TORINO STOP
MAUTO National Automobile Museum Turin
29 October to 12 January – Project Room
TORINO DRIVE
31 October to 03 November – streets of turin
A Fiat 127 Special, renamed Camaleonte because of its ability to change colour according to location, driven by Cristian Chironi in an artistic journey inspired by his relationship with different cities. The Fiat 127 Camaleonte is customised by recalling the colours of Le Corbusier’s houses, where the artist lives and works for the ‘My house is a Le Corbusier’ project.
This car becomes an ‘architectural’ keyboard, where colours are juxtaposed like sounds, manipulating Le Corbusier’s slogan ‘a house is a living machine’. The car will be used in performances on the streets of the city and parked in sound mode within a set-up designed for the museum. From the stereo system in the passenger compartment, it will be possible to listen to sound compositions specially created by sound artists and musicians for the Chameleon.
On the occasion of the exhibition at MAUTO, a new composition will also be created in addition to the existing ones. Starting with a personal story linked to the artist’s hometown, the project unites the participants in a shared experience and invites them to reflect on themes ranging from migration and memory to the construction of home and the sense of place.
The Fiat ‘Chameleon’ will be the protagonist of Torino Drive, a performance on the streets of the city. The artist invites the public to get on board for a short journey, during which they will reflect on themes such as migration, memory, the construction of a home, hospitality and the sense of place. A shared experience that reconnects with the territory and transforms the cockpit into a space for dialogue.
www.museoauto.com
L’ ARTE DELL’ABITARE – Talk
Art to Art | Tiring house | Community art program
martedì 24 settembre 2024 ore 18.00
Area archeologica di Palazzo Lodron, Piazza Lodron, Trento
Martedì 24 settembre 2024 alle ore 18.00 si terrà l’Incontro aperto al pubblico con l’artista Cristian Chironi dal titolo “L’ Arte dell’Abitare”, nell’Area archeologica di Palazzo Lodron a Trento.
Artista multidisciplinare che vive e lavora tra l’Italia e il resto del mondo, Chironi abita temporaneamente nelle case progettate da grandi architetti, creando un itinerario che esplora le intersezioni tra architettura, paesaggio e pratiche sociali del quotidiano, dedicato all’“Arte dell’Abitare”.
L’incontro verterà specialmente su due progetti a lungo termine, “My house is a Le Corbusier” e “DRIVE”, significativi nella pratica nomadica di Chironi, e sarà moderato da Luca Bertoldi, architetto e PhD, cofondatore di Museo Wunderkammer, docente di Curatorial Studies Theories and Practices Unibz.
“My house is a Le Corbusier”, iniziato nel 2015 e destinato a evolversi nel lungo periodo, rivela le esperienze che l’artista accumula vivendo effettivamente nelle opere architettoniche di Le Corbusier in dodici Paesi diversi. Questi luoghi sono punti di osservazione privilegiati da cui comprendere in quali condizioni è oggi recepita l’eredità dell’architetto e soprattutto per confrontarsi con contesti socio-culturali e geografici.
In “Drive” l’artista viaggia con la sua Fiat 127 Special rinominata “Camaleonte” per la capacità di cambiare colore richiamando le combinazioni cromatiche delle architetture di Le Corbusier. L’auto è ripensata e riverniciata a ogni viaggio, seguendo le policromie architettoniche elaborate dall’architetto nel 1931, e guidata in un percorso di riflessione urbana che tocca diversi concetti: viaggio; mobilità; abitazione; attraversamento di confini; trasformazioni urbane.
L’incontro propone una riflessione su come concepiamo lo spazio abitativo e su come l’arte contemporanea può ridefinire il concetto stesso di abitare, aprendo a questioni politiche e sociali, come il diritto all’abitazione, la precarietà e la stanzialità.
Nell’ottobre del 2023, le associazioni Art to Art e Tiring House hanno dato vita al progetto laboratoriale “What if we were a curator”, un percorso rivolto a studentesse e studenti universitari interessati ad approfondire il ruolo del curatore nell’arte contemporanea. Dopo un anno di attività e di esplorazione, il gruppo WAC collettivo per l’arte nato in seno al laboratorio, ha realizzato la mostra “Inner. Sotto la superficie”, incentrata sul tema dell’abitare, una questione che è al centro delle riflessioni di molte artiste e artisti dell’ultima generazione.
L’attività è realizzata con il contributo della Fondazione Caritro.
CALASETTA DRIVE
Performance site specific dal 23 al 31 agosto 2024
Fondazione MACC, Museo d’Arte Contemporanea di Calasetta
Via Savoia 2, Calasetta (SU)
La Fondazione MACC è lieta di presentare Calasetta Drive, una serie di performance site specific dell’artista Cristian Chironi, in programma dal 23 al 31 agosto 2024. Questo progetto artistico si svolge in concomitanza con la residenza dell’artista a Calasetta, e si inserisce nel quadro delle iniziative volte a promuovere il dialogo sull’arte contemporanea attraverso interventi di valorizzazione del territorio.
Calasetta Drive non è solo una performance, ma un’esperienza immersiva che unisce arte, riflessione urbana e memoria storica. Protagonista del progetto è una Fiat 127 Special, affettuosamente ribattezzata Camaleonte per la sua capacità di mutare colore a seconda del luogo in cui sosta. L’auto, ispirata agli accostamenti cromatici tipici delle abitazioni progettate da Le Corbusier, diventa un veicolo simbolico per esplorare temi quali il viaggio, la mobilità, l’abitazione e le trasformazioni sociali, con un focus sulle problematiche contemporanee che affliggono la Sardegna, come lo sfruttamento del vento e l’impatto delle energie rinnovabili sul paesaggio.
Il pubblico sarà invitato a salire a bordo di Camaleonte per un percorso attraverso il paese di Calasetta, accompagnato dalle narrazioni di Cristian Chironi e dai suoni creati in collaborazione con noti musicisti e sound designer, tra cui Francesco Brasini, Alessandro Bosetti, Massimo Carozzi, Paolo Fresu e Gavino Murgia. La performance si sviluppa attorno allo slogan di Le Corbusier “una casa è una macchina per abitare”, reinterpretato in un ambiente mobile che raccoglie storie e traiettorie di vita. La scelta della Fiat 127 non è casuale: l’auto rievoca un episodio della vita di Costantino Nivola, conterraneo di Chironi e collaboratore di Le Corbusier. Negli anni ’80, Nivola, ormai malato, affidò al nipote Daniele il compito di recuperare alcuni suoi beni dall’Italia, tra cui una Fiat 127 carica di opere d’arte. Questo viaggio simbolico diventa ora il fulcro del progetto di Chironi, che trasforma un semplice veicolo in una piattaforma di dialogo e riflessione.
Ogni performance, della durata di 30 minuti, sarà aperta a tre passeggeri, coinvolti in una conversazione che esplorerà il significato del viaggio intrapreso. Calasetta Drive traccia così una mappa che mette in luce la complessa stratificazione geografica e storica della città, affrontando temi come la migrazione, la memoria e la costruzione di un senso di appartenenza.
Partecipazione:
Chi desidera partecipare ai viaggi di Calasetta Drive può prenotarsi inviando un’email con il proprio nome e la fascia oraria preferita a fondazionemacc@gmail.com o chiamando il numero **0781 887219. La partecipazione è gratuita.
L’evento potrà essere documentato dal pubblico attraverso fotografie e video, da condividere sui social media.
Date e Orari delle Performance:
– Venerdì 23 Agosto: ore 18:00, 19:00, 20:00, 21:00
– Sabato 24 Agosto: ore 19:00 (Presentazione), ore 20:00, 21:00
– Domenica 25, Venerdì 30 e Sabato 31 Agosto: ore 18:00, 19:00, 20:00, 21:00
Punto di Partenza: Fondazione MACC, Via Savoia 2, 09011 Calasetta.
Per ulteriori informazioni, contattare: Fondazione MAAC, email: fondazionemacc@gmail.com, telefono: 0781 887219
TALK – ABITARE L’IMMAGINE
6 GIUGNO ORE 18:30
MAN_Museo d’Arte Provincia di Nuoro
Il talk è stato programmato in concomitanza dell’ingresso in collezione delle nuove opere di Chironi; l’obbiettivo dell’incontro è quello di valorizzarne gli aspetti scientifici sia rispetto alla ricerca dello stesso autore, sia rispetto al linguaggio fotografico, installativo e performativo contemporaneo.
Le curatrici del progetto e l’artista dialogheranno con Federica Chiocchetti, direttrice del Musée dex Beaux-Arts du Locle (MBA) in Svizzera, e curatrice dell’ultima edizione del progetto speciale “Elles x Paris Photo”.
Lo sguardo interdisciplinare di Federica Chiocchetti, insieme all’esperienza specifica delle curatrici sulla collezione del museo e l’opera di Chironi, saranno il presupposto per analizzare i diversi piani linguistici nel lavoro dell’artista, partendo dalla fotografia.
L’incontro è l’occasione per guardare come la relazione con le immagini e la conseguente alterazione del loro significato per Chironi sia un modo di azzerare le gerarchie visive a favore della valorizzazione dello sguardo soggettivo.
www.museoman.it
UNBUILT VENICE
Ncontemporary Venice
25 May – 31 August 2024
opening saturday 25 may
Ncontemporary is happy to present Unbuilt Venice, by Cristian Chironi, a multidisciplinary artistic tinerary dedicated to the ‘missed opportunities’ conceived by great architects of the 20th century for Venice and its surroundings, which were never realised.
Cristian Chironi’s practice has long been declined through a language of inhabiting. The artist has lived and worked in iconic houses scattered all over the world, approaching the artistic research in multiple ways to create an inextricabe link with the architecture. In this way, dwellings become a privileged point of observation for the artist to reflect on issues related to gentrification, urban changes and social conditions.
The exhibition Unbuilt Venice stems from the ‘missed opportunity’ to inhabit four Venetian architecture, which were never built: Palazzo Masieri, designed by Frank Lloyd Wright, a memorial and student dormitory on the Grand Canal; the Civil Hospital assigned to Le Corbusier, which was to be built at the extreme limit of Cannaregio; Louis Kahn’s Palace of Congress, conceived between the gardens and the arsenal of the Biennale; and finally Isamu Noguchi’s project for the park in Jesolo. Projects that were never realised, as they were considered too modern and alien to the iconographic fixity of the city. Projects that reconsidered today, reopen different reflections on the crisis of renewal that characterises Venice, where the unsustainability of tourism and depopulation represent the most dramatic aspect.
The fulcrum of the exhibition is the sound work realised in collaboration with the musician Francesco ‘Fuzz’ Brasini, in which the ensemble of compositions is the result of the transformation into frequencies of the measurements of the four projects, performed with the use of string instruments suitably tuned to the values and dimensions of the drawings. The sounds accompany the vision of the artworks displayed on the walls of the gallery, created with the collage technique, using the projects mentioned above as a basis.
info: https://www.ncontemporary.com/
PRÓXIMA PARADA CIUDAD DE MÉXICO
Instituto Italiano de Cultura
10 febrero – 10 marzo 2024
Inauguración sábado 10 febrero 12.00 p.m.
El Instituto Italiano de Cultura inaugura el año expositivo con una muestra personal del artista Cristian Chironi. Un itinerario multidisciplinario titulado Próxima parada Ciudad de México, dedicado al “Arte de habitar”. Desde hace algún tiempo, la práctica de Cristian Chironi se ha expresado en proyectos que ven al artista vivir y trabajar en casas y residencias artísticas. La más conocida es My house is a Le Corbusier, en la que la vida de Chironi se entrelaza con la arquitectura diseñada por Le Corbusier en 12 países. Una investigación centrada en el concepto de vivir explorado desde diferentes perspectivas. De este modo, las casas se convierten para el artista en un punto privilegiado para comprender el sentido profundo de la vida, para reflexionar sobre cuestiones relacionadas con la gentrificación, los cambios urbanos y las condiciones sociales, estableciendo una relación con el contexto, tanto humano como ambiental, que lleva al artista a enfrentarse a culturas y costumbres en constante cambio. La exposición en el Istituto italiano presenta obras creadas con diferentes medios que estructuran un itinerario expositivo que introduce al visitante en la metodología del artista y los intereses que profundizará durante su investigación en la CDMX. Resumen de la exposición, el collage Hombre de paz – Ruta de la Amistad, que representa el mítico coche del artista Fiat 127 Special (Camaleón) de la mano de la escultura de Costantino Nivola situada a lo largo de la Ruta de la Amistad, siguiente paso performativo del proyecto itinerante titulado Drive. Con Nivola Chironi comparte el país de origen, Orani, que ambos abandonaron en distintos momentos, para reencontrarse en la Ciudad de México como en el paso de un relevo generacional. El Fiat 127, del diseñador Pio Manzù, fue rebautizado como Camaleón por Chironi, quien subrayó así su capacidad de cambiar el color de su carrocería en función de los lugares donde se detiene, siguiendo las combinaciones cromáticas típicas de las casas de Le Corbusier. El artista invita al visitante a acompañarlo en un viaje de reflexión e imaginación urbana sobre los temas de los viajes, la movilidad, las transformaciones sociales, la vivienda y el cruce de fronteras, dando vida a un entorno móvil, en una mezcla de historias, trayectorias y valores. La práctica habitacional de Chironi es una construcción de ideas que surge de todas las experiencias que el artista realiza dentro de estas “Casas de Peregrinos” vinculadas al movimiento y al cruce de diferentes geografías y culturas. Inspirándose en episodios reales, Chironi identifica el potencial narrativo para un análisis de una serie de relaciones contemporáneas, vinculadas al concepto de comunicación, lectura e interpretación, con las consiguientes implicaciones lingüísticas y sociopolíticas. Caer en una nueva dimensión espacio-temporal del habitar, que en el caso de la Ciudad de México apunta a la arquitectura de Enrique del Moral, Luis Barragán, Mario Pani, Mathias Goeritz, Salvador Ortega y abordar lugares emblemáticos como la Ciudad Satélite, la Plaza de las Tres Culturas, la Ciudad Universitaria, Ruta de la Amistad. Una serie de eventos marcarán la duración de la exposición y serán divulgados periódicamente a través de las redes sociales del instituto:
10 febrero: inauguración 12.00 p.m.
