern of previously created or assembled images of details. A digital processing and the final definition of the colour, shade and contrast profile add the finishing touches. Always looking for that “something more”, Aqua Aura is constantly evading the fixity that the technical limits of photography would impose, seeing himself more as a painter aware of the delicate geometries and relationships between the invisible weights and balances at the core of his photographic works. With the wish to instil a sense of bewilderment in the spectator, these images entrap the gaze within a wide range of possible meanings while alluding to a more intimate and less objective perception of our reality. Silent and ipnotical landscapes, these invented spaces cannot be considered as representations of “exteriors” but, rather, frames of countless interiors able to cheat the observer by alluding to something real while increasing the sense of mystical sublimation. Drawing a line with a cultural tradition which made the separation between man and nature as criterion for its unconditional exploitation, the Italian artist chooses to reintegrate the man inside the natural dimension, hoping that this more “human” vision of our world won’t remain just the result of a “scintillation”. Aqua Aura is a project born in Milan in 2009. After the studies at the Art High School of Bergamo, the artist took a university degree in painting at the Academy of Fine Arts of Brera, with a thesis on: “Anselm Kiefer. The Other Baroque: An Overview On The Contemporary German Expressionism”. Spinning all over the world, Aqua Aura personal training continues with voyages inside museums, in research laboratories and across huge spaces of natural environment. His range of studies spans from the field of astrophysics, to particle physics, bio-genetics, philosophy and psychology of perception. In the last years the artist switches his language towards photography and digital-art. He works between Milan and Akureyri (Iceland) with his Norwegian Forest cat. Recently, he showed in many institutions, galleries and museums at international level: such as Turin, Istanbul, Barcelona, Maastricht, Finland and Slovenia. The developments of his most recent works are leading him towards the territories of video art realizing short films and docufilms.

Ort: Luisa Catucci Gallery bis: 2017-01-28

Künstler: Bankeri /// Michele Guidarini & Pasquale De Sensi /// Timwnas /// Line Guillod /// Frederic-James Pordoy

Thema: FANTASTIC METROPOLITAN CREATURES Papers, markers, painting, metal, ropes, glue and most of all abundance of lauded folly. These are some of the ingredients of the recipes to obtain exquisites “Fantastic Metropolian Creatures”.Our exceptional chefs: Bankeri (aka Francesco Bancheri), Michele Guidarini & Pasquale De Sensi, Timwnas, Line Guillod, Frederich-James Pordoy. Animated mutation, the paper allows itself to get pummel, overlay and dissect. Clipping of procedural offal, it ends armless, forewarning the battle of boards and canvases, performing talking spider defying the gods to whom surrender. A child armed with a sling to tear down the giant between the skyscrapers. Insubordinate soldier fighting the vacuouswar of unrealistic ideas, the dislocated paper tumbles-down, derelict, common, leftover, it's teared apart from the comfort of the magazine, dismembered from its purpose, to claim its nature of ideological cocoon, pandemic drift, putrescent meditation, guardian demon of the sweet-dream's dark room, silent preachers of lysergic anathemas of the visionary left-overs. “Fantastic Metropolitan Creatures” are made out of stardust born from a synaptic big-bang,indomitable rebels against the pretentious image composed under the fear of fashionable dictates, controlled by the irreversible linearity of the willful thinking and its consequent coprophagy. The promiscuity of ideas is redeeming. In this case it becomes act of junction, without bothering the peaceful chaos of things, blending with violence and elegant vocative presences, disclosing compositions full of meanings. Promiscuousness multiplies and reveals a renewed identity, taking place inside the chaos avoiding to drift thanks to an arbitrary and genuine act.Operating appendix of creative narrations and peculiar personality, the monster of visibility imposes himself free of counter-cultural misunderstandings, as alchemical result of infernal mixtures, a dadaist halloween, escaped from the repression of history.

