CONTAINER AND CONTENT
Henry Mercatali
Above: in the Nave Gallery in Grugliasco (Torino) entrance to the exhibition European Sculpture:
Difference & Diversity (September / November 2010) and a time of its opening day
An exhibition of international sculpture of high level content and organization
in Turin - Parco Culturale Le Serre di Grugliasco
European Sculpture: Difference Diversity &
Curated by Patricia Bottallo
Two interior spaces to the exhibition: 1. Daniel Eggli - 2. Ulrike Buhl. In the background: Gudrun Nielsen
Organized by
SCULPTURE NETWORK & MARTIN - MARTINI ART INTERNATIONAL
in the exhibition "SHIP GALLERY" in the Cultural Park "Le Serre" Grugliasco (TO), Via Lanza 31
Matthaus Thoma (Monaco)
Above: in the Nave Gallery in Grugliasco (Torino) entrance to the exhibition European Sculpture: Difference & Diversity (September / November 2010) and a time of its opening day
An exhibition of international sculpture of high level content and organization
in Turin - Parco Culturale Le Serre di Grugliasco
European Sculpture: Difference Diversity &
Curated by Patricia Bottallo
Two interior spaces to the exhibition: 1. Daniel Eggli - 2. Ulrike Buhl. In the background: Gudrun Nielsen Organized by
SCULPTURE NETWORK & MARTIN - MARTINI ART INTERNATIONAL
in the exhibition "SHIP GALLERY" in the Cultural Park "Le Serre" Grugliasco (TO), Via Lanza 31
Matthaus Thoma (Monaco) After seeing , scanning the network by accident, that today was the last day of an exhibition of European sculpture in Turin, entitled "Diversity & Difference", in The Cultural Park Greenhouses Grugliasco, this morning I rushed there to see what it was. And I explain why the news had struck me as interesting.
the mezzanine level of the Events Room Nave Gallery, sculptures made of wire in the foreground are Knopp Ferro (Germany)
The casing of the exhibition (the building now called "Nave Gallery") was created and designed by Mercatali & Partners in the years 1995-2000, under the so-called "Atelier des Actores" Photo Drama Company Producing Company of Italy, in one of the first "citadels" of European silent film, where in addition to the fitting rooms of the actors were the sets of films made
The reason for my fury interest is easy to describe: it is almost sixteen years I've been waiting an event of this type and level fosse organizzato in quell'edificio, proprio in quell'edificio, e nell'intero Parco che vi stava davanti, al quale, mentre stavo progettandone gli spazi e la sua integrale ristrutturazione su incarico del Comune di Grugliasco, in una delle prime relazioni tecniche per ottenerne i finanziamenti europei, avevo attribuito un nome, quasi come fosse un figlio, senza troppo pensarci su: "Nave".
Kees Machielsen (Olanda)
Dopo avervi lavorato per oltre dodici anni, occupandomi non solo di esso ma anche degli altri edifici che costituivano in quel sito il lascito d'una storia epocale, di quell'epopea del "muto" that had begun to do in Turin, "the" city of the Italian cinema, and in particular Grugliasco, who had witnessed the birth of the extraordinary form of communication that would revolutionize the habits and customs of every people in the world.
Eva Moosbrugger (Austria) that building, which denominai "Ship" for its rational form and size of elongated liner (like a small ingots), and also to distinguish from other buildings, while the design evolved full of different areas of the park that contained them, new functions dedicated to the culture that you were given, and in part I myself had helped to indicate the time, was part of the complex of buildings, together with an American partner, some enterprising entrepreneurs of the new art just before the outbreak of the First World War.
It 'hard to retrace the steps of the exciting story of design and the resulting achievements that followed him as director of the work, together with my collaborators and some highly sensitive technical and administrators of the City of Grugliasco. Difficult years, those my years in Turin, especially to summarize in this brief note, to the countless problems we addressed, mainly due to the problem of giving new content and reliable structures, and the resulting sense of adventure that this aroused in us all.