17 febrero 12.30 > 14.30 visita guiada con el artista
2 marzo ore 13.00 > 14.00 plática con el artista y con Esteban King y Nina Fiocco
www.iicmessico.esteri.it
Prato Drive
9 – 22 September 2023
City of Prato – Pretorio Museum – Villa Rospigliosi
Prato Drive is the next step in the travelling project DRIVE by the artist and performer Cristian Chironi, who sets out this time on the trail of the great modernist architect Le Corbusier’s relations with the city of Prato.
In Prato Drive we will ride on board a Fiat 127 Special, renamed Camaleonte for its ability to change the colour of its exterior depending on where it stops, and customised according to the colour combinations typical of Le Corbusier’s houses. Camaleonte will be driven around the city centre, in a journey of urban reflection and imagination on the themes of travel, mobility, housing, crossing borders and social transformations. In addition to Cristian Chironi’s stories in the driver’s seat and his talking guests, visitors can listen to the compositions created in collaboration with various musicians and sound designers. Le Corbusier’s slogan ‘a house is a machine for living’ is reinterpreted in Prato in a new version, creating a mobile environment that condenses signs of travel and transit, in a remix of stories, trajectories and values. Between 1907 and 1911, the twenty-year-old Charles Edouard Jeanneret (who had not yet become the famous Le Corbusier) travelled through Germany, France, Italy, Austria and Bohemia, then venturing towards the Orient and Turkey. During his trip to Italy, he stopped for a long time in Florence and other nearby cities, visiting monuments, historical centres, churches, works of art, squares and the urban layout of the cities. In the afternoon of 11 September, he visited Prato; although he was fascinated by the Duomo and Donatello’s pulpit, he was not impressed by the city. The confusion of the traditional September fair prevented him from enjoying its monuments at their best. What would he have thought instead when visiting the city today? What suggestions, what problems would he have grasped? This, and more, will be discussed with the passengers inside the cabin of the Fiat 127. The decision to use this car is linked both to Chironi’s town of origin, Orani, located in the centre of Sardinia, and to an anecdote involving Costantino Nivola, an internationally renowned artist and sculptor, as well as a friend and collaborator of Le Corbusier. Both Chironi and Nivola, fellow countrymen, left the small town of Orani, although at different times, returning only after a series of encounters around the world, which altered their respective visions of living. The basis of the project is rooted in a story told to Chironi by Daniele, Costantino Nivola’s grandson, which also involves Tuscany. In the early 1980s, Nivola, already ill, wrote from New York to his nephew Daniele, asking him to go to his home in Dicomano, in a last attempt to bring his belongings back to Orani. Daniele recalls: ‘He told me: Try to take what’s there. Including the car! There are two artistic posters of some value…. Steinberg… There were sculptures of his, paintings… The Picasso was gone… I even left some sketches in the end. It didn’t all fit in the car.” Daniele, unaware of what he was transporting, embarked from the port of Civitavecchia in a Fiat 127 loaded with works of art, returning to his village with the knowledge that he had brought with him only a small part of that cultural and existential heritage. What was that car carrying and what did it bring back? A material legacy, but also the start of a symbolic relay race, an invitation to ‘go’ and feel like an inhabitant of the world. Many years after that journey, Chironi reuses the Fiat 127 with an artistic and performative gesture, in a journey of departures and returns, generational correspondences, encounters and imaginary visions recorded from the window. Each performance will be open to three passengers, who will join Chironi and the various co-pilots. Each invited co-pilot will mobilise his or her own vision of the route, engaging the passengers in a conversation that will shed light on the itinerary taken. Prato Drive creates a map that highlights the specific layering of the city’s geography and local history; it deals with notions of habitat and home and emphasises mobility issues in relation to economic stability and global politics. Starting from a personal background related to Chironi’s hometown, the project unites its participants in a shared experience that invites them to reflect on topics ranging from migration, memory, building a home and a sense of place. Alongside the drives, the LC postcards collection, a three-channel video installation of postcards collected by Le Corbusier during his lifetime, will be presented in Room Zero of the Palazzo Pretorio Museum. Often wrongly reduced to simple tourist souvenirs, these postcards do not stand as witnesses of a correspondence, because in fact they were neither received nor sent by Le Corbusier. Rather, the collection should be seen as an important source of inspiration, dialoguing with the architect’s other tools of research and creation. Cristian Chironi came into contact with this unpublished archive thanks to his collaboration with the Fondation Le Corbusier, a collection that began in the early 1900s and ended when Le Corbusier died in 1965. A visual legacy of images including monuments, architecture, landscapes, works of art, vehicles and cities from all over the world, including Prato itself, with a postcard of the Cathedral façade and one of Donatello’s Pulpit. The LC postcard collection is a visual heritage of immense value that Chironi abstracts from Le Corbusier’s possession to create a visual, temporal and geographical journey, in which the viewer is immersed accompanied by a series of sound compositions created by Henrik Svedlund and recorded inside flat 258 of the Unité d’Habitation in Berlin for the project My house is a Le Corbusier, an artistic residency that saw Chironi live and work in Le Corbusier’s homes scattered in twelve countries.
Concluding this stage in Prato is the exhibition “Prato Stop” set up in Villa Rospigliosi, a historic 18th-century residence close to the city centre and the station, with works by Chironi employing a range of intersecting techniques, including photography, collage, installation, sculpture, and sound art. A small sculpture of Costantino Nivola, who travelled in the Fiat 127 driven by Daniele, and the letter requesting the withdrawal of his belongings from the home studio in Dicomano, will be part of the installation, conceived by the artist for the space of the former oil mill and warehouse.
9 – 10 September
Prato Drive performance touring the city. Departure from Piazza del Comune
Saturday 10 a.m., 10.45 a.m., 11.30 a.m., 6.45 p.m.
Sunday 10.00, 10.45, 11.30 a.m.
9 – 10 September
LC postcards collection video installation Museo di Palazzo Pretorio (Sala Zero)
Saturday 9th 10.30 a.m. – 6.30 p.m. (last admission 6 p.m.) + evening opening 9 p.m. – 00 p.m.
Sunday 10 10.30 a.m. – 6.30 p.m. (last admission 6 p.m.)
9 – 22 September
Prato Stop exhibition at Villa Rospigliosi, opening Saturday 9 September 19.00-22.00, on the remaining days can be visited by appointment from Monday to Saturday 10>13 – 15>19, by contacting 3487814430 and 3392740656
LC postcards collection
MAC Museo d’Arte Contemporanea di Lissone
5 aprile – 11 giugno 2023
Il MAC Museo d’Arte Contemporanea di Lissone dal 15 aprile all’11 giugno 2023 presenta LC postcards collection, un progetto inedito di Cristian Chironi a cura di Francesca Guerisoli che sarà presentato nella Sala Gino Meloni. LC postcards collection è una video installazione a tre canali di cartoline collezionate dal grande architetto Le Corbusier nel corso della sua vita. In totale sono 2.300 gli esemplari che Le Corbusier ha sempre custodito segretamente nel suo appartamento al 24 di Rue Nungesser et Coli a Parigi. Spesso erroneamente ridotte a semplici souvenir turistici, queste cartoline non testimoniano neppure un’abbondante corrispondenza perché non furono né ricevute né spedite da Le Corbusier. La raccolta è piuttosto da considerare come un’importante fonte di ispirazione da collegare con gli altri suoi strumenti di ricerca e creazione. L’artista Cristian Chironi, che vive e lavora nelle case di Le Corbusier sparse su dodici nazioni, tra cui l’appartamento menzionato, ha avuto modo di entrare in contatto con questo archivio inedito, grazie anche alla collaborazione della Fondation Le Corbusier, che rivela un’altra eredità dell’architetto oltreché un patrimonio universale. Una collezione iniziata agli inizi del primo 1900 e conclusa alla morte di Le Corbusier avvenuta nel 1965. Un lascito visivo di immagini tra monumenti, architetture, paesaggi, opere d’arte, mezzi di trasporto e città di tutto il mondo, con una sostanziosa raccolta dall’Italia. LC postcard collection è un patrimonio visivo di immenso valore che Chironi astrae dal possesso lecorbuseriano per creare un viaggio visivo, temporale e geografico, in cui il fruitore si immerge accompagnato da una serie di composizioni sonore basate su registrazioni fatte nelle case di Le Corbusier abitate da Chironi e realizzate in collaborazione con diversi sound artist e musicisti. LC postcard collection è un invito ad “andare” e sentirsi abitante del mondo. Un percorso di riflessione che tocca diversi concetti, tra i quali: viaggio, mobilità, abitazione, attraversamenti, sconfinamenti, visioni immaginarie. Il progetto acquista un ulteriore significato dato dal periodo in cui è stato realizzato, quello del lockdown, in cui Chironi, dall’Italia, ha usato queste immagini come una finestra sul mondo. L’arte di abitare di Chironi sviluppata nel corso degli ultimi anni attraverso la traiettoria del suo progetto My house is a Le Corbusier diventa un utile punto di confronto dell’esperienza collettiva, di questo luogo e momento storico. Cristian Chironi, che da tempo si avvale di Le Corbusier quale fonte primaria per il suo lavoro, indagando problematiche nel contemporaneo, è stato scelto dal MAC come artista vincitore del Premio ArteMuseo 2022, realizzato in collaborazione con ArtVerona, dove ha esposto con la Galleria Ncontemporary di Milano. LC postcard collection viene a distanza di vent’anni dalla mostra Le Corbusier. Pittore scultore e designer che il museo, allora Civica Galleria d’Arte, aveva dedicato al Maestro, di cui conserva ancora un segno di quell’evento nella riproduzione in miniatura della scultura La Main Ouverte, posta di fronte al museo e simbolo di accoglienza “per ricevere e donare”. La prima edizione del Premio ArteMuseo, a cura di Elena Forin, è un progetto triennale sviluppato per creare dialoghi e opportunità concrete tra un massimo di cinque musei e fondazioni italiane e altrettanti artisti presentati ad ArtVerona, con selezione a rotazione di cinque musei e fondazioni del territorio italiano che intendono riservare un progetto espositivo a un artista tra quelli rappresentati dalle gallerie espositrici. Il MAC ha aderito a questa rete di relazioni museali e quest’anno accoglie l’esperienza di Cristian Chironi. L’artista ringrazia la Fondation Le Corbusier di Parigi. I musicisti Francesco Brasini, Chœur de Radio France, Massimo Carozzi, Alessandro Bosetti, Daniela Cattivelli, Dominique Vaccaro, Henrik Svedlund.
www.museolissone.it
Tungsteno
Memorie e falsi ricordi dall’Archivio Video di Careof
Careof – La Fabbrica del Vapore, Milano
11 aprile – 19 maggio, 2023
Da mercoledì 12 aprile a venerdì 19 maggio 2023 Careof presenta la mostra “Tungsteno. Memorie e falsi ricordi dall’Archivio Video di Careof”, a cura di Marta Cereda. Il progetto rappresenta un’occasione per riscoprire il patrimonio di Careof attraverso un allestimento inedito e immersivo. L’inaugurazione si terrà martedì 11 aprile alle ore 19.00 presso gli spazi della Fabbrica del Vapore di Milano. “Tungsteno. Memorie e falsi ricordi dall’Archivio Video di Careof” prende spunto dal romanzo autobiografico del neurologo Oliver Wolf Sacks (1933 – 2015) intitolato “Zio Tungsteno. Ricordi di un’infanzia chimica”, in cui l’autore racconta, tra tanti episodi, anche la vicenda di una bomba caduta vicino alla sua casa natale, con dovizia di particolari. Un ricordo totalmente inventato di un’esperienza che lo scrittore credeva di aver vissuto in prima persona. La mostra, attingendo al ricco patrimonio dell’Archivio Video di Careof, che conta oltre 9000 titoli ed è riconosciuto dal Ministero della Cultura come di interesse storico nazionale, si propone così di approfondire il tema della criptomnesia, ovvero la creazione di un falso ricordo che viene però considerato creazione originale. Da Franco Vaccari a Marinella Senatore, da Luigi Viola a Micol Roubini, da Adrian Paci a Moira Ricci: coprendo un arco temporale di cinquant’anni, la rassegna presenta i lavori di ventisei artiste e artisti che dagli anni Settanta a oggi raccontano – attraverso “found footage”, immagini d’epoca, “home movies” e la creazione di “fiction” – come la memoria, così come l’archivio stesso, non possa essere considerata granitica, bensì materia viva, fallibile, magmatica e come l’atto creativo funzioni secondo le stesse logiche. In mostra: Felipe Aguila, Meris Angioletti, Francesco Bertocco, Bianco-Valente, Rossella Biscotti, Cristian Chironi, Valentina Coccetti, Iginio De Luca, Gianluca e Massimiliano De Serio, Elisabetta Falanga, Heinrich Gresbeck, Adrian Paci, Moira Ricci, Claudio Rivetti, Stefano Romano, Sara Rossi, Micol Roubini, Antonio Rovaldi, Jessica Russo, Marinella Senatore, Caterina Erica Shanta, Giulio Squillacciotti, Danilo Torre, Franco Vaccari, Luigi Viola, Sandro Zaccardini. Con questo progetto Careof riconferma la volontà di condurre una ricerca sul proprio patrimonio con l’obiettivo di valorizzarne la ricchezza e l’eterogeneità anche attraverso nuove modalità espositive. Grazie a un allestimento ideato da Hypereden, il pubblico potrà vivere un’esperienza immersiva e una fruizione totalizzante.