Ort: Luisa Catucci Gallery bis: 2016-07-30

Künstler: Darkam Eugenia Monti, Marco Rea, Sergio Pastore, Gianluca Gambino, Bella Harris, Elena Helfrecht, Pasquale de Sensi, Raquel Weiße, Pelin Santilli, Bilal Bahir, Bambi Kramer, Giacomo Merkic, Skawager – SKWG, Yagama, Vacon Sartirani, Augustin Rebetez, Aqua Aura and Gwen Guégan

Thema: In the Oxford dictionary Dreams are defined as: a series of thoughts, images, and sensations occurring in a person’s mind during sleep. Although dreams have been a topic of scientific speculation, as well as a subject of philosophical and psychological interest during all ages of history, their content and purpose are yet not definitively understood. In modern times, dreams have been seen as a connection to the unconscious mind and the emotional, but every single culture on Earth, during all ages of history, has develop it’s own relation with them, assigning them different roles and powers. And still they make us wonder. And still they are able to unsettle us. And still they are able to surprise us. And still they are able to move us. Dreams can have varying natures: frightening, exciting, magical, melancholic, adventurous, erotical and often a mixture of all this. Seeing their they volatile and mystical nature, it seems quite natural that dreams are a huge source of inspiration for artists. So we invited 15 artists, coming from various disciplines, as video, photography, painting, installation, and music, to present artworks strictly related to their dreams, considering all of their type: good dreams, nightmares and even lucid dreaming. The aim is to explore the various images and emotions that a dream presents and evokes, while not attempting to come up with a single unique dream view: each person has his or her own dream language. A voyeuristic journey in somebody else’s imaginative subconscious.

Ort: Luisa Catucci Gallery bis: 2016-04-23

Künstler: Saturno Buttó///Valentina Brostean///Michele Guidarini///Luisa Catucci///Darkam///Turi Avola///Laura Gianetti///Italia Ruotolo///Dayana Montesano///Rosario Salerno///Elena Monzo/// Danilo Pasquali///Alessia Cocca///Mariantonietta Bagliato///Andreas Fischbach///Dorothy Bhawl

Thema: «Eroticism is one of the bases of self-knowledge, as indispensable as the poetry.» Anais Nin “Being a woman and Other Essays”, 1977 In this exhibition we will present artworks from contemporary artists of the Italian scene, that equally refect the oneiric, fantastic and bizarre spirit of Cell63 artplaform. In ancient mythology Eroticism was personifed by the God Eros (ἔ ρωςe, ros—"desire"), that falling in love and uniting with Psyche (ψυχή--“soul”) brought to life Voluptas ("pleasure" in latin). It's clear then that in order to bring us Pleasure the Eroticism must be united with the individual's Soul. As fruit of personal aesthetic judgment tied to sexual attraction, this quality has been giving infnite matter to artistic representations. Quoting the artist Marcel Duchamp “Eroticism its an animal thing that has many facets and is pleasing to use, as you would use a tube of paint.” Since eroticism is as well dependent not just upon an individual's sexual taste and sensibility, but also upon the culture, time and social environment in which an individual lives, we decided to show a raffnate selection of erotic artworks from the contemporary Italian art scene. In the collective consciousness Italians are quite bond to seduction and passionate love, fortunately not only due to the sexist attitude of average latin lovers or the shameless misadventures of certain politicians. Mostly this reputation is based on cultural reasons: from the erotic frescos in Pompei to Boccaccio's or Casanova's writings, from Alfredo Piotto's painting to Valentino's haute couture, eroticism show to be inherent to the experience of Italian people. Despite this for long time in Italy prevailed a moral for which the erotism, often confused with pornography , was considered scandalous (immoral, indecent, lascivious, obscene, nefarious!) and not suitable neither for the respectable salons, neither for the big audience. For quite a while the open appreciation of the erotic was relied only to some closed circles of the intellectual elite. The run to sexual emancipation and equalization (hetero and homo) in the western society, achieved exponentially in the last decades, has allowed many artists, also from the Italian art scene, to express their eroticism in a more free and shameless way. On top of this the society amplifed its vision of what can be considered artwork, opening the door to quite a variety of genres and styles: from fantasy to dark art, from burlesque to manga, from fetish to queer, all quite niche arts, but with strong erotic elements. ALLERSTR. 38 | 12049 BERLIN | U8 LEINESTR. Monday to Friday 11:00 - 18:00 + on appointment