Ulrike Buhl (Germany) Of this fascinated me, and worries me at the same time, not just the technical aspects of the arduous ascent to the full realization of those buildings, but Perhaps most importantly, a sense of helplessness that I felt in me, as they arrived to complete the activity for your purposes it would be made of those empty shells, once completed and became available, the problem of their management, which saw me involved if only for a particular form of affection in me that I had developed around them, after so much time has elapsed. Then I did not have the chance to finish everything as I wanted, and as I had imagined would happen, for a dash of events that forced me to leave this task to others, after a long time, and perhaps time to reap the fruits and, in particular then just when she saw worse, not better, than previously realized, the result of the last stages of work in and around buildings, in the difficult task of defining, but not too much, the functional purposes, for make it flexible enough spaces up to jump on the definition for optimal management.
On the left wall, in the space below the ground floor of the Hall Events, at the entrance: Susanne Mader Kathlen (Norway). Silhouetted on the wall
bottom of the Rauminstallation Duvell Rainer (Germany)
And so, with a bitter taste in mouth, closed a period that lasted more than twelve years of personal commitment and program design around the buildings of the Serre, less and less controllable by me As the interior and exterior to them were taking shape, although personally, I would say almost every single initiative launched at the origin of the adventure, because of the many special interests that many local figures were showing, and the friction that began to come around to the different points of view that each espriveva.
why then today, after years of estrangement, I ran to the ship ("Nave Gallery, I found out who was named the largest building of the complex, keeping part of the original matrix), as I was accortomi that it had risen for a new cultural importance at the time by myself so desired, as hitherto never seen in that forum, and I realize now if it was something that belonged to the "right" level for which the building was at the time thought, and imagined, or if it was, yet again, something totally inappropriate to what the site deserved, for its history, but also for the exceptional nature of its offer .
entrance of the exhibition: Daniel Eggli (Switzerland) Arriving at my destination, the surprise was triple: the first was to make me discover that the nearby Chalet Allemend (small and delicate original construction period to which I had intended so much energy in the years to make its full retauro un Teatro Studio) era stato totalmente "ri-ambientato" entro una serie di edifici (che io avevo iniziato a progettare ma che altri hanno poi completato), che mi sono piaciuti molto, entro una ambientazione che mi è parsa complessivamente riuscita. Questa la prima positiva impressione perchè a quell'ambientazione tenevo davvero molto.
Una veduta prostettica assiale del piano mezzanino di Nave Gallery, spazio ideale per l'esposizione di piccole opere, per la luminosità diffusa e pluridirezionale e per l'arioso affaccio sulla grande sala centrale, a tripla altezza, capace anche
di uno sguardo dall'alto di opere di grande o grandissima dimensione
The second surprise, which is also positive, was to be found within the ship, even in the Nave Gallery, a fine exhibition of sculpture, even a beautiful show, which I will tell you below for images. So here are the second positive effect of my visit.
The third impression, however, that overlap the first two a little dissolved in a neutral sort of coldness of approach has been to find, after at least six years of absence, "my house" (the ship) rather run down, so perhaps too degraded for lack of maintenance, so damaged, as a whole and in detail, for lack of greater devotion by the operator or the municipality, in uno stato se non di decadenza almeno di trascuratezza che peraltro poco corrisponde perfino alla qualità della stessa mostra che ora vi è ospitata. Segno, tutto ciò, d'una incuria gestionale che pur negli anni di totale vuoto di idee attorno al tema del suo uso, s'era vista tanto marcata.