www.careof.org
BROWNSTONE BUILDING
Lacasapark Art Residency in Clinton Hill, New York
March 22 – April 13, 2023
Italian artist Cristian Chironi’s research has been characterized for some time by his “Art of Living” projects, which involve different houses and art residencies around the world. One of the artist’s best-known projects is My house is a Le Corbusier, in which Chironi lives and works inside architectures designed by Le Corbusier. He has also lived and worked in the following domestic spaces: Pierre Jeanneret in Chandigarh; writer Victoria Ocampo in Buenos Aires (designed by Alejandro Bustillo); and architect Tadao Ando’s Casa Wabi in Oaxaca. Chironi realized a housing project for the quarries of the Civic Museums of Cagliari, an air raid shelter for artworks during the Second World War. He has resided in various sites in the Dolomites as part of programs for the enhancement and re-functionalization of the territory. Chironi’s intention is to establish a relationship with the context – both human (visitor) and environmental (space); in his mind, this is the essential force driving these projects. In line with this path, which developed through the exploration of important, historic architectures, Chironi will add to his research by living in a building characteristic of New York City: an 1850 brownstone situated in the Clinton Hill neighborhood in Brooklyn. The term “brownstone” refers to a house made of brown sandstone – a popular building material historically used in the United States for townhouses. Grand buildings constructed in the mid- to late-1800s, brownstones are characterized by high ceilings, elegant wooden floors, and ornate decorations. The mutable shapes and various architectural styles employed in the construction of these buildings make them among the most iconic in New York City, where they represent the most widespread model of residential homes today. The Clinton Hill brownstones are considered among the best-preserved examples of 19th-century urban design in the United States. This important historic architecture is made available to Chironi by Lacasapark Art Residency, a Gardiner-based residency program in New York’s Hudson Valley. Chironi will spend a period of residency, study, and research inside of the house to then share the results of this living experience at MAN – Museo d’arte della Provincia di Nuoro (IT), as part of the artist’s upcoming solo exhibition in November 2023, which will focus on the relationship between art and architecture. In tandem with the Architecture Biennale in Venice, MAN has concentrated all its research, exhibitions, and programs for the current year on this theme. Chironi’s experience in the brownstone will last from March 22nd to April 13th and will be punctuated by moments of both solitary work and exchange with visitors who can interact with the artist over the course of individual visits, which can be scheduled by appointment by writing an email directly to cristianchironi@gmail.com. The meetings, during which one can discuss or simply drink a coffee with the artist, will tend towards a return to architecture through storytelling and the direct capture of its space-time dimension. The residency will also invite a moment of collective encounter on April 12th, you will be able to interact with the site-specific sound installation entitled Musica da parquet, produced in collaboration with composer Francesco Serra. Through the sampling of sound elements from each floor in the house, Serra will create a perceptual path designed to involve the visitor as an active participant in a process that will redefine the acoustic identity of this site. This will be followed by a conversation with curator Andrew Gardner around the theme of the act of living as a language. Chironi has demonstrated a profound interest in combining different styles and experimenting with unusual materials found on site, the same ones he turns to for research focused on the concept of living as explored through various perspectives: that of the domestic dweller, an artwork, a landscape, and the view through a window. For Chironi, the brownstone will represent a privileged observation point through which to understand a new part of the world, and to explore the current conditions of our homes in various geographic contexts, reflecting on questions tied to gentrification, post-pandemic housing, the housing crisis, sociopolitical shifts, and climate change.
Info: Brownstone building, 542 Washington avenue, Brooklyn, New York 11238
22 March > 13 April 2023 – residence period
1 > 10 April 2023 – individual visits by appointment by writing an email to cristianchironi@gmail.com
12 April 2023 – opening to the public (sound installation from 3.00 pm onwards; domestic chat with Andrew Gardner from 6.30pm to 7.30pm)
24 November > 25 February 2024 – exhibition at the MAN Art Museum of the Province of Nuoro (IT)
Brownstone building is a project by Cristian Chironi promoted by LACASAPARK with the support of MAN – Museum of Art of the Province of Nuoro (IT)
La casa e l’abitare
Riflessioni per lo spazio domestico contemporaneo
13-14 Dicembre 2022 Auditorium Camera di Commercio – Nuoro
con Nicola Di Battista, Chiara Gatti, Manolo De Giorgi, Massimo Curzi, Cristian Chironi, Giorgio Barrera
L’Ordine degli Architetti, Paesaggisti, Pianificatori, Conservatori della Provincia di Nuoro ha attivato, attraverso la propria Commissione Cultura, un programma di iniziative articolato in quattro anni. In esso viene posta al centro la figura dell’architetto ridefinendo e aggiornando i campi di attività e interesse, promuovendo una sempre maggiore partecipazione e interferenza nelle relazioni con la comunità. Gli ambiti di confronto con l’architettura, nei quattro anni di attività della Commissione, andranno progressivamente spostandosi dalla scala dell’abitare e della casa fino alle relazioni con la città, il territorio, le infrastrutture, il paesaggio, il design, l’arte, la storia e la tecnologia. Nei giorni 13 e 14 dicembre viene ospitato a Nuoro un convegno scientifico di rilevanza nazionale dal titolo: LA CASA E L’ABITARE. Secondo Christian Norberg-Schulz l’abitare corrisponde all’appropriarsi di un pezzo di mondo, alla determinazione di se stessi rispetto a un luogo per il quale si struttura un legame di appartenenza1. Il convegno si inserisce criticamente a partire da questa considerazione, operando una serie di riflessioni sull’abitare contemporaneo e sulla casa: ambiti e concetti spesso dispersi nelle pur importanti urgenze imposte dalle performance tecniche e energetiche che, in questa occasione, si intendono riportare all’interno di una dimensione disciplinare.
Iris Project Residency
Los Angeles
Aug 1 > Aug 31, 2022
In 2019, Iris Project opened the doors on a unique Low-cost, no-obligation residency program, providing an essential platform for artists to examine their relationships with institutions, society, and their own practice. Iris Project Residency offers artists, curators, writers, and creative thinkers from diverse backgrounds and disciplines the space and time to push boundaries in their practice, freed from the pressure of production or material exchange. We strongly believe that when creativity is uncoupled from commercial requirements, new directions and insights will emerge, and that these benefits will extend beyond the artist’s time at the residency. The residency program provides space and time to experiment and grow without pressure to produce or perform, eschewing the ever-increasing volume and scale required to feed a multinational gallery appetite. The exhibition space shifted tempo and scale to facilitate a more personal relationship with singular works of art shown at residential scale.
Drivers
a special project by Cristian Chironi and Dan Devine
Art Omi, Ghent, New York
July 16
During his residency at Art Omiletici, the Italian artist Cristian Chironi chose not to use his studio, favoring external interaction with the new context. This is how he met Dan Devine—an artist with a nearby studio—with whom he shares more than one interest. Their conversations started revolved around the meeting of different works by the two artists within the Omiletici Studio Barn.
New York Drive is the video of the performance organized by Magazzino Italian Art in October 2021, followed to the Manhattan Stop exhibition on view until August 13th at the Morton Street Partners space in New York City where the car is accompanied by new work. Inspired by the close, collaborative friendship between fellow Sardinian Costantino Nivola and Le Corbusier, Chironi’s project Drive is an interdisciplinary, itinerant, and site-specific series combining architecture, urbanism, design, sonic art, and social relations. Featuring a car called Fiat 127 Special “Chameleon”, Chironi travels the world accompanied by copilots and passengers from various backgrounds, all invited to play active roles in the work. In the process he creates a shared space within the car’s interior, recording each story and weaving them into a video travel diary. For New York Drive Chironi and the Fiat toured multiple sites throughout New York City, Long Island, and the Hudson Valley. Chironi investigates and reflects on the emotional experience of the Fiat as a literal and figurative vehicle, exploring urban and rural landscapes, telling collective and personal stories.
With the simple gesture of the fold of pages extrapolated from a book, Chironi reimagines the architecture of the UN building in New York City, conceived by Le Corbusier together with other architects; as well as for the prototype of the Autobianchi Coupé by Pio Manzù, designer of the Fiat127.
In the middle of the studio the artworks Long Stretch and The Ghost of Pneuma by Dan Devine combines folded and stitched leather with motorcycle parts.
Dan Devine is a contemporary artist whose sculptures, installations, drawings and photographs explore the relationship between interior and exterior spaces. His work investigates reversals of space to examine our relationship with technology and nature. As a former motocross racer, Devine combines a fascination for vehicles and machines parts with a reverence for the natural world.
An analogue photograph taken from Devine’s album, immortalizes the artist during one of his motorcycle competitions.
Drivers is not an exhibition nor an open studio, but a vehicle for investigation and exchange at the intersection of different geographies, cultures and generations.
Art Omi Residency 2022
Ghent, New York
Jun 23 > Jul 18, 2022
Art Omi: Artists invites artists, critics, and curators from around the world – representing a wide diversity of artistic styles and practices – to gather in rural New York to experiment, collaborate, and share ideas. Concentrated time for creative work is balanced with the stimulation of cultural exchange and critical appraisal. Art Omi: Artists Residency nurtures deep creative and professional connections in a vibrant social setting. Artists Residents are: Karíma Al-Mukhtarová ; Marija Ančić; Julia Carrillo; Cristian Chironi; Sandra Dinnendahl López; Irene Dionisio; Mark Fleuridor; Ania Freer; María Ibarretxe; Soukaina Joual; Janie; Julien-Fort; Yujin Lee; Kathy Liao; Hagar Masoud; Laith McGregor; Engy Mohsen; Leticia Obeid; Yapci Ramos; Sa’dia Rehman; Nooshin Rostami; Jimena Schlaepfer; Alisa Sikelianos-Carter; Sagarika Sundaram; Thierry Tomety. Critic Emerita, Sylvie Fortin; Critic in Residence, Regine Basha.
MANHATTAN STOP
Morton Street Partners in collaboration with Magazzino Italian Art
Opening May 25, 2022. On view through 13 August, 2022
16 Morton St, New York
New York, NY, May 25, 2022 – Morton St. Partners announces the opening of Manhattan Stop in collaboration with Magazzino Italian Art. The exhibition is the final stop for artist Cristian Chironi’s colorful Fiat 127 as part of his New York Drive performance series, organized by Magazzino Italian Art on October 12-17, 2021. Through this project, Chironi has set out to explore the relationships Le Corbusier had with different cities via documented drives in a Fiat 127 specifically painted for each location in a series of colors based on the modernist architect’s palette. The drives have taken place in cities such as Bologna, Milan, Marseille, Bolzano, La Chaux-deFonds, and now New York. The exhibition at Morton St. Partners features Chironi’s Special Fiat 127 (Chameleon) along with collages, photographs, sculptures and video documenting the New York Drive performance, and brand-new works installed by the artist.
Cristian Chironi’s project was initially inspired by Sardinian artist, Costantino Nivola, with whom Chironi shares a birthplace (the town of Orani in Sardinia, Italy) and with whom Le Corbusier shared a lifelong friendship filled with artistic exchange. Nivola owned a car of the same make, model, and year as that of Chironi. The distinctive colors Chironi applies to the Fiat 127 for New York Drive are inspired by an early Nivola sculpture. For Manhattan Stop, Chironi has collaborated with the renowned jazz musician Paolo Fresu on a series of tracks that will play from the Fiat 127’s stereo along with recordings commissioned by Chironi. The recordings were made inside of houses designed by Le Corbusier in 12 countries and in which Chironi resided as part of an ongoing project called My house is a Le Corbusier begun in 2015.
In these performances Chironi is accompanied by various co-pilots and passengers enlisted via open calls and hailing from various walks of life. During the drives Chironi engages with his passengers recording each encounter and weaving them into a video travel diary. Le Corbusier’s famous line “A house is a machine for living” from his manifesto, Towards an Architecture (1927) has been appropriated by Chironi as he transforms his Fiat 127 into a vehicle for investigation and exchange at the intersection of different geographies and cultures.
Through this exhibition, the artist investigates emotions associated with the experience of gazing out of the window during each of the NY drives, as he travels across urban and rural landscapes, telling collective and personal stories.
Manhattan Stop does not represent the end of the New York Drive series, but a new point of origin as Chironi invites an expanded audience to be part of his ongoing exploration, brought together in conversation around concepts pertinent to our present moment.
“We are very proud to collaborate with Morton St. Partners and thrilled for the public to have the opportunity to experience Chironi’s new body of work, allowing more people to reflect on the performance, New York Drive, that Magazzino produced during the artist’s stay in New York last fall. This exhibition is another opportunity for Magazzino to foster connection with other organizations towards the promotion of Italian contemporary art in the U.S. This show stands as a meaningful culmination of the work and research that went into the artist’s performance, New York Drive.” – Vittorio Calabrese, Director of Magazzino.
Special thanks to Anna and Francesco Tampieri Collection, Nonantola, Italy, for supporting Chironi’s work.
About Morton Street Partners
Morton St. Partners is a new curatorial project merging the worlds of contemporary art and collectible cars. Collectible cars are selling at auction for record-setting prices, art institutions are staging car-centric exhibitions like Automania recently on view at MoMA, and premier car makers are increasingly pursuing artist collaborations, all raising the aesthetic regard for automobile design and setting the stage for Morton Street Partners’s intrepid curatorial project.