Ort: Luisa Catucci Gallery bis: 2016-02-27

Künstler: Michele Guidarini

Thema: Opening on Saturday 16th January 19h30
with Braintheft Dj Team Even Pretzel have eyes (#666), is the new irreverent solo exhibition by the controversial Italian artist Michele Guidarini. Michele is a graphic designer by day and artist by night, with a pretty dark but totally ironic aesthetic. All symbols and icons of our time are the sacrificial victims of his pen and humor.
We are a LOGO based community after all. From religion to politics to ideology to private people.
Michele takes advantage of what has already been exploited and squeezed by society.
The principle of POP art: by misrepresenting a masses product and giving it new life throughout fantasy, people are left puzzled, they cannot find a meaning, they do not understand why but ask themselves questions and they get interested into new ways of interpretation of things.
So better not trying to understand why Michele used this or that symbol, why he placed a swastika or a crucifix in his work, they’re just Logos. Why even Pretzel have eyes. The real provocation in his work is the complete freedom of interpretation he lets to the public.
Michele believes in human strength, in talents, in gestures. He believes that everything, good or bad whatever it could be in life, depends on ourselves and in our way of interpreting. Something can be hilarious for someone and outrageous for others, doesn’t matter, our personal reaction is left to our self analysis. Anyway it will be very hard for what he wants truly communicate to appear clearly in one picture, either because the story itself is very complex and codified in a sequel of more images, either because not always a personal logic is present.
The technique used is a mixed media of pens, ink, Magic Markers on paper, spray and collage.
Inspired for his whole life by the works of Bacon and Goya, Michele Guidarini started following Low Brow attracted by the catchy aesthetics: «I think as a graphic designer, so the image, the balance, the colors are really important for me. After the first glimpse of wonder, i found out that this artistic flow isn’t trivial at all and there is a lot more under the shiny colors, a whole universe of hidden meanings. It’s a reflection of the artist and the world in which we live in, a reflection of the soul, heart and pain».
Rolling Stone Magazine and lot of national and international press introduced him as one of the greatest Italian young talents, exactly for his capacity to get and mix all aspects of life, light and heavy, dark and bright, drama and comedy. Curated by Luisa Catucci

Ort: Luisa Catucci Gallery bis: 2016-01-31

Künstler: Jaya Suberg, Elena Helfrecht, Ramona Zordini, Mathilde Nardone, Dorian Rex

Thema: This time we invited 5 artists, 5 incredible women, to exhibit artworks inspired by the shakespearian character Ophelia, as icon of women tormented by society, religion, family and expectation on what feminine should be. Shakespeare’s Ophelia is not lacking in attention. As one of Shakespeare’s most popular female characters she has enjoyed many appellations from the bard. “Fair Ophelia.” “Most beautifed Ophelia.” “Pretty Ophelia.” “Sweet Ophelia.” “Dear Ophelia.” “Beautiful Ophelia…sweet maid…poor wretch.” “Poor Ophelia.”‘ All of these names for Ophelia can be found in Shakespeare’s The Tragedy of Hamlet, Prince of Denmark. Since Shakespeare’s incarnation of Ophelia many have felt the need to offer their opinions of Ophelia as a character. “Poor wispy Ophelia.” “Devastated and emotionally exhausted Ophelia.” “Pensive, fair-haired, blue-eyed daughter of the north.” “Ophelia the young, the beauteous, the harmless, the pious.” “Clumsy Ophelia…open-hearted but light-brained…incapable either of understanding or of curing.” “A weak creature, wanting in truthfulness, in purpose, in force of character, and only interesting when she loses the little wits she had.” These are only a few of the hundreds. For a character that only appears in five of the 20 scenes in Hamlet, Ophelia has garnered a great deal of attention from analysts, critics, artists, actresses, fiction writers, psychologists, and adolescent girls alike. Readers are consistently struck by her character that seems relatively insignificant in the grand scheme of things. Ophelia is many times viewed as only important in relation to Hamlet and the effect she has on him. Ophelia is not just important in this respect, but also in respect to what she tells us about the society she came out of and the society we live in today. First analysing Shakespeare and his precursors then concentrating on the modern day prominence of Ophelia with an overview of feminist criticism and current applications of her story will show that Ophelia is indeed a character with many faces, both positive and negative. Ophelia is one of the most interpreted and represented characters of Shakespeare. She garners constant attention from critics and re-visionists as well as people who identify with her just as Shakespeare wrote her. Depending on who directs the play or the movie, the interpretation will be different. Depending on the artist, the rendering may have a positive connotation or a negative connotation. Ophelia may have been a relatively one-dimensional character, but she has certainly become much more than a girl suffering. The sheer number of different interpretations of Ophelia show that she is still very much alive in our culture. The fact that so many people do have knowledge of Ophelia is a testament to her immortality. From a nameless maiden, to a pair of erect nipples on canvas, Ophelia has transversed time in a way few characters have.