Gli spazi della sala espositiva di Nave Gallery, pur nella semplice e limpida stereometria di base che la contradistingue, è capace di fornire agli eventi quattro distinti tipi di volumetria: quello di media altezza rivolto a Nord, che in questa foto vi è rappresentato, adatto ad accogliere ogetti di dimensione media, necessitante di doppia illuminazione,naturale ed artificiale. The second, the middle one, tall enough to accommodate items of exceptionally large size, requiring plenty of natural light. the side or from above. The third one down, facing South, where events and objects may be placed within small spaces gathered and lit both naturally and artificially. The fourth, the one on the mezzanine floor, capable of gathering, but also a strong natural light and has also strongly angled to the horizontal visual objects and events that take place within the central space. A variety of approaches so necessary for a complete perceptual events suits and tri-dimensional paintings. It is no coincidence, in fact, che la prosecuzione di questi spazi oltre la quinta visiva ovest, ospita, come già previsto nei progetti originari del 1996, una scuola di ballo, con caratteristiche analoghe Ma veniamo, ora che ho descritto il contenitore, o meglio le vicende che ne hanno determinato l'attuale assetto architettonico ed il suo aspetto, ovvero quell'immagine impregnata quanto basti di quel razionalismo protomoderno per poter fare da sfondo ideale , per sua stessa natura, a qualsiasi evento di cultura, meglio se fortemente espressivo in termini di immagine, quanto il contenuto della mostra, nel suo complesso, sà dare di sè.
Matthias Bildstein / Philippe Glaz (Austria): Frames from videoinstallation says its curator, Patrick Bottallo (Martin - Martini Art International, Torino, IT), at the opening of the handsome catalog:
"This shows, through a selected group of artists, aims to illustrate the current status of the contemporary European sculpture, without limitation but with the ambition to offer a realistic view of "making sculpture in recent years of our continent, in part still close to the significant legacy of the twentieth century and in part aimed to find a new creative dimension. A map of experience representing different paesi d'origine degli artisti invitati che, in qualità di curatore della mostra, mi ha indotto a non imporre un tema, poichè avrebbe certamente vincolato gli artisti o peggio ne avrebbe precluso ad alcuni la partecipazione.
Barbara Szuts (Germania) "Difference and Diversity", il sottotitolo è la giusta chiave di lettura per capire il creiterio che ha portato a questa selezione 30 scultori da tutta l'Europa. Differernza e diversità nella pratica scultorea, nei materiali utilizzati, nell'approccio compositivo, nell'ideazione creativa, tutte variabili che caratterizzano questa straordinaria selezione di 150 opere, shown for the first time in Italy. Varied and personal visions of contemporary sculpture from the imagination, inventiveness, creativity and imagination.
Machielsen Kees (Netherlands), in the foreground in this photo are highly visible spaces vary in height and depth of the various display areas. Characterize each evenly space the elements that make them suitable for display function and implementation of events and performances: high brightness diffused from above and from the flanks, the white spread, and the uniformity of the flooring, white floor cherry wood floor and the piano mezzanino
La fantazia è forse la più libera tra le facoltà del nostro intelletto, non tiene conto della realizzabilità o del funzionamento di un oggetto, può permettersi di essere incredibile e impossibile. Proprio la fantasia ritengo che sia il denominatore comune che caratterizza la scultura contemporanea e il segno distintivo di questa mostra.
La scultura oggi non più legata al reale, libera dal giogo della mimesi e della figurazione, diventa un banco di prova su cui sperimentare materiali diversi e inusuali o interpretare in modo innovativo materiali tradizionali. Assumono rilevanza fattori nuovi, di natura percettiva e spaziale, la leziosità accademica è ormai un lontano ricordo che ha lasciato spazio alla ricerca dell'essenza intima, dell'energia oltre la forma. La materia rivendica la sua piena autonomia, si nutre della forza creativa dello scultore e acquista valore grazie alla sua fantasia. Già negli anni Quaranta, Arturo Martini definì morto il linguaggio di una scultura ancorata al passato in quanto non più adeguata a svolgere le funzioni per cui era stata realizzata e inneggia ad una scultura che nasce dalle mani dello scultore semplicemente stringendo la creta.