Located at 16 Morton Street (between Bleecker Street and 7 Avenue South) at the heart of the West Village, Morton Street Partners has taken over the 3,000 square foot ground floor of a 19th-century carriage house outfitted with a historic garage door capable of accommodating cars in every exhibition. Morton St. Partners opened in March 2022 with an exhibition curated by veteran art-world provocateur Kenny Schachter.
Founders
Tom Hale is a collector and historian specializing in handcrafted rare European racing cars and other vehicles with historic and artistic significance. In 2021, Sports Car Market Magazine included Hale in their “40 Under 40” collectible-car industry leaders.
Jake Auerbach was a car specialist at Sotheby’s part of a team behind the 2018 record-setting sale of a 1962 Ferrari 250GTO in 2018 for $48.4M. He was formerly the Head of Collector Car Acquisitions for the investment platform Rally.
Benjamin Tarlow specializes in mid-century sports and competition cars with an academic background in art history and conservation. Formerly an independent broker in the Hudson Valley, he is an avid vintage racer, motorsport organizer, and car builder.
About Magazzino
Located in Cold Spring, New York, Magazzino Italian Art is a museum and research center dedicated to advancing scholarship and public appreciation of postwar and contemporary Italian art in the United States. The nonprofit museum serves as an advocate for Italian artists as it celebrates the range of their creative practices from Arte Povera to the present. Through its curatorial, scholarly, and public initiatives, Magazzino explores the impact and enduring resonances of Italian art on a global level. Meaning “warehouse” in Italian, Magazzino was co-founded by Nancy Olnick and Giorgio Spanu. The 20,000 square-foot museum, designed by Spanish architect Miguel Quismondo, opened its doors in 2017, creating a new cultural hub and community resource within the Hudson Valley. Admission is free to the public.
Press Contact:
Sophie Gubernick / VIDOUN / sg@vidoun.com
Morton St. Partners 16 Morton Street New York, NY 10014 www.mortonstreetpartners.com
Things that fall
Cristian Chironi | Erin O’Keefe | Studio65
Text by Caterina Avataneo
23 March – 11 June Ncontemporary Milan
To understand the reasons behind the title of this show – Things that Fall – as well as some of the choices at the core of the dialogue between the works of Cristian Chironi and Erin O’Keefe both showing for the first time at Ncontemporary, it is worth pausing first on its decor. It is hard to predict in which form the viewers will encounter this, and certainly it will not be the same all throughout the exhibition. Scattered around the space or assembled in monolithic shapes, the colourful polyurethane blocks designed in 1973 by Studio 65, might be a perfect seat too often missing in gallery shows, or an occasion for playfulness, also quite rare in similar contexts. They are the modular blocks of Baby Lonia, a sculpture and a game which was inspired by the story of the Tower of Babel and developed together with prof. Francesco De Bartolomeis during a series of workshops that happened in the 70s hosted by a few schools in Turin. With a typically postmodern move, the big tower was re-interpreted rather playfully and its collapse viewed not so tragically. Once the monolith falls, diversity is created. Pupils become architects of their own spaces, exercising practises of embodiment and manipulation, and potentially shaping other ways of living.
Similar strategies characterise the work of the artists in the show as well: Cristian Chironi, master of inhabiting and interpretation; Erin O’Keefe, choreographer of uncertainty.
One of the major projects Chironi is known for, My house is a Le Corbusier, was also inspired by a story; the one of a house-plan generously gifted from the father of modernism to his friend Costantino Nivola, sardinian artist, who entrusted his family with building a new, uniquely modern home in Orani to only later discover that they had rather preferred to go for vernacular, low-brow solutions responding to their domestic needs. Since 2015 Chironi has lived extended periods of time in the many homes around the world designed by Le Corbusier, exploring what lies between ambition, planning and vision; and legacy, use and functionality. The sculptures, collages and sketches showing at the gallery belong to a subsequent iteration of this project, started in 2018. Since then Chironi has decided to embarque in a series of urban journeys driving Chameleon, a Fiat 127 Special, whose colours changed according to the location, always following the colour coding of the homes of Le Corbusier. Table (Bolzano Drive version) – once bonnet, now repurposed table – maintains a convivial character and carries the many stories shared during the drives and meals the artist had with his guests, discussing mobility, housing, city planning, border crossing and most importantly social transformation among other topics. Another series of works – once rims, now repurposed clocks – preserve a circular, and cyclical, essence where beginnings and ends are part of the process, as well as rise and fall of clock hands and thus time itself, a succession of apocalypses of daily occurrence.
The sense of time feels instead rather suspended in Erin O’Keefe photographs, as do the shapes and painted objects that populate the artist’s metaphysical cosmology of images. Careful arrangements, composition and staging techniques, as well as the use of light and colour, generate distorted landscapes, illusory and sibylline. The spatial presence of the framed objects and their sense of scale result so altered, or flattened, that the eye does not have anything to anchor to; and the medium itself can be easily mistaken for abstract geometric painting. Arches curve on themselves, backgrounds come to the front, shadows open to the void and blackholes transpass solids without absorbing everything around them. What collapses here is any determined physical law. Less interested in functionality than in de-stabilising one’s ability to decipher something supposedly already known, O’Keefe creates complex images whose wrongness opens to paradox, ambiguity or, to put it simply, to the possibility of not knowing. She is designer and architect of the not-yet possible space, metaphysical scenery at the end of time.
At this point, it might all feel up in the air, what is it that we are saying here? Pupils play masters; islands become the centre of the attention and signature homes are read creatively, their legacy being questioned; the law of fall itself – gravity – plummets, diversifying trajectories where physics is just an interpretation. In such a context artists act as incopetent architects and dysfunctional fragments form material for new assemblages. It is not only the Tower of Babel, the big monolith, that falls… it’s sense, laws, certainties, dominant narratives, hierarchies. But isn’t also History as we – european and american western – knew it, crumbling? Faced with a planetary trajectory whose endpoint is destruction, we are told we must build new worlds. Once the ground trembles beneath us shaking away old presumptions, the fall of certain things is inevitable. Now it is the moment to unlearn notions of legacy as a fixed matter, and imagine its possible deviations, alternatives and footprints on the future. Once the monolith falls, diversity is created.
Vita Nova: arte in Italia alla luce del nuovo millennio
Villa d’Este, Tivoli
17 dicembre 2021 – 27 febbraio 2022
L’Istituto Villa Adriana e Villa d’Este – VILLÆ celebra Dante Alighieri in occasione dei settecento anni dalla morte, con l’articolato e visionario progetto Vita nova: arte in Italia alla luce del nuovo millennio (Villa d’Este, 17 dicembre 2021 – 27 febbraio 2022; 5 marzo – 5 giugno 2022), che prevede una ricognizione sulla giovane arte italiana nei due decenni che hanno caratterizzato il cambio di secolo, dal 1990 al 2010. L’iniziativa costituisce un omaggio al sommo poeta, padre dell’identità letteraria nazionale. Come Dante rappresenta l’idea di una lingua comune italiana, così la proposta mette a fuoco il nucleo primario, legato allo specifico culturale del nostro Paese, di un lessico visuale condiviso, componendo un vero e proprio indice della creazione contemporanea italiana.
L’Istituto ha da tempo iniziato a lavorare alla proposta culturale, che gode del sostegno del Comitato Nazionale per la celebrazione dei 700 anni dalla morte di Dante Alighieri. L’omaggio delle VILLÆ, realizzato per quest’anno speciale, nasce da un’idea del direttore Andrea Bruciati, responsabile scientifico e curatore del progetto. L’iniziativa, di ampio respiro e dedicata ad un vasto pubblico, prende le mosse da una serrata ricognizione scientifica che si esplica attraverso un focus espositivo a Villa d’Este, destinato ad espandersi nel corso del 2022, e l’edizione di un volume con saggi critici, schede e un ampio apparato iconografico. Articolati sono i linguaggi, le poetiche e l’esperienza degli artisti rappresentati in mostra, da Stefano Arienti (Asola, 1961) ad Arcangelo Sassolino (Vicenza, 1967), da Diego Perrone (Asti, 1970) a Lara Favaretto (Treviso, 1973).
Il progetto vuole costituire un punto di riferimento per l’indagine su un tema tanto più delicato e difficile, quanto più vicino al nostro tempo e quindi non totalmente restituibile in prospettiva, condizione a cui supplisce la pluralità dei punti di vista e delle partnership poste in cantiere.
“Il progetto – dichiara Andrea Bruciati – intende rappresentare un panorama quanto più possibile esaustivo del fermento e delle problematiche che contraddistinguono la ricerca visiva in Italia all’alba del nuovo millennio, riflessione che ha nelle nostre radici culturali un’imprescindibile base, attraverso un dialogo continuo con la nostra storia dell’arte secondo modalità identitarie fra tradizione e innovazione. In tale prospettiva, la rassegna è intesa come prima ricognizione sulla storia dell’arte italiana recente che si innesta con l’assetto museale e monumentale delle Villae, interpretando lo spirito dei luoghi alla luce di una rinnovata sensibilità, raccontandone pertanto un percorso differente, innovativo e pionieristico, che si reinventa a vita nova.”
Contatti: villaexhibitions@beniculturali.it
Informazioni: Comitato Nazionale per le celebrazioni dei 700 anni dalla morte di Dante Alighieri
Drive Tour
Italian Cultural Institute of Montreal
09.12.2021 ~ 11.3.2022
The Italian Cultural Institute of Montreal, on the occasion of the XVII edition of the Contemporary Day, is pleased to present the photographic exhibition “Drive Tour” by Cristian Chironi, winner of the “Cantica 21” project in the “Over 35” category.
Drive Tour is the photographic evolution of two interdisciplinary projects, My house is a Le Corbusier and Drive. Like the other two it is an itinerant work, which combines architecture, design, travel and landscape: a constellation of paths that leads the artist to move from his native village in Sardinia, towards the main Italian cities and European. On the street he is aboard a Fiat 127 Special called “Camaleonte” designed by Chironi himself because of his ability to change color according to the places where he stops and following the chromatic combinations typical of the architectures in which the artist lives and works. out of twelve countries in the world.
The Contemporary Day is the great annual event promoted by AMACI that celebrates contemporary art by bringing out, with force and in a single day, the network of subjects and realities that promote contemporary art throughout the year, in Italy and abroad, through the diplomatic-consular network and the Italian Cultural Institutes. The initiative is carried out with the support of the General Direction for Contemporary Creativity of the Ministry of Culture, in collaboration with the MAECI.
Cantica21 is an initiative launched jointly by MAECI and MiBACT (current MiC) that promotes and enhances Italian contemporary art, supporting the production of works by emerging or already established artists, and exhibiting them in Italian Cultural Institutes, Embassies and Consulates.
Thanks to the MAMbo Museum of Bologna and the Collezione Anna e Francesco Tampieri of Nonantola (Modena) for their collaboration.
https://iicmontreal.esteri.it
INSEGNARE IL DIRITTO DELL’ARTE NELL’UNIVERSITÀ
2.12.2021 Aula Magna dell’Università delle Camere di Commercio “Mercatorum” Roma
Un focus con differenti approcci sul diritto privato avvalendosi della partecipazione di un parterre di ospiti d’eccezione: è questo, in sintesi, quanto sarà proposto oggi con il convegno Insegnare il diritto dell’arte nell’università, in programma presso l’Aula Magna dell’Università delle Camere di Commercio “Mercatorum” di Roma. L’incontro in programma dalle 15 alle 18, che sarà fruibile anche online su Zoom, è nato dall’idea del professor Andrea Montanari, associato di Diritto privato nell’ateneo in questione, il quale, grazie anche al lavoro dell’università tutta, ha attivato l’insegnamento di “Diritto privato dell’arte”, dedicato agli studenti dei Corsi di Laurea in Scienze e Tecnologie delle Arti, dello Spettacolo e del Cinema, e in Design del Prodotto e della Moda. “L’insegnamento in parola – ha sottolineato il docente – offre agli studenti la conoscenza generale degli istituti fondamentali del diritto privato e la conoscenza specifica dell’applicazione di tali istituti alle vicende che caratterizzano il mondo dell’arte. Viene privilegiato un approccio dialettico, volto a indagare le risposte offerte dagli strumenti giuridici alle esigenze affioranti dal mondo dell’arte”. E tale approccio troverà un riscontro emblematico nell’incontro odierno: per l’occasione sono stati coinvolti dei soggetti rappresentativi degli ambiti interessati dalle lezioni tenute da Montanari, che trasmetteranno le rispettive testimonianze. Gli ospiti, così, potranno sensibilizzare i partecipanti sull’importanza “di arricchire il proprio percorso formativo – ha aggiunto – con l’apprendimento di alcune nozioni giuridiche”.
L’appuntamento prenderà il via con i saluti istituzionali del Rettore Giovanni Cannata, della Preside della Facoltà di Economia Maria Antonella Ferri e del Direttore Scientifico di Ateneo Francesco Fimmanò. A seguire il convegno entrerà nel vivo con lo speech di Andrea Montanari, che introdurrà l’incontro con una relazione dal titolo Per una cultura del diritto dell’arte. Sarà poi dato ampio spazio agli interventi dei seguenti ospiti: Giuliana Setari Carusi, presidente di Cittadellarte – Fondazione Pistoletto e fondatrice e presidente di Dena Foundation for Contemporary Art; Michelangelo Pistoletto; Paolo Naldini, direttore di Cittadellarte – Fondazione Pistoletto; il Capitano Francesco Nicolò Pirronti, comandante del Nucleo del Nucleo Carabinieri Tutela Patrimonio Culturale di Roma; Massimo Minini, noto gallerista; Cristian Chironi, artista di fama internazionale.