Ort: Luisa Catucci Gallery bis: 2016-01-09

Künstler: Laura Gianetti

Thema: Biston Betularia is a peppered moth that takes its name from the habit to rest on the trunks of birches, trees with white bark. With the advent of the industrial revolution began to be released into the atmosphere large quantities of dust resulting dark from the combustion of coal, the main fuel for industrial machinery at that time. In the industrial areas, the bark of trees (including birch), began to become darker because of the carbon in the air. The effect of this environmental change, caused the melanic forms of the Biston betularia (ie melanic Biston, darker in color) that acquired an advantage camouflage on the clear one. The white biston betularia survived, but the darker one rapidly became numerically dominant. This phenomenon – known as industrial melanism – has been of great help in understanding the mechanisms of natural selection lighting and today he serves as a litmus test of pollution. Exploring the history of this peppered moth, Laura Gianetti show us with this stunning work -made out of 126 photos and a video- the different nature of the transformation as an art(ificial) way to survive and as a result of human greed.

Ort: Luisa Catucci Gallery bis: 2014-05-04

Künstler: Andreas Fischbach - Giulia Manfredi - Vladimir Isailovic

Thema: As characters from the cult movie PLAYTIME by the french regisseur Jacque Tati, attempting to navigate in a futuristic Paris constructed of straight lines, modernist glass and steel high-rise buildings, multi-lane roadways, cold, artificial furnishings, our infamous storytellers Giulia, Vladimir e Andreas navigate in our already futuristic reality of block housing, asphixiating multimediality, humanized mechanization, over rated technologies. In this environment, only the irrepressible nonconformity of human nature and an occasional appreciation for the good old days can breathe life into an otherwise sterile urban lifestyle. And the conscious ability of transforming whatever life has to offer in a marvellous, astonishing, lucrative PLAYTIME.

Ort: Luisa Catucci Gallery bis: 2013-12-15

Künstler: Luisa Catucci, Nelja Stump, Serena Salvadori

Thema: Ahoy People! Did you know that Cell63 artgallery transformed itself? Not only we had an amazing renovation of the location, but also we are not anymore an art gallery! WHAAAAAAAAAAT? Yes. We joined our forces with the great Tristesse Deluxe and we created, for your own very joy: CELL63 ARTPLATFORM. more infos at www.cell63.com Come over and check it out on our Big Re-Opening Event on November the 15th from 7.00pm Exhibition: Luisa Catucci (Cell63 artgallery - HeyMamaKuckMal illustrations & graphics) Nelja Stump (Tristesse Deluxe - Nelja Visual) Serena Salvadori (our very first artist in residence) Sound: Mackack (Dj) /// Jah Fish (DJ) /// DubNumb (live) Performances Nelja Stump /// The Sewing Machine

Ort: Luisa Catucci Gallery bis: 2012-08-31

Künstler: Anonymous Art (Elena Bertoni, Simone Romano), Arts Factory (Francesca Del Moro, Federica Gonnelli, Donatella Schilirò, Adriana M. SoldinI), Loredana Catania, Roberto Messina, Shanti Ranchetti are invited to deal with Darkness and its symbiotic relationship with Light.

Thema: Inside the mechanics of society, men are inclined to hide their negative and condemnable sides in the attempt to be accepted and integrated. They spend a lot of energy to smother and hide them, until the forced balance dramatically breaks. French sociologist Michel Maffesoli describes it as a revival of the dark face of our nature, that culture can only partially tame but that keeps on enlivening all our affections. The concept’s development is based on an extensive research which goes from Plato’s "Allegory of the cave" to the concept of Shadow as formulated by Carl Gustav Jung. From Good to Evil, the artists are supposed to explore the depths of the human soul and of the structures of society. They are challenged to catch the moment in which Darkness appears inside the human mind. For this purpose they will use the lightness and the magic that Neo Pop only shares with fairy tales.