Pieter Obels (Olanda) Se dal punto di vista concettuale attraverso la scultura l'artista è ormai libero di rendere concreto e visibile il frutto della sua fantasia, dal punto di vista pratico egli deve fare i conti con la materia, qui sta la sua abilità. La totale libertà di pensiero che contraddistingue il momento creativo svanisce nel momento di realizzazione dell'opera, quando si presentano i vincoli imposti dai mezzi, dai materiali e dai numerosi fattori che ne limitano la creazione. Questo ostacolo è superato grazie alla capacità dell'artista di portare in relazione ciò che conosce e ciò che lo spinge a scoprire nuovi mezzi o materiali che gli permettono di inventare nuove soluzioni tecniche e di raggiungere nuovi traguardi comunicativi.
Tra piccole istallazioni in esposizione. Dall'alto al basso: Alexandra Klawitter (Germania) e Reiner Fest (Germania), le due più in basso
Il passaggio concettuale da statua a scultura, da Marcel Duchamp in poi, ha dato il via alla possibilità di ritenere che ogni materiale e ogni oggetto compiuto è consono al fare scultoreo, ritenendolo prima di tutto una materia, inevitabile quindi l'icessante processo sperimentale il procedere alla ricerca sempre nuova di mezzi e materiali diversi per fare scultura. Il livello di sperimentazione e le molteplici possibilità expression of the new materials are needed today to artists who are called to a frenetic productivity, expression of a rapidly and constantly changing reality.
This is not without consequences. Increasingly attracted by the new composite plastics material or even at the expense of perishable materials such as bronze or marble, more durable, suitable to leave a trace in time, the results sometimes led to extraordinary works, but their perishable nature makes provisional and precarious.
Peter Lindenberg (Germany) At the same time thanks to the endless opportunities creative consentite dai nuovi materiali, la scultura contemporanea si distingue per la sua polidimensionalità percettiva e per una gestualità libera capaci di suscitare emozioni e di sollecitare la nostra fantasia."
Ci sembra questo un grande atto di fiducia nel futuro dell'arte, specialmente indirizzato nel vedere la fonte maggiore di ispirazione nella nascita oggi di nuovi materiali, creati prevalentemente dall'industria chimica, così diversamente dominabili in termini di plasmabilità e colorazione, nonchè di facilità ed immediatezza d'intervento su di essi da parte dell'artista, da apparire adatti, proprio per questo, la crescente bisogno d'una creatività immediata e molteplice da parte sia dell'individio that society as a whole, according to expectations of self or of the increasingly rapid dissemination of information.
He says "Sculpture Network, its President Ralf Kirberg: It is an international organization for supporting and promoting contemporary art, with particular attention to three-dimensional art in Europe and elsewhere. The organization was founded in 2004 is a non-profit and is based on private initiative supported by volunteers.
The objective of Sculpture Network is to provide a basis for exchange between individuals, organizations and institutions involved or interested in the sculpture. His professional and interdisciplinary exchange ative provides a reliable network for the following groups of interest
Artists,
Brokers art-curators, propfessori, art historians and critics, architects and planners, museums, sculpture parks, universities, galleries, art institutions, cultural organizations and service providers.
friends of the arts, as collectors, patrons, sponsors and supporters.
Victor Lopez Gonzales (Germany) Since its founding in 2004, Sculpture Network has developed a large network and has gained a significant reputation in the specific context of European sculpture and more on the art scene in general. During this period took place important networking opportunities for exchanges at different levels with the cultural and productive feedback. Sculpture Network currently has nearly 1000 members in 43 countries.
Our program of work includes:
Management and development of our platform for interactive communication www.sculpture-network.org
Publication of "sculpture Network Newsletter" in German, English and English
Mediation of cooperation and collaboration between organizations Culture, museums and art institutions, contributing actively to the creation of linkages across Europe
Discussions on current thinking essential and necessary for the organization to start carving
ed eventi come le riunioni regionali ed un Forum annuale internazionale di Scultura
Forum Internazionale di Scultura e simposi hanno avuto luogo a Vaduz (LI), Leeds (UK), Barcellona (S), Graz (A), Varsavia (PL), Berlino (D), L'Aia (NL), Zurigo (CH).