New York Drive
Performances: October 12-17, 2021
Springs, NY; New York City; Cold Spring, NY
As part of its mission to foster discourse on Italian contemporary art and bi-annual performance initiative, Magazzino Italian Art will present a series of performances by artist Cristian Chironi that will take place in various locations throughout New York from October 12-17, 2021. For individuals wishing to participate in the performance, please scroll down for details.
Cristian Chironi’s New York Drive is a series of performances which originated and were inspired by Sardinian artist Costantino Nivola, with whom Chironi shares a birthplace (the town of Orani in Sardinia, Italy). This week-long program has, therefore, been organized in conjunction with the current special exhibition on view at the museum, Nivola: Sandscapes which explores Nivola’s unique body of sandcast works from the early 1950s to the 1970s. New York Drive invites the public to hop aboard Chironi’s colorful Fiat 127 – a vehicle that is closely linked to Nivola’s life story.
In the early 1980s, close to the end of the artist’s life, Nivola took ill. He had been living in Springs, NY – where he and his wife, Ruth Guggenheim, had moved together in 1948 – and began to worry that the things he had left in his home in Tuscany would never make it back to his birthplace. Nivola decided to enlist the help of his nephew Daniele, who recalls the artist telling him to take as much as possible, including Nivola’s Fiat 127 – the same make and model as the car Chironi will use for the New York Drive performances. Daniele did his best to fill the car as much as possible – Nivola had left behind his own sculptures and paintings as well as works by artists such as Maria Lai, Giovanni Pintori, and Salvatore Fancello – and to return as many belongings as he could to his uncle’s hometown.
Chironi’s New York Drive pays tribute to this important journey while additionally celebrating the friendship and artistic collaborations between Nivola and the renowned architect, Le Corbusier.
In 1946, Le Corbusier served as a member of the international team of architects that designed the United Nations Building, which will be a destination during the New York City part of the performance. His chance encounter with Nivola in New York developed into a lifelong friendship, full of mutual respect, admiration and artistic exchange. Nivola frequently invited Le Corbusier to his home on the East End of Long Island. Together, they painted murals around the house and created the artistic environment in which Nivola first began experimenting with his sandcasting technique. The car’s color palette changes for each performance, making it a component that is site-specific to each location. For New York Drive, the distinctive colors of Chironi’s Fiat 127 are inspired by the unique relationship between Nivola and Le Corbusier as well as by an early, pigmented totem work, Untitled [Totem] (1953), which is on view in Nivola: Sandscapes.
For New York Drive, Chironi will be accompanied by a number of co-pilots, including museum professionals and art workers, gallerists, journalists, activists, philanthropists, students, and professors. Members of the public are invited to participate by responding to our open call, which will begin on October 5th, 2021. The drives will begin on October 12thfrom Springs, NY, where Nivola made a home for himself and his family after emigrating to the United States. It will continue on October 14th and 15th with two consecutive days of drives between the Italian Consulate and Italian Cultural Institute in New York City and the United Nations to acknowledge the event that brought Le Corbusier to New York and initiated his contact with Nivola. New York Drive will conclude at Magazzino Italian Art in Cold Spring on October 16th and 17th. The car will be parked at the museum following the final performance and will remain on view until the closing of Nivola: Sandscapes on January 10, 2022. There will be a series of musical compositions played throughout the duration of its exhibition at the museum, based on recordings that Chironi took at various homes designed by Le Corbusier around the world and produced in collaboration with international sound artists and musicians.
With this program, the artist hopes to invite community members to consider a variety of concepts from immigration and memory to home-building and the histories of different locations in relation to our present moment. As a participatory performance, New York Drive seeks to inspire people to come together for a unique moment of in-person exchange and dialogue – something that has become increasingly foreign since the beginning of the pandemic. The year 2021 also marks the 50th anniversary of the Fiat 127, designed by Pio Manzù in 1971.
Program Dates and Locations
October 12: Springs, NY
Departure Point: Springs General Store, 29 Old Stone Hwy, East Hampton, NY 11937
The route will include a drive by the homes of noteworthy artists who formed the artistic community of Springs, as well as the beach where Nivola first began experimenting with his sandcasting technique.
October 14-15: New York City
Departure Point: Consulate General of Italy, 690 Park Ave, New York, NY 10065
The route will involve a ride through Midtown, beginning at the garage of the Italian Consulate and eventually passing by the United Nations Headquarters to acknowledge the event that brought Le Corbusier to New York and initiated his contact with Nivola.
October 16-17: Cold Spring, NY
Departure Point: Bandstand, Cold Spring Waterfront
The route will begin by the waterfront in the Village of Cold Spring and involve a drive through the roads surrounding several landmarks in the area, including Magazzino Italian Art, where Nivola: Sandscapes is currently on view.
www.magazzino.art
Hidden Displays 1975-2020 Progetti non realizzati a Bologna
Istituzione Bologna Musei MAMbo – Museo d’Arte Moderna di Bologna Project Room
7 ottobre 2021 – 9 gennaio 2022
Un progetto di MoRE. a Museum of Refused and Unrealised Art Projects a cura di Elisabetta Modena e Valentina Rossi. Con il supporto di Fondazione del Monte di Bologna e Ravenna e Fondazione de Mitri
La Project Room del MAMbo – Museo d’Arte Moderna di Bologna, spazio dedicato principalmente alla riscoperta di alcuni degli episodi culturali più stimolanti e innovativi originati in ambito bolognese e regionale, prosegue la sua attività con un nuovo progetto espositivo: Hidden Displays 1975-2020. Progetti non realizzati a Bologna, ideato da MoRE. a Museum of Refused and Unrealised Art Projects e a cura di Elisabetta Modena e Valentina Rossi, che si realizza con il supporto della Fondazione del Monte di Bologna e Ravenna e della Fondazione de Mitri di Modena.
La ricerca, l’esposizione e il volume edito da Edizioni MAMbo che esce in concomitanza con l’apertura della mostra nascono dal confronto tra due realtà: il MAMbo – punto di riferimento per l’arte contemporanea sul territorio bolognese ed emiliano-romagnolo – e MoRE, museo e archivio digitale che dal 2012 raccoglie, conserva ed espone virtualmente i progetti non realizzati di artisti del XX e XXI secolo. Attraverso il sito moremuseum.org è possibile scoprire progetti artistici che non sono stati realizzati per motivazioni tecniche, logistiche, ideologiche, economiche, morali o etiche, oppure perché utopici o impossibili da tradurre in realtà. Lo scopo del museo è quello di valorizzare questi progetti archiviando, sistematizzando e valorizzando i documenti, le immagini e i testi donati dagli artisti, nonché organizzando mostre, sia online che offline, convegni e seminari.
Hidden Displays 1975-2020 scaturisce da una ricerca sviluppata sul territorio con l’obiettivo di rintracciare e studiare le mostre e le opere d’arte immaginate o progettate, ma non realizzate in ambito bolognese dal 1975, anno della nascita della Galleria d’Arte Moderna di Bologna nella sede di Piazza Costituzione progettata da Leone Pancaldi, a oggi. Attraverso il lungo lavoro di ricerca in archivio e il contatto diretto con i protagonisti del sistema dell’arte che gravita intorno a Bologna, sono emersi ricordi, esperienze, testimonianze e documenti di numerose occasioni rimaste nei cassetti degli artisti e dei curatori. In mostra sono visibili una cinquantina di tracce di un racconto di fatto ancora ignoto: i documenti archivistici e i progetti artistici sono volutamente presentati in modo non lineare e non cronologico.
Dalla ricerca sono emerse numerose occasioni espositive rintracciate grazie a un lavoro di scavo svolto principalmente nell’archivio del MAMbo e in quelli privati della città. Gli archivi degli artisti hanno restituito una numerosa serie di progetti che sono illustrati in mostra secondo modalità discusse volta per volta con gli artisti stessi: alcuni hanno scelto di esporre i materiali originariamente sviluppati per la progettazione dell’opera poi non realizzata (documenti digitali o materiali analogici); altri hanno invece interpretato il lavoro in modo diverso, trasformando la documentazione progettuale in una traccia evocativa e utile a restituirne l’idea e il senso originari. I progetti espositivi non realizzati dal 1975 ad oggi che sono emersi dalla ricerca sono proposti, ideati o sviluppati da curatori, artisti, critici e storici dell’arte: Lorenzo Balbi, Renato Barilli, Alberto Boatto, Palma Bucarelli, Maurizio Calvesi, Germano Celant, Giorgio Celli, Roberto Daolio, Mario De Micheli, Tano Festa, Guido Le Noci, Marinella Paderni, Concetto Pozzati, Maura Pozzati con Michele Corleone e Pierfrancesco Pacoda e Lea Vergine.
Le opere non realizzate sono invece state ideate e proposte da artisti legati al territorio per diverse ragioni: Alessandra Andrini, Sergia Avveduti, Riccardo Baruzzi, Riccardo Benassi, Francesco Benozzo, Davide Bertocchi, Christoph Büchel, William Burroughs, Calori & Maillard, David Casini, Cristian Chironi, Luca Coclite, Cuoghi Corsello, Ericailcane, Emilio Fantin, Flavio Favelli, Irene Fenara, Simone Forti, Francesca Grilli, Daniel Gonzàlez, Jannis Kounellis, Claudia Losi, Eva Marisaldi, Fabio Mauri, Paul McCarthy, Matteo Meschiari, Giancarlo Norese, Francesca Pasquali, Stefano W. Pasquini, Chiara Pergola, PetriPaselli, Cesare Pietroiusti, Andrea Renzini, Davide Rivalta, Mili Romano, Andrea Salvatori, Marco Samorè, Enrico Serotti, Ivana Spinelli, Sissi, Luca Trevisani, Eldi Vejzai, Luca Vitone e ZimmerFrei.
In occasione di Hidden Displays 1975-2020. Progetti non realizzati a Bologna viene pubblicato un volume omonimo, curato da Elisabetta Modena e Valentina Rossi, edito da Edizioni MAMbo e realizzato su progetto grafico di Sartoria Comunicazione. More info: moremuseum.org
www.mambo-bologna.org
ITALIA ZOKUGO
ISTITUTO ITALIANO DI CULTURA DI TOKYO
1 ~ 30 OTTOBRE 2021
Artisti: Fabrizio Bellomo, Lorenza Boisi, CristianChironi, Michelangelo Consani, Cleo Fariselli, Stefano Giuri, Fabrizio Perghem, Giulio Saverio Rossi, Davide Mancini Zanchi, Moe Yoshida.
A cura di Gabriele Tosi
Le opere di dieci artisti italiani compongono l’immagine idealizzata di una collezione museale, interagendo con la grande sala esposizioni dell’Istituto Italiano di Cultura di Tokyo, disegnata da Gae Aulenti. La mostra, apparentemente accademica, rivela presto uno stato di agitazione. Le forme classiche sono animate da pulsioni intime che danno ritmo a lenti movimenti e a improvvisi scontri. La storia dell’arte è presa dalla voglia di danzare. Accadono amori, escursioni, furti, sequestri, fughe e sabotaggi.
Italia Zokugo (grossolanamente traducibile con ‘gergo italiano’) scaturisce dall’immagine storica e spesso infedele con cui l’arte italiana è riconosciuta nel mondo. Il progetto espositivo fa qui emergere invece l’uso vernacolare, dialettale o caricaturale che alcuni artisti compiono del patrimonio visivo occidentale. Attraverso l’impiego di media inattuali, di forme démodé e di simboli destituiti dal tempo, gli artisti offrono una valvola di sfogo al peso della storia favorendo la visione di mondi personali.
La collettiva conta la partecipazione di diverse generazioni d’artisti, affiancando opere di autori già noti sulla scena internazionale a nomi più giovani, assicurando così al pubblico un ampio panorama conoscitivo su una tendenza popolare, tra aulico e volgare, che sembra attraversare l’arte italiana indenne ai mutamenti degli stili e dei gusti. Anche per questo, uno tra i criteri che ha mosso l’invito a questo gruppo d’artisti, è il riconoscimento di pensieri estetici e di ricerche personalissime, portate avanti da ciascuno nella piena consapevolezza della particolarità del proprio operato.
La documentazione del progetto è raccolta in un’edizione a tiratura limitata ideata graficamente dall’artista Matteo Coluccia e realizzata seguendo procedure semiartigianali che vedono nel ‘fatto a mano’ un livello di connessione fra le culture visive italiana e giapponese.
Italia Zokugo è ideato e curato da Gabriele Tosi, in una costante collaborazione con l’artista Moe Yoshida che ne è fautrice assieme a Hikaru Taga di GALLERY TAGA2.
https://iictokyo.esteri.it/IIC_Tokyo/it
Top100 vol. 8 a project by Davide Bertocchi
Friday September 17th from 8 p.m
Center Pompidou-Metz.
Begun in 2003, Davide Bertocchi’s Top 100 project brings together, for each edition, the 100 songs selected by 100 personalities from the contemporary art scene, to whom the artist has asked to choose their favorite song, intended both as a personal soundtrack or an emblematic music of a particular moment.
Initially, the project started as critical reflection on the “Top100” rankings (100 best artists, 100 best curators, Power 100, etc.) in contemporary art magazines and the imposing role that they inevitably play as the only judgment.
Top100, 100 characters including critics, curators, artists, gallery owners, collectors who, each of them, choose their favorite song. Hence an “archive compilation” and an offset printed poster that, for Bertocchi, acts as a sound magazine in which the idea of “choice” is reduced to its most elementary, intimate and emotional form.