Ort: Luisa Catucci Gallery bis: 2012-08-31

Künstler: Anonymous Art (Elena Bertoni, Simone Romano), Arts Factory (Francesca Del Moro, Federica Gonnelli, Donatella Schilirò, Adriana M. SoldinI), Loredana Catania, Roberto Messina, Shanti Ranchetti

Thema: Inside the mechanics of society, men are inclined to hide their negative and condemnable sides in the attempt to be accepted and integrated. They spend a lot of energy to smother and hide them, until the forced balance dramatically breaks. French sociologist Michel Maffesoli describes it as a revival of the dark face of our nature, that culture can only partially tame but that keeps on enlivening all our affections. The concept’s development is based on an extensive research which goes from Plato’s "Allegory of the cave" to the concept of Shadow as formulated by Carl Gustav Jung. From Good to Evil, the artists are supposed to explore the depths of the human soul and of the structures of society. They are challenged to catch the moment in which Darkness appears inside the human mind. For this purpose they will use the lightness and the magic that Neo Pop only shares with fairy tales.

Ort: Luisa Catucci Gallery bis: 2012-07-08

Künstler: Frauke Danzer – sculptures/installation Luisa Catucci - illustration/photography Margherita Leoni – paintings/print/video Pia Fernandez - illustration

Thema: ur Paradise The gallery will be transformed in a Earthly Paradise, thanks to the work of the artist Margherita Leoni, “Paradiso Terrestre”, an installation of Digital Art on canvas, that will cover the walls of the gallery's entry room, creating the illusion of entering in the Garden of Eden. Margherita Leoni's work is the result of 10 years spent in the Brazilian Jungle painting on watercolor the flowers and plants surrounding her and now recomposed, overlapped, joint and often exaggerated in proportions to emphasize the nature's importance and uniqueness, as an indispensable part of our life. We live in a potentially paradisiac World, very rich in life, but we quite often forget it. The paradisiac sensation in the show is reinforced by the presence of the surreal and mystical Creatures by Frauke Danzer, which are evidently coming from outer worlds, in virtue of their purity and sincerity, they look like being the natural inhabitant of the Garden of Even. In the meanwhile the illustrations and photography by Luisa Catucci and Pia Fernandez with a most recognizable use of classical iconography will finish to accompany the visitors in this Paradise's trip. Trip showing also the other side of the coin: dropping from Even. An apple is picked. Fire has burned. A natural reserve becomes an expanse of smoking coal. Angels are falling. A video, testifying the natural disaster of the burning of the Emas Parque in Brazil; paintings made out the coal, remaining of the earthly Paradise that was before; illustrations and installations remembering us how precarious can be Our Paradise, if we keep acting as we do not care.