Dice infine Paolo Tormena di martin, Martini Arte Internazionale:
E' questa una organizzazione fondata nel 2000 con lo scopo di promuovere, divulgare e sostenere l'arte contemporanea, favorendo l'interscambio culturale, attraverso l'organizzazione di mostre ed eventi con la partecipazione ed il coinvolgimento di istituzioni e artisti internazionali. Martin è stata fondata da un gruppo di professionisti torinesi che hanno maturato nel Over the years a great passion for the art world. Aims of the association is the promotion of international contemporary art, the dissemination of culture and artistic sensibility.
organization dedicated to children and youth "martinED, martin Education, a section aimed at sensitizing and training of new generations, creating tours and workshops. Martin through the Martin section Beats, organizes events and happenings in which they interact Art and Design, Arts and Entertainment, Arts & Fashion darkened and creative forms.
Eilergerhard Anke (Germany) Nel 2008 è iniziato il programma di residenzialità d'ertista presso la sede storica in Cavagnolo, vicino a Torino. Artisti da tutto il mondo sono ospitati per un mese o due in una villa ottocentesca nella splendida cornice delle colline del Monferrato. Martin si occupa inoltre di progetti di riqualificazione urbana attraverso la selezione, la cura della realizzazione e l'inserimento nel tessuto cittadino di opere d'arte pubblica.
Qui sopra: due manifesti di due differenti mostre di scultura che hanno preceduto a Nave Gallery quella odierna sulla Scultura Europea. La prima, della scultrice svizzera Elena Verri, dicembre 2009 , la seconda "Animals", edited by Patricia Bottallo, October / November 2009 The organization promotes the following initiatives: exhibitions of painting, sculpture, installations, graphic techniques, photography, design industrialoe and video art, sculpture workshops and painting operations artistic intervention on the territory, meetings with historians and art critics, artists and professionals working in the field, conferences about art, culture and science in an interdisciplinary perspective. Promoting cultural exchange through collaboration with artists and foreign experts and partnerships with academia, mjusei, schools, foundations and private and public institutions throughout Europe. Since 2003, Martin initiated with the City of Grugliasco a major redevelopment project of the Cultural Park Greenhouses, where he is currently hosted its venue.
One of the posters of European Sculpture "Difference & Diversity" posted on the streets of Turin In carrying out this article I intended to also adhere to international notebooks, the founding principles associations that have designed and built this exhibit, is also specific to the interest that it aroused in me, for the exhibited works in themselves, and for the overall philosophy that underlies the activity is in terms of cultural diffusion with its different levels, both for information and action interconnections between institutions and organizations involved, all of which are the basis of the same "philosophy" Notebooks Intrernazionali.
I'm glad to have finally been able to personally contribute to the success of these initiatives through the spaces look so sharp and so airy that Nave Gallery has been able to attribute to them, because, with a similar spirit and purpose of all similar, at the time of his realization, I had the good fortune to personally step by step, already imagining the fate since then that maybe I only now really seems to have been reached.
Henry Mercatali
Grugliasco, November 2010
(all photos were taken by Henry Mercatali, with the exception of those taken at the opening of the exhibition and two posters of the exhibitions that have preceded this in Nave Gallery, Grugliasco-Torino).
The ship building, located in the Park Le Serre di Grugliasco, then said, "Nave Gallery" since the start of the management-Martin Martini Arts International, was designed and directed by Mercatali & Partners - architect Henry Mercatali Milan on behalf of the City of Grugliasco, using European funds.
in the Park, there is also the architect Henry Mercatali, a Studio Theatre called "Chalet Allemand" storico edificio destinato a riprese cinematografiche all'epoca di Photo Drama Producing Company of Italy, primo realizzatore di tali edifici nel 1913.
Per saperne di più vedi anche le pagine dedicate in Archiportale: http://www.archiportale.com/enrico-mercatali/100713/
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