This eighth edition was conceived during the first lockdown as a multiple-handed work with artist Ettore Favini and the Center Pompidou Metz team.
100 all-time favourite songs selected by: Etel Adnan, Peio Aguirre, Armando Andrade Tudela, Lisa Andreani, Beatrice Annecca, Fabienne Audeoud, Camille Bauer, Jean-Michel Bersweiler, Christian Bertaux, Alessandro Biggio, Christophe Boutin, Claire Burrus, Liudmila Carnero, Grégory Castéra, Géraldine Celli, Giulia Cenci, Marc-Camille Chaimowicz, Chloé Chambelland, Cristian Chironi, Carolyn Christov-Bakargiev, Raphaël Claudin, Paolo Codeluppi, Jordi Colomer, Enzo Cucchi, Pauline Curnier Jardin, Sonia D’Alto, Hélène De Bisshopp, Sebastien Delire, Jean-Pierre Delvecchio, Louise Derbez, Alessandro Di Pietro, Simone Fattal, Alessandra Ferrini, Flora Fettah, Andrea Fustinoni, Marion Gales, Alessandro Gallicchio, Giorgio Galotti, Roberta Garieri, Cristina Garrido, Josée and Marc Gensollen, Jennifer Gies, Lorenzo Giusti, Sofia Gotti, Anne-Marine Guibertau, Christine Hall, Charlie Hamish Jeffery, Katia Kameli, Abdellah Karroum, Pascal Keller, Iordanis Kerenidis, Céline Kopp, Pascale Krief, Andrea Kvas, Mohammed Laouli, Mohamed Lekleti, Ilaria Leoni, Renato Leotta, Stéphane Leroy, Dalila Mahdjoub, Antonio Marras, Vittoria Matarrese, Hélène Meisel, Mouna Mekouar, Anne-Laure Miller, Elisabetta Modena, Véronique Muller, Alexandra Müller, Mariagrazia Muscatello, Paul-Emmanuel Odin, Camila Oliveira Fairclough, Roman Ondak, Chiara Parisi, Piergiorgio Pepe, Sebastien Peyret, Gea Politi, Jean-Marc Prévost, Cristiano Raimondi, Anna Raimondo, Ronald Reyes-Sevilla, Valentina Rossi, Antonio Rovaldi, Ben Saintmaxent, Pepo Salazar, Marine Schütz, Marco Scotti, Franck Scurti, Massinissa Selmani, Stefano Serretta, Jeanne Simoni, Ghita Skali, Kristina Solomoukha, Doriane Souilhol, Guillaume Sultana, Anna and Francesco Tampieri, Sophie Tappeiner, Claire Toutain, Valentina Traïanova, Veronica Valentini, Chiara Vecchiarelli, Andrea Viliani, Daphne Vitali, Hugo Wheeler, Marina Xenofontos, Driant Zeneli.
http://www.tophundred.net
TITOLO l’edito inedito
Société Interludio, Torino
13 September > 14 Novembre 2021
Société Interludio è lieto di ospitare TITOLO l’edito inedito di Francesco Carone (Siena, 1975), con testo critico e curatela di Federica Maria Giallombardo.
Opening Lunedì 13 settembre, dalle ore 18.00 alle ore 20.00
La mostra sarà inclusa nella nuova edizione di Exhibi.To che durerà dal 14 al 18 settembre 2021. Successivamente, la mostra sarà
visitabile giovedì e venerdì, dalle 16.00 alle 19.00 e sabato su appuntamento fino al 14 novembre 2021.
TITOLO l’edito inedito è un progetto itinerante in 10 puntate (capitoli) in forma di collezione/mostra/biblioteca che nasce dalla passione di Francesco Carone per i libri e l’editoria. Accostando tra loro una moltitudine di opere diverse di altrettanti artisti differenti, Titolo è un progetto espositivo in forma di collezione-biblioteca-mostra in cui il filo rosso è l’indagine e l’interpretazione estetica del libro quale oggetto fisico e culturale. La ricerca di Carone accoglie opere realizzate modificando, raffigurando, fotografando o stravolgendo in qualsiasi modo libri, giornali e riviste preesistenti, prediligendo volumi realmente scritti, stampati e pubblicati.
Titolo è una mostra itinerante, ovvero procede per tappe, aumentando di volta in volta il numero degli artisti coinvolti, ed è ospitata in sedi e contesti diversi: la logica perseguita è quella di una biblioteca dove periodicamente vengono acquisite nuove edizioni di nuovi autori; i volumi già presenti sugli scaffali devono quindi stringersi e riorganizzarsi per lasciar spazio agli ultimi arrivati. Così l’allestimento, perché sia fruibile nel migliore dei modi, è ogni volta studiato appositamente in base al luogo ospite e in base alle opere aggiunte.
TITOLO è giunto al suo quinto capitolo e attualmente ospita opere di:
Francesco Arena, Stefano Arienti, Sergia Avvenuti, Emanuele Becheri, Francesco Bernardi, Luca Bertolo, Chiara Bettazzi, Chiara Camoni, Francesco Carone, David Casini, Cristian Chironi, T-Yong Chung, Michelangelo Consani, Mario Dellavedova, Elena El Asmar, Carlo Guaita, Andrea Marescalchi, Amedeo Martegani, Maurizio Mercuri, Sabrina Mezzaqui, Concetta Modica, Adriano Nasuti-Wood, Nero/Alessandro Neretti, Marco Neri, Giovanni Oberti, Luca Pancrazzi, Luigi Presicce, Davide Sgambaro, Namsal Siedlecki, Enrico Tealdi, Eugenia Vanni, Serena Vestrucci.
http://www.societeinterludio.com
Abitare Connessioni – Borghi in Festival
Orani • Mamoiada • Orgosolo • Ottana – dal 2 al 7 Agosto
Il progetto è vincitore dell’avviso pubblico “Borghi in Festival” promosso dalla Direzione Generale Creatività Contemporanea del Ministero della Cultura. Mostra meno
Abitare connessioni non è “solo” un festival, ma molto di più. Ispirato alla lezione di Costantino Nivola e alla trama verde del pergolato che intreccia i fili e i legami delle comunità, il Festival, è pensato come un “intervento totale” che contribuisca a rifondare lo spazio pubblico, tessere relazioni, dipanare conflitti e trasformare i rapporti tra le persone, riportando le comunità in piazza, tra le strade, negli angoli nascosti tra le curve di intricate viuzze nelle quali si affacciano le tipiche abitazioni in granito e pietra, sulle scalinate delle chiese e lungo suggestivi itinerari immersi in un paesaggio aspro, selvaggio e pittoresco. Dal 2 al 7 Agosto Mamoiada, Orani, Orgosolo e Ottana saranno la scenografia di un ricco programma artistico che nasce dall’incontro e dalla felice contaminazione tra tradizione e iper-contemporaneità, tra la ricchezza delle tradizioni locali e visioni d’oltremare chiamate a misurarsi con un patrimonio culturale ancora integro…
www.abitareconnessioni.it
My house is a Le Corbusier (Villa Jeanneret-Perret)
La Chaux-de-Fonds 15 – 30 May 2021
Villa Jeanneret-Perret / La Maison blanche + Musée des beaux-arts de La Chaux-de-Fonds + Centre de culture ABC + far° Nyon
My house is a Le Corbusier (Villa Jeanneret-Perret) is a constellation of artistic proposals by Cristian Chironi, presented by far° in partnership with the association Maison blanche, the Musée des beaux-arts de La Chaux-de-Fonds and the Centre de culture ABC. The project My house is a Le Corbusier, which began five years ago, is intended to evolve over the long term and reveals the experiences that Cristian Chironi has accumulated by living in Le Corbusier’s architectural works in twelve different countries. This constellation is articulated around a research residency and manifests itself through artistic collaborations, exhibitions, performances and meetings. After having stayed in Italy, France, Argentina, India and Germany, Cristian Chironi has developed several new proposals (since November 2019) in connection with the Villa Jeanneret-Perret in La Chaux-de-Fonds. From May 15 to 30, 2021, the project takes place throughout the city:
> Musée des beaux-arts de La Chaux-de-Fonds :
· Saluti affettuosi · installation
Opening this Saturday, May 15th from 2:00 pm to 8:00 pm
> Villa Jeanneret-Perret / La Maison blanche :
· Meeting with the artist (by appointment)
· LC postcards collection · video projection
· My sound is a Le Corbusier · musical performance
> Centre de culture ABC :
· La Chaux-de-Fonds Drive · urban performance
production: far° Nyon, en collaboration avec l’association Maison blanche, le Centre de culture ABC et le Musée des beaux-arts de La Chaux-de-Fonds / soutiens: Ville de La Chaux-de-Fonds, Canton de Neuchâtel, Loterie Romande, Collection Fustinoni, Fondation Le Corbusier Paris, Istituzione Bologna Musei | MAMbo – Museo d’Arte Moderna di Bologna, Fondazione Nivola Orani, Association des sites Le Corbusier / remerciements: Conservatoire de musique neuchâtelois, École d’arts appliqués La Chaux-de-Fonds, Corinna Weiss et le Quartier Général, centre d’art contemporain de La Chaux-de-Fonds.
Accueil
Le Corbusier. Viaggi, oggetti e collezioni
Pinacoteca Agnelli
Turin April 27 > September 5
The Pinacoteca Agnelli in Turin finally reopens its doors to the public with an exhibition entitled “Le Corbusier. Travels, objects and collections”, dedicated to the Franco-Swiss architect, father of the Modern Movement.
The exhibition itinerary covers the entire third floor of the Pinacoteca and traces Le Corbusier’s life, centred on his continuous search for ideas and inspiration. His life is illustrated in the exhibition through objects, drawings and photographs.
The objects on display were rediscovered and promoted following the Fondation’s restoration of Le Corbusier’s Paris apartment in Rue Nungesser et Coli. They consist of stones, pieces of wood, shells, metal objects, glass and other materials that he collected as “objets à réaction poétique” (objects with a poetic reaction) able to trigger the creative process in him. For example, the crab shell on display in the exhibition gave rise to the idea for the famous roof of Ronchamp Cathedral. Alongside these objects, the paper archive of sources of inspiration will also be on display, comprising newspaper cuttings, postcards and train tickets preserved by Le Corbusier and meticulously classified by subject.
The exhibition includes several photographs and sketches of cars and means of transport. “We know that Le Corbusier was a great car enthusiast”, explain Ginevra Elkann and Marcella Pralormo, respectively President and Director of the Pinacoteca. “He collected a lot of material on cars,” they continue, “probably because it helped him realise one of his greatest dreams: to design a car. It was a challenge he pursued for a long time and with great energy.”
One section is entirely dedicated to Le Corbusier’s travels, here too illustrated with tickets, tourist brochures and postcards of monuments and landscapes that the artist loved to collect and carefully preserve, in a way not very different to the way they are displayed to the public today.
Particular attention is paid to the three trips that Le Corbusier made to Turin: in 1902, at the age of sixteen, on the occasion of the Universal Exhibition at the Promotrice delle Belle Arti where the future architect had exhibited a clock; in 1934, when he was photographed in a Balilla car on the Lingotto rooftop track and the last, in 1961, when he was invited by ICOM to give a speech on the theme of the ideal museum at the association’s annual conference during the celebrations of Italia61.
The role of the artist-curator Cristian Chironi is central to this exhibition; he has not limited himself merely to selecting and arranging the collection in the exhibition space, but will also be creating educational activities, talking about his project My house is a Le Corbusier, an itinerant and self-managed residency programme that includes stays in Le Corbusier’s homes around the world.
The exhibition is accompanied by a catalogue published by Corraini with graphic design by Studio Radl.
www.pinacoteca-agnelli.it
Picnic
Museion-Cubo Garutti
curated by Frida Carazzato
Bolzano 03.10 – 30.01.2021
Sharing stories, impressions, opinions and each other’s company in the open air, while picking and tasting different foods: Cristian Chironi’s project for the Piccolo Museion Cubo Garutti is inspired by the spirit of the picnic. From October 3rd to the end of the month, the artist will use the Piccolo Museion – Cubo di Garutti space as his studio. This will include inviting the public to interact directly with the artist, as well as performances, meetings and workshops, created in collaboration with various local institutions.
The meaning of being in and living a place, but also of travelling through different areas and landscapes are at the centre of this artist’s art that is conceived first and foremost as a physical challenge.
This is why the project for the Cubo begins with the journey Chironi will make from Orani (Sardinia) to Bolzano in his Fiat 127 Special (aka “The Chameleon”). This very special car will also be used in his first “Bolzano Drive” performance, on Saturday 3rd October, in which the artist will give a series of tours through Bolzano.