Ort: Luisa Catucci Gallery bis: 2012-05-27

Künstler: Michele Guidarin, Paola Verde

Thema: 26th April - 27th May 2012 a double solo-show Michele Guidarini : Art is dead | Paola Verde: La Cité des enfants perdus OPENING Thursday 26th April from 19h30 with perfromances by Fenia Kotsopoulou - improvisation dance | Nike Brass - body performance Cell63 artgallery | Allerstr 38 – 12049 Berlin | www.cell63.com | info@cell63.com | +49(0)30.21970329 Michele Guidarini : Art is dead What Michele Guidarini has in his mind, as inspiring vision, are the frescos by Giotto and Michelangelo, which are the painters from his land which he knows better and loves most. Together with graphic design, commercials and memories. All this pops out in Michele's head, in a constant shifting process. So his images, at birth, are already moving, and his sign moves over them. The images in the background are treated and conceived as a background, a scenery, and so strongly assaulted head-on. Screaming and consumed close-ups, grafitis that sign and recreate a new personal sacredness, desecrating the original iconified one. There's no intention on reassuring the observer. Michele Guidarini doesn't draw for who's watching. The artwork is his and he feel free to kill it. This is Art Is Dead: crushing and nemesis. Rebirth of an imperfect and consumed iconography. Artistic gesture creator of shapes desecrating an aritficial sacrality, bringing historical images into the state of being contemporary by virtue of his modern and aggresive sign, as a daily tattoo. About Michele Guidarini I'm a son of the mountain, Monte Amiata, and two candymakers. I'm the son of Davide Lazzaretti, a pauper saint, killed and of The Clash. The characters of my paintings walk in my mind, crossing my dreams. I catch them, I do not let them run away, I tame them into golden frames. They look at me, they look at you. Up to today I always came back home. Michele Guidarini (1981- ), Arcidosso, Grosseto, Italy. Artist and graphic designer Michele Guidarini is an italian artist and graphic designer, coming from Arcidosso, Toscany. He's active member of the new Italian Pop Surrealist collective, already quite famous in Italy, working with some of the most renowned italian galleries in the field. He plays with religious and political symbols and icons -which signed our story and still influence our present- following the concept “la vita è bella” applied in the moltiplicity of human's visions. Exhibition list (selection) "ART WALK HONG LONG" – 2012 - misch masch gallery - hong kong - china "THIS IS SO CONTEMPORARY group show" – 2012 - ayden gallery / vancouver - canada "TAROT" 22 ARTISTI PER 22 TAROCCHI – 2011 - studio21 tattoo&artgallery - salerno "MAX PAPESCHI's FREAK SHOW" – 2011 - teatro franco parenti - milano "ZIGULINE POSTER EDITION" – 2011 - studio 21 tattoo & art gallery - salerno "GOD SAVE MICHELE GUIDARINI" solo show- 2011 - mondo bizzarro gallery - roma "INTO THE FUTURE: Il Pop surrealismo italiano alla conquista del Mondo" - 2011 musei capitolini - centrale montemartini / roma "ITALIAN POP SURREALISM:NASCITA DI UNA NAZIONE" – 2011 - mondo bizzarro gallery - roma "TAROT" 22 ARTISTI PER 22 TAROCCHI – 2011 - mondo bizzarro gallery – roma ITALIAN POP SURREALISM IS BETTER!" - 2011 - rue de beauce - paris "ONE SUNDAY ART" - 2011 - Circolo degli Artisti - roma "MONDO BIZZARRO SHOW" - 2011 - galleria miomao - perugia "ZIGULINE POSTER EDITION" - 2011 - mondo bizzarro gallery - roma “L’UNITA' VISIBILE – Sguardi contemporanei sull’Italia dalle origini ai giorni nostri” – 2010 parco di pietra – roselle – gr “ARTELIVE PROJECT” – 2010 – palazzo ruspoli – cerveteri - roma “LOBOTOMIA.POP!” – 2010 – personale – palazzo aldobrandeschi – grosseto “MIRABILIA” – 2010 – rojo® artspace – milano “CECI N’EST PAS UN HOTEL” – 2009 – nhow hotel – milano “10 + 1 E IL NUOVO REALISMO” – 2006 – CASSERO – GROSSETO “SPAZIO TEMPO MEMORIA” – 2005 – artlab gallery – grosseto “COLOR SPREAD” – 2004 – STREETART – GROSSETO “PRATICARE IL QUOTIDIANO” – 2004 – galleria la corte – firenze “PRATICARE IL QUOTIDIANO” – 2004 – castello aldobrandesco – arcidosso Publications -Interview for COCACOLLA.IT - 2011 -SPECIAL CAFE magazine - 2011 -Interview for MARTE MAGAZINE - 2011 -Interview for FRIZZIFRIZZI.IT - 2011 -ESPRESSO.it - 2011 -REPUBBLICA Roma - 2011 -Interview for ENQUIRE MAG - 2011 -SEMIPERMANENT 2011 BOOK / Australia – 2011 -Interview for TISCO (This is so Contemporary) - 2010 -INSIDEART - 2010 -WAITMAG.COM Talenti e avanguardie creative - 2010 -ROLLING STONE MAGAZINE - 2010 -DOODLEZINE N#4 - UK - 2010 -TOTOS MAGAZINE - MILANO - 2010 -ARTNOVEAUMAGAZINE.COM – 2010 -GORILLA MAGAZINE Contemporary & Underground Art Magazine – 2010 -ILLUSTRATI N#1 (logos edition) – 2010 -TRUST ME MAGAZINE N#1 – 2010 -SEMIPERMANENT 2006 BOOK / Australia – 2006 Paola Verde: La Cité des enfants perdus Paola Verde was born in Milan, Italy, in the same year when punk was born and grew up among Joy division's and Bauhaus's vinyls records and Dave McKean's comic books. Then industrial music was for her like the sound of a crashed window in the silence of an abandoned factory. The city-borders became the center of her personal research, from street art to dismessed industries, from underground culture to the metamorphose of metropolis. Crossing urban peripheries looking for details of the past, collecting pictures of marginal spaces, explorating the borders of post human passages and revisiting them in a surrealistic and romantic key: Paola Verde's visions represent the place where urban decay and neverland are meeting. Her personal Citè des enfants perdus. About Paola Verde Photographer, art curator, urban explorer, architect. In 2009 she moved to Berlin where she founded the XLAB Corrosive Art Farm project. She works as interior and event photographer collaborating with magazines, art galleries, musicians and performers. As art curator she collaborated with international artists of every discipline and exhibited in different cities of Europe. In Milano she was the organizer of two big street art events: Where is 101 (2005) and Where is107 (2007), illegal art happenings in huge abandoned factories. She published two photo books: "Kaos" (2005) a reportage about rave parties and underground culture around Europe and "Perpetuum Mobile" (2011) a book about Berlin and its urban transformations made with the painter Andrea Chiesi, who took inspiration from her photographies to make his personal exhibition in Berlin. Exhibition list (selection) 27.04.2012 Cell63 (Berlin) 12.04.2012 Spazio Concept / Miart (Milano) 12.11.2011 "The Corrosive Container" @ Spazio Concept (Milano) 17.01.2011 Stroke Urban Art Fair (Berlin) 27.05.2011 " Perpetuum Mobile" with Andrea Chiesi @ XLAB Gallery ( Berlin) 22.04.2011 " Spores" @ Kunsthaus Tacheles (Berlin) 26.03.2011 "KunstWoche" @ Sektor Evolution (Dresden) 21.04.2011 " Tramonto Falck" with Andrea Chiesi @ XLAB Gallery (Berlin) 07.10.2010 Stroke Urban Art Fair ( Berlin) 03.2010 MIART ( Milan) 12.12.2009 "The Invisibile Cities" @ Traffic Gallery Contemporary Art (Bergamo) with Marcello Gungui, curated by Rossella Moratto 15.11.2009 "Spazi di Confine Spazi di Conflitto" @ Arte Borgogna Gallery (Milano) curated by Rossella Moratto and Francesca Guerisoli 21.09.2009 "The Invisibile Cities" @ XLAB Gallery (Berlin) 09.06.2009 " I nuovi paesaggi: dove il cielo non e´più blu" @ Galleria Famiglia Margini ( Milan) curated by Angelo Cruciani 03.2009 MIART (Milan) 19.03.2009 "Muralismo Morte" @ Motorenhalle Gallery (Dresden) curated by Jens Bessen 03.03.2009 "Unscheduled #1" @ Traffic Gallery Contemporary Art (Bergamo) curated by Rossella Moratto 12.12.2009 " Ritmi Afrofuturisti" @ Csa COX18 (Milano) curated by Rossella Moratto 04.04.2008 " Sinonimi e Contrari" @ Cascina Roma, San Donato M.se curated by Biancoshock collective 06.11.2007 " B-Side City" @ Zerologico (Milano) 19.05.2007 " Innervision" @ R.D.A. La Spezia, curated by Emanuele Sturlese 04.2007 " Polvere - un viaggio nel´archeologia industriale" @ Zerologico (Milano) 10.2006 "KAOS" @ Niu - Espai Artistic Contemporani (Barcelona) 04.05.2006 "VIDEOPUNTOZERO - un meeting sotterraneo sull´entropia dell´immagine" @ Cafe Liber ( Torino) 06.01.2006 "Underground" @ La Cueva No Art Gallery (Milano) 22.03.2005 " Delicatessen" @ S´Agapo´Arci ( Milano) 04.2003 " Shit Design" @ Fuori Salone - International Design Salon ( Milano) 11.04.2002 " On/Off " @ Fuori Salone- International Design Salon, Politecnico di Milano