When the tour is finished, the car will be displayed at the Museion Studio House for the duration of Cristian Chironi’s residence, and in the days that follow, the artist will be available to meet the public in his temporary studio at the Cubo Garutti, in the Don Bosco district of Bolzano. On October 15th at 7pm at the Museion Passage, a talk will be held with Jean Luis Cohen, the architect, architectural historian and artist. The event is organised in collaboration with the Free University of Bolzano, Arts and Design Faculty. (reservation required by writing to visitorservices@museion.it )
To conclude this variegated picnic, the experiences collected during this residency period at Bolzano and the Cubo, will be collected and re-processed by the artist in a project that will be on display in the Piccolo Museion exhibition space from 10.11.2020 to January 2021.
info: http://www.museion.it/
Marseille Drive
Manifesta 13 – Les Parallèles du Sud
Marseille 12/09 – 28/11/2020
Commissariat : Elena Biserna
Lieux : Librairie Imbernon, Unité d’Habitation, espace urbain, Marseille
Marseille Drive est un projet interdisciplinaire, itinérant et in situ combinant architecture, urbanisme, design, art sonore et relations sociales. L’artiste Cristian Chironi prend la route dans une voiture Fiat 127 appelée « Caméléon » pour sa capacité à changer de couleur en fonction des combinaisons chromatiques typiques des architectures de Le Corbusier. Ce voyage retrace le réseau des relations que l’architecte moderniste a entretenu avec des villes différentes pour explorer – à partir de l’héritage de l’architecte ainsi que de récits personnels liés au lieu d’origine de l’artiste – les notions de logement et d’habitat à une époque de précarité et de mobilité croissantes et questionner la distinction entre vie nomade et vie sédentaire. Pour son escale marseillaise, Drive s’articule en une exposition et une performance/balade dans la voiture ouvrant une réflexion partagée et intime sur les notions de « maison », de logement, de localisation, de déplacement et d’hospitalité à partir des spécificités de cette ville et de ses habitants. Le 12 septembre 2020, la Librairie Imbernon présente le projet Marseille Drive de l’artiste Cristian Chironi, curaté par Elena Biserna dans le cadre de Manifesta 13 – Les Parallèles du Sud. L’exposition restera ouverte au public jusqu’au 28 novembre 2020 et les performances auront lieu du 13 au 16 septembre. Drive est le développement le plus récent du projet à long terme My house is a Le Corbusier : un voyage artistique et existentiel long potentiellement de toute une vie conduisant Chironi à résider et à travailler dans les maisons conçues par Le Corbusier dans le monde. Parmi les différentes résidences en Italie, en France, en Allemagne, en Inde ou en Argentine, ce voyage a déjà amené l’artiste à vivre à l’Unité d’Habitation à Marseille en 2015. C’est justement à partir de cette première expérience que l’artiste souhaite réinvestir Marseille avec Drive. Dans Drive, Chironi prend la route avec une Fiat 127 pour retracer les trajectoires de Le Corbusier à travers le monde en s’arrêtant dans certaines villes afin d’inviter le public à monter dans sa voiture et à les explorer avec lui. La Fiat 127 « Caméléon » est re-imaginée par l’artiste à chaque voyage en suivant les « claviers des couleurs » créés par l’architecte en 1931, contenant 43 associations de nuances et produisant des effets atmosphériques précis. Le choix de ce véhicule est lié à l’histoire de l’artiste Costantino Nivola, originaire, comme Chironi, du village d’Orani (NU, Italie) ainsi qu’ami et collaborateur de Le Corbusier. Au début des années quatre-vingt, Nivola, malade, appela son neveu Daniele depuis Long Island pour lui demander de se rendre dans sa maison en Toscane et ramener sa collection à Orani. Daniele partit du village en Sardaigne pour rentrer avec la voiture de Nivola, une Fiat 127, pleine d’œuvres d’art. Cependant, il n’y avait pas assez de place dans la voiture et Daniele s’embarqua en sachant n’avoir pu récupérer qu’une petite partie de ce patrimoine culturel et existentiel. En réalité, ce que cette voiture à ramené à Orani est en premier lieu un héritage immatériel : une incitation à partir et à se sentir citoyen du monde. Ainsi, de nombreuses années après, Chironi réutilise la même voiture pour commencer un voyage fait de départs et de retours à Orani, de rencontres, de visions, de réflexions sur les thèmes du voyage, de la mobilité, du franchissement des frontières, du logement et des transformations sociales. Marseille Drive est donc une escale dans une constellation plus vaste d’itinéraires et de séjours, reliant chaque lieu à une géographie personnelle et utopique construite à partir de liens, de relations, de récits partagés. Chaque étape est conçue comme un site privilégié pour observer la relation entre les notions de mobilité et d’habiter et concevoir des interventions et des œuvres in situ. À Marseille, le projet prend la forme d’une performance de quatre jours dans la Fiat 127 Caméléon au départ de l’Unité d’Habitation et d’une exposition à la Librairie Imbernon. L’exposition présente une sélection d’œuvres pensées et réalisées en résonance avec l’Unité d’Habitation et l’espace de la librairie. Elles sont amenées par l’artiste dans sa voiture, en conduisant d’Orani à Marseille, pour se mêler aux livres et aux catalogues. La performance invite le public dans une balade en voiture dans le quartier autour de l’Unité d’Habitation imaginé avec la complicité de l’urbaniste rigolo Nicolas Memain, pour créer une plateforme itinérante de conversations et de rencontres. La radio de la Fiat 127 Caméléon jouera My sound is a Le Corbusier : une série de compositions basées sur des enregistrements réalisés dans les maisons de Le Corbusier et produites par les artistes sonores et musicien·nes Francesco Brasini, Chœur de Radio France, Alessandro Bosetti, Massimo Carozzi, Daniela Cattivelli, Dominique Vaccaro, Henrik Svedlund.
Avec le soutien de : Région sud. Provence-Alpes-Côte d’azur; Fondazione di Sardegna; Arte Condivisa in Sardegna; Les Couleurs; Kabe Farben; e de la Collezione Andrea Boghi. Partenaires : Association des habitants de l’UH Le Corbusier Marseille ; Fondation Le Corbusier, Paris ; MAMbo – Museo d’Arte Moderna, Bologna (IT) ; Museo Nivola, Orani (IT) ; Pierre Jeanneret Museum, Chandigarh (IN) ; Casa Curutchet, La Plata (AR).
Info et contacts : Librairie Imbernon https://www.editionsimbernon.com/ 280 bd Michelet Le Corbusier 357
13008 Marseille
Press : David Tonnerre; mail : marseilledrive@gmail.com / tel : 06 02 12 22 27
Fondamenta / Artissima
Torino 5 June – 5 July 2020
Artissima presents Fondamenta, a curated online project that will run from 5 June – 5 July 2020. Conceived as part of the 2020 fair’s work in progress, Fondamenta considers the factors that are transforming our globalised art world. It is an invitation to experiment and respond creatively to the frenetic standstill in which we find ourselves in this challenging present. Fondamenta – the Italian for ‘Foundations’, a nod to galleries as wholly fundamental to the existence of art fairs and the art market, will offer an insight into Artissima’s research process, exactly five months ahead of the 2020 edition of the fair in Turin (6 – 8 November, preview 5 November).Presented on this website, a simple and intuitive interface, Fondamenta offers a virtual selection of approximately 200 art works (priced up to 15,000 Euros and rotated if sold), presented by Italian and international exhibitors from Artissima 2019. Each gallery will show works by one selected artist which will be displayed in virtual versions of the five sections of the physical fair: Present Future, curated by Ilaria Gianni and Fernanda Brenner; Back to the Future, curated by Lorenzo Giusti and Mouna Mekouar; Disegni, curated by Letizia Ragaglia and Bettina Steinbrügge; New Entries, curated by Valerio Del Baglivo; and the Main Section, on this occasion selected by Artissima’s Director Ilaria Bonacossa. Fondamenta is not a viewing-room, exhibition or a digital replacement for the fair, but rather a shared perspective on contemporary artistic practices, with a focus on experimental curation. A collaborative project with galleries, and for galleries, Fondamenta is an opportunity for them to connect and exchange ideas with their peers and the public. The aim is in fact to create an occasion for research and networking for a new generation of collectors and art lovers.
Contemporary Art Venues
Artworks in public spaces: W (STEP STOP Pierre Jeanneret Museum Chandigarh), Piazza della Costituzione – Bologna, Italy
https://luoghidelcontemporaneo.beniculturali.it/w-(step-stop-pierre-jeanneret-museum-chandigarh)
Contemporary Art Venues is a project endorsed by the Directorate-General for Contemporary Creativity of the Ministry of Cultural Heritage and Activities and Tourism, whose aim is to map and promote the network of contemporary art venues in Italy. The ultimate goal of the project was to create a constantly updated on line platform, as a useful tool to learn about and enhance the Italian contemporary art scene. It is the first institutional acknoledgement achieved by Mibact and devoted to contemporary art scene in Italy. A first mapping of the Contemporary Art Venues in Italy, made by MiBACT in 2003 and edited by the DARC – Directorate-General for Contemporary Art and Architecture, led to the publication of the book I luoghi del contemporaneo. Musei, gallerie, centri d’arte e fondazioni in Italia. In 2012 the Contemporary Architecture and Art Service of the Directorate-General for the Landscape, Fine Arts, Architecture and Contemporary Art performed an update which in turn led to the new edition of the guide I luoghi del contemporaneo. Contemporary art venues 2012. Given the dynamic and changing nature of the contemporary art scene, having an online interactive mapping, founded on a geolocalized and editable online database is becoming a necessity. Thanks to the new site the Directorate-General for Contemporary Creativity aims to report the changes occured in the geography of Contemporary Art Venues. At the same time the mapping has been organized according to a typological division which includes, not only well known traditional spaces, but also independent spaces, company museums and a selection of artworks in urban and public spaces. Contemporary Art Venues is a search platform aiming to contribute to the real-time monitoring of the Contemporary Art scenario in Italy. It will be implemented and amended based on the dynamics of the current art scene. The platform contributes to promoting and enhancing contemporary art and artists, and falls within the scope of the Directorate-General.
https://luoghidelcontemporaneo.beniculturali.it
REC
18 maggio 2020 – Nasce REC, la campagna di sensibilizzazione per la raccolta fondi a sostegno dell’accesso all’istruzione on-line promossa da AMACI, l’Associazione dei Musei d’Arte Contemporanea Italiani, e Sky Arte in collaborazione con Save the Children e Sanità di Frontiera. 35 artisti e 18 direttori dei musei AMACI hanno partecipato a un progetto video collettivo: una pluralità di camei d’artista, intervallati dalle voci e dai volti dei direttori impegnati a leggere il testo dell’Art. 34 della Costituzione Italiana sul Diritto all’Istruzione. REC verrà trasmesso su Sky Arte dal 18 al 31 maggio per supportare le attività di Save the Children e Sanità di Frontiera finalizzate a contrastare l’aumento della povertà educativa che sta mettendo a rischio il futuro di tantissimi bambini, bambine e adolescenti in Italia, a causa della crisi socioeconomica scaturita dall’emergenza Coronavirus. Per supportare la raccolta fondi a sostegno dell’accesso all’istruzione online dona su https://www.savethechildren.it/sdf o tramite IBAN IT 21 I 01030 03283 000002157927 | Sanità di Frontiera – Causale: REC. Hanno partecipato alla realizzazione di REC: Elisabetta Benassi, Filippo Berta, Simone Berti, Sergio Breviario, Cristian Chironi, Andrea Contin, Mario Cresci, Salvo Cuccia, Federica Di Carlo, Ettore Favini, Christian Fogarolli, Alberto Garutti, Goldschmied & Chiari, Emilio Isgrò, Marcello Maloberti, Diego Marcon, Eva Marisaldi, MASBEDO, Andrea Mastrovito, Elena Mazzi, Martina Melilli, Marzia Migliora, Ruben Montini, Liliana Moro, Andrea Nacciarriti, Adrian Paci, Gabriele Picco, Alfredo Pirri, Michelangelo Pistoletto, Luigi Presicce, Daniele Puppi, Marinella Senatore, Grazia Toderi, Patrick Tuttofuoco, Vedovamazzei. Lorenzo Balbi, Istituzione Bologna Musei | MAMbo – Museo d’Arte Moderna di Bologna; Gabriella Belli, Fondazione Musei Civici di Venezia – Galleria Internazionale d’Arte Moderna di Ca’ Pesaro; Luigi Fassi, MAN Museo d’Arte Provincia di Nuoro; Lorenzo Giusti, GAMeC Galleria d’Arte Moderna e Contemporanea di Bergamo; Gianfranco Maraniello, Mart – Museo d’arte moderna e contemporanea di Trento e Rovereto; Anna Maria Montaldo, Museo del Novecento, Milano; Riccardo Passoni, GAM – Galleria Civica d’Arte Moderna e Contemporanea di Torino; Cristiana Perrella, Centro per l’arte contemporanea Luigi Pecci, Prato; Bartolomeo Pietromarchi, MAXXI Museo nazionale delle arti del XXI secolo, Roma; Domenico Piraina, PAC Padiglione d’Arte Contemporanea, Milano; Daniele Pitteri, Fondazione Modena Arti Visive; Letizia Ragaglia, Fondazione Museion Museo di arte moderna e contemporanea, Bolzano; Christiane Rekade, Kunst Merano Arte; Anna Maria Romano, Castel Sant’Elmo, Polo museale della Campania, Napoli; Francesca Rossi, Galleria d’Arte Moderna Achille Forti, Verona; Elena Testaferrata, Palazzo Fabroni Arti Visive Contemporanee, Pistoia; Kathryn Weir, Museo MADRE, Napoli; Emma Zanella, MA*GA – Fondazione Galleria d’Arte Moderna e Contemporanea Silvio Zanella, Gallarate. Info: Ufficio Stampa AMACI Lara Facco lara.facco@amaci.org
3650
Ex Elettrofonica
Roma. 21.12.2019
Saturday 21st December 2019 Ex Elettrofonica is pleased to present the collective exhibition 3650. As well as commemorating the 3650 days of resistance at Vicolo Sant’Onofrio, this exhibition wants to tell the work and the energy developed by the gallery, the artists, the assistants, the colleagues, the curators, the collectors, the friends, the art public and the curious of any kind in the past years of activity. The artists presented at 3650 are: Sergio Breviario, Cristian Chironi, Davide D’Elia, Flavio de Marco, Iulia Ghita, Pesce Khete, Elena Mazzi, Margherita Moscardini, Timea Anita Oravez, Anna Raimondo, Marco Raparelli, Guendalina Salini, studio ASYNCHROME, Jacopo Tomassini, Leonid Tsvetkov. A chaotic register, through works and texts, is here aiming to witness and get in writing a story not yet concluded and still developing in its footnotes, but mature enough to know what is not and what doesn’t want. Come and join us. Beatrice e Benedetta.