Ort: Luisa Catucci Gallery bis: 2012-03-31

Künstler: Angela Loveday and Lys Lydia Selimalhigazi

Thema: On March 2nd, Cell63 artgallery invites you to join our wonderland of mystical tales visualized by the infamous storytellers Angela Loveday and Lys Lydia Selimalhigazi. The echo of an untuned piano, in a big, empty house. Ghosts coming in darkness to our bed. This exhibition will showcase a series of artworks which inevitably present their beholders with narratives that frequently cause mixed feelings and which are often perceived differently by each individual. In many cases beauty, romance,melancholy, dismay and curiosity are terms that come up at the same time when the works of these visual storytellers are being discussed. Both this young ladies, by photography or by illustration, showing those kind of emotions that society can no longer feel, and dreams that people just gave up. Opening Friday 2nd March 2012 at 19h30 with improvisation dance performance by COX.

Ort: Luisa Catucci Gallery bis: 2012-02-25

Künstler: Tommaso Garavini, Lorenzo Pacini, Rinedda

Thema: GPR (Ground-penetrating radar) is usually a geophysical method that uses radar pulses to image the subsurface, but on January the 27th , in Cell63 artgallery, GPR will be the acronym of three most exciting Italian artists – Garavini, Pacini and Rinedda – which are using strong piercing pictures to image the subsurface of our times. Scathing, sharp and perturbing but at the same time ironic, romantic and wrapping, the exhibition will range from paintings to sculptures to videos, presenting a refined selection of the amazing production of these artists, who already rocked the good old Italian boot.

Ort: Luisa Catucci Gallery bis: 2011-12-17

Künstler: Vacon Sartirani, Isabelle Gabrijel, Andreas Fischba

Thema: Performance von Elsye Suquilanda Pop Musik, Pop art, Pop-Kultur. “Pop” ist ein allgemeines Etikett geworden, das aber einen komplexen zeitgenössischen Rahmen beschreibt. In diesem Rahmen verwickeln sich symbolische Inhalte, die auf den ersten Blick schwer zu entschlüsseln sind. Durch die Sensibilität von drei Künstlern mit unterschiedlichen Hintergründen, Vacon Sartirani, Isabelle Gabrijel und Andreas Fischbach, fokussiert die Cell63 Artgallery ihre Lupe auf die Sättigung der heutigen Gesellschaft. Die Ausstellung, die vom 12.11. bis 17.12. in der Cell63 zu sehen ist, ist mit dem Ausruf-Titel „This is a Pop World!“ präsentiert. Damit werden Formen, Farben und Atmosphäre der Massenkultur wieder wachruft, die in der verschiedenen möglichen Kombinationen immer unterschiedliche entfremdende Lösungen ergeben, wie in einem Puzzle aus „spöttischen“ Teilen. Diese Entfremdung stammt aus der Überproduktion von Waren und aus künstlichen erregten Verbrauchsbedürfnissen her, um schließlich sich in einen Geisteszustand von Sättigung und Totalblockade zu verwandeln.

Ort: Luisa Catucci Gallery bis: 2011-11-04

Künstler: Anonymous Art,Pia Fernandez

Thema: Vernissage am 2. September 20-23 Uhr improvisation-Tanz performance von Fenia Kotsopoulou http://www.feniakotsopoulou.de/ Pavlos Kountouriotis http://www.kountouriotis.org/ Die Allegorien der Vergangenheit werden zu stilisierten Ikonen der heutigen Zeit. Visuelle Vorstellungen und Volksglauben sind im Hintergrund der Ausstellung Anonymous Art Vs Pia Fernandez, die vom 2. September bis zum 4. November in Cell63 statt findet. Schnittpunkt der Kunstwerke der beiden Künstler ist die zeitgenössische Neubearbeitung von antiken Mythen und mündlichen sowie schriftlichen Traditionen überlieferter Figuren. Obwohl die Begriffe und Techniken der Kunstwerke unterschiedlich sind, steigen sie von einem Gemeingedächtnis auf, über jede mögliche geographische Grenze.