Info: http://www.exelettrofonica.com
AlbumArte 20×20, 2019 group show | special event
AlbumArte, Roma 11th December 2019 at 6.00 PM
Artists: Dario Agati, Alessio Ancillai, Sonia Andresano, Paolo Angelosanto, Emanuela Barilozzi Caruso, Romina Bassu, Elena Bellantoni, Angelo Bellobono, Zaelia Bishop, Simone Cametti, Sabrina Casadei, John Cascone, Elvio Chiricozzi, Cristian Chironi, Fabrizio Cicero, Laura Cionci, Gino D’Ugo, Iginio De Luca, Maria Adele Del Vecchio, Veronica della Porta, Luca di Luzio, Davide Dormino, Marco Emmanuele, Fonte Poe, Paola Gandolfi, Iulia Ghita, Silvia Giambrone, Alessandro Giannì, Fabio Giorgi Alberti, Luca Grechi, Gregorio Samsa, Grossi Maglioni, Myriam Laplante, Cecilia Luci, Rita Mandolini, Elena Mazzi, Sandro Mele, Margherita Moscardini, Emanuele Napolitano, Elena Nonnis, Anton Giulio Onofri, Francesca Romana Pinzari, Gianni Politi, Giocchino Pontrelli, Anna Raimondo, Filippo Riniolo, Guendalina Salini, Guido Segni, Daniele Spanò, Michele Tiberio, Delphine Valli, Valentina Vannicola, Cosimo Veneziano, María Ángeles Vila Tortosa, Driant Zeneli. Curated by Claudio Libero Pisano. With a performative tombola by Iginio De Luca. On Wednesday, 11th December 2019 AlbumArte, independent non-profit space for contemporary art in Rome, invites the public to AlbumArte 20×20, 2019, a group exhibition curated by Claudio Libero Pisano, presenting 55 artworks by 55 artists in a 20×20 format. The works, kindly donated by the participating artists to the association, will be available at the symbolic price of 99.99 euro and it will become a significant contribution for the future projects of AlbumArte. These are all unique pieces, with certificate of authenticity. The evening will end with a performative tombola by Iginio De Luca. AlbumArte 20×20, 2019 is a party, a meaningful and intense moment of exchange of intentions of a group of emerging and established artists, who want to support AlbumArte ideals and it certainly is a good opportunity to purchase an artwork at a symbolic contribution, noticeably below their actual quotations. Each artwork will be accompanied the caption opera unica in occasione di AlbumArte 20×20, 2019 (unique work made for AlbumArte 20×20, 2019), stated in the back of the work or in the certificate of authenticity. AlbumArte has been flooded by this wave of creative and generous appreciation, thus affirming, once again, its effective presence in the artistic reality of the capital and beyond.
More info: www.albumarte.org
ÀMINA> ANIMA (Soul).
Residency New York. 26 November > 11 December 2019
ÀMINA>ANIMA (Soul) is the metaphor of a round-trip journey to discover and reveal the value of Sardinia and of its universal values through contemporary art and cultural exchange.
More info: www.aminaproject.org
L’ombra del mare sulla collina
Works from the MAN collection. Museo MAN 08.11.2019 > 12.01.2020
From Friday 8 November 2019 to Sunday 12 January 2020, the MAN in Nuoro will be hosting L’ombra del mare sulla collina exhibition alongside the Anna Marongiu retrospective. Curated by Luigi Fassi and Emanuela Manca, it will feature a wonderful selection of works from the museum’s permanent collection.
The exhibition offers an unprecedented look at the MAN collection, telling the story of more than a century of Sardinian art in a new way through a diverse selection of drawings, paintings and sculptures. It reconstructs the artistic events of twentieth-century Sardinia using some of the most emblematic works in the collection, continuing all the way through to the present day and establishing a close dialogue with various contemporary artists.
The exhibition title comes from a work by Mauro Manca and was chosen due to the clear-cut divide it forms between figurative and abstract experiences. Unanimously believed to mark a crucial step towards broadening the horizons of modern art in Sardinian in the post-war period, L’ombra del mare sulla collina by the artist from Sassari is the point around which the entire exhibition revolves.
The exhibition illustrates the heterogeneity of Sardinia’s art history, combining different worlds and styles, traditions and experiments, and showcases new acquisitions by Aldo Contini, Anna Marongiu and Mario Paglietti.
The artists who feature in the exhibition include some of the key figures in the development of the different expressive styles that have characterised Sardinia’s art scene from the twentieth century to today: Italo Antico, Antonio Ballero, Alessandro Biggio, Giuseppe Biasi, Giovanni Campus, Cristian Chironi, Francesco Ciusa, Giovanni Ciusa Romagna, Mario Delitala, Francesca Devoto, Salvatore Fancello, Gino Frogheri, Caterina Lai, Maria Lai, Costantino Nivola, Rosanna Rossi, Vincenzo Satta, Tona Scano, Antonio Secci, Bernardino Palazzi.
Info: http://www.museoman.it
My House is a le Corbusier (Apartment 258 – Unité d’Habitation Berlin)
Flatowallee 16, 14055 Berlin, Germany. 5 > 17 November 2019.
After engaging with architectural structures by Le Corbusier in Italy, France, Argentina and India through the project My house is a Le Corbusier, first begun in 2015, Cristian Chironi will take temporary residence in 2019 in Germany, in Apartment 258 of the Unité d’Habitation in Berlin. The Unité d’Habitation is a residential project by Le Corbusier built in conjunction with the 1957 Berlin International Building Exposition in the aftermath of the post-war division of East and West Germany. Though different from other models of the Unitè due to modifications made by the technician in charge of the project in adherence with German building codes, the construction is consistent with Le Corbusier’s concept of a building as a ‘living machine.’
Apartment 258, located on Flatowallee 16 and currently owned by Henrik and Natalia Svedlund, is the result of several modifications made between 2016-2018 by architect Philipp Mohr. The apartment was repainted using the same polychrome proposed by Le Corbusier in 1931, a chromatic range of 43 ‘architectural colors’ delineated in 12 shades-not by chance the same palette used by Cristian Chironi to customize his Fiat 127 Camaleonte car, so called for to its propensity to change colors in accordance with where it parks. The work, evolution and continuation of My House is a Le Corbusier, accompanies the artist in his movements. For the latest version dedicated to Apartment 258, the Camaleonte will depart from Orani (Nu) November 5th for the Unite d’Habitation. There, it will be exhibited and accessible to the public as a sound installation, an amplified device diffusing the My Sound is a Le Corbusier collection, compositions from various musicians invited by Chironi to collaborate on previous editions of the project. Apartment 258 has been given to Cristian Chironi for one week, from 9>16 November in a non-exclusive form. Invited to live with the owners for a specific amount of time, the artist wanted them to be included in the work-project My House is a Le Corbusier. Giving the Svedlunds an active role and engaging them, Henrik as an artist-musician and Natalia as a brewing engineer, the artist envisions them as instruments and draws inspiration from them for the realization of his works. The project includes a video projection of postcards collected during Le Corbusier’s travels accompanied by Henrik’s music, while Natalia will coordinate the organizational aspects and initiatives promoted during the residency. The entire apartment will be transformed into a site of ideas, a field of collaboration, and will be open to the public as on exhibition on Sunday the 17th. The sixth residence falls on the 150th anniversary of the postcard and thirty years after the fall of the Berlin Wall, symbolically invoking free movement and the demolition of borders. Both a work in progress and a crucible of ideas, research and exhibition – not to mention a living experience – My house is a Le Corbusier is intended to evolve over the long term and culminate in the totality of all the experiences that Chironi will undergo while actually living for variable periods of time in the many homes designed by Le Corbusier around the world. The long-term project (which will unfold over the potential arc of 30 habitable homes by Corbusier in 12 countries) is a performance, stretched out over time, house after house. “Pilgrim houses”, inextricably tied to the movement and the intersection of diverse geographies and cultures. Chironi’s point of departure is a real historical episode: in the late 1960s, the Sardinian artist Costantino Nivola, a close friend and collaborator of Le Corbusier, visited his hometown Orani (also Chironi’s birthplace) and entrusted his brother Chischeddu’s family with the construction of a project designed by the great architect. However, the family of masons failed to follow the architectural plans. When Costantino returned from Long Island and discovered that what they had built did not correspond with Le Corbusier’s vision, the family protested that the plan included “neither doors nor windows and looked more like a shack than a house”. Costantino Nivola reacted by seizing the plans, which have since been lost. The house still stands today in Orani, but with a preference for low-brow functionality over the modernist vision of the architect, it reflects only the ‘mood’, if that, of the original concept. Taking inspiration from this real episode, Cristian Chironi identifies the narrative potential for the analysis of a series of relationships in the contemporary, tied to concepts of communication, reading and interpretation, along with their consequent linguistic and socio-political implications. Arriving, in this period of precarious economic stability, at the improbability of owning one’s own home, bartering the freedom to live in houses designed by Le Corbusier around the world. Chironi turns these houses into “privileged vantage points” in order to better understand how the legacy of Le Corbusier is perceived today, and in what condition the “home of man” currently finds itself. A reading of architecture through storytelling and the direct experience of its spatio-temporal dimension, where one can discuss and see the artist at work, partake in events, consult the assembled material or simply drink a coffee. The project becomes richer with each residency through the addition of new artworks, encounters and exchanges. My house is a Le Corbusier is a project promoted by the Fondation Le Corbusier in Paris with the collaborations of: Istituzione Bologna Musei | MAMbo – Museo d’Arte Moderna di Bologna, MAN – Museo D’Arte della provincia di Nuoro, Xing, NERO Editions, Fondation Suisse, Le Murate. Progetti Arte Contemporanea, Institut Français of Florence, Colegio de Arquitectos de la Provincia de Buenos Aires and Equipo Casa Curutchet, Facultad de Arquiectura y Urbanismo Universidad Nacional de La Plata, Pierre Jeanneret Museum, Le Corbusier Center Chandigarh, Italian Cultural Institute of New Delhi, Nivola Foundation, Municipality of Orani, Association des Sites Le Corbusier, far° festival des arts vivants Nyon, Italian Cultural Institute of Berlin. The My house is a Le Corbusier residence (Apartment 258 – Unité d’Habitation Berlin), is supported by the Anna and Francesco Tampieri Collection of Nonantola (Mo) and is possible thanks to the kind hospitality of Henrik and Natalia Svedlund.
Beginning of the voyage November 5 2019. Duration of the residence from 9 to 17 November 2019. Exhibition opening Sunday 17 November 2019. To contact and for information:cristianchironi@gmail.com; corbu.258@gmail.com; www.cristianchironi.it;
VANNI for ARTISSIMA 2019 Concrete by Cristian Chironi
VANNI, the “Made In Italy” eyewear company with a presence in more than 40 countries worldwide and a supporter of emerging art for over a decade, is opening a new dialogue with Artissima by launching CONCRETE: a multidisciplinary project and special capsule collection of eyeglasses designed with the artist Cristian Chironi, curated by Artissima. CONCRETE is not only a series of eyeglasses, but also an interactive performance in the spaces of the fair and an installation at the VANNI showroom. The project was conceived from VANNI’s desire to weave together the process of eyewear design and the visionary quality of contemporary art, providing highly specialised know-how and the most innovative techniques of eyeglass crafting. The capsule collection “VANNI for Artissima, CONCRETE by Cristian Chironi” consists of a limited series of 400 metal framed glasses with photochromic coloured lenses: 4 models (unisex/women’s) that pull inspiration from the diverse places in the world where the artist has lived and worked: Casa Wabi, Puerto Escondido; Unitè d’Habitation, Marseille; Villa Pierre Jeanneret, Chandigarh; Casa Victoria Ocampo, Buenos Aires. Colour, composition, aesthetic form, and arrangement, recall the mental impression and lived experiences involved in the creation of this project , constructing a new relationship between design, architecture, installation, performance, the visual dimension, and narration. The eyeglasses are finished with a special opaque varnish that’s rough to the touch, imitating the texture of cement, and present on the brow beam and on the temples are original “winglets”, or brise-soleil, of foil folded at 90 degree angles. On each of the four models the colour detailing creates unique chromatic triads. CONCRETE extends beyond the glasses; it is also a performance by the artist at Artissima 2019. Whoever is wearing the glasses in the spaces of the Oval during the fair has the opportunity to be involved in a direct spontaneous interaction with Cristian Chironi, completely improvised by the artist. At the VANNI eyewear showroom from October 31st to November 23rd (with an opening November 2nd, from 19:00 – 24:00) the artist will realise a project-space designed to present the limited edition collection and to narrate the entire project. “Art is a universe that VANNI watches with curiosity in order to keep the link with contemporary creativity alive; it is an essential element needed to sustain the limited edition industry that is the soul of our brand. We have invested in art for a decade through the international competition Autofocus, awarding over 40 young artists and supporting them in their artistic journeys, acquiring their most interesting works. Today the moment has arrived to bring art into our eyeglasses, to make it become part of the product and of the design process. Thanks to Artissima, the collaboration with Cristian Chironi has allowed us to realise eyeglasses that carry within them a vision of the world, as well as being themselves instruments of vision. This double reading is for us unprecedented, paving the way for new paths, allowing us to incorporate in the company’s productive dimension the universal breath of the artistic languages”, explains VANNI’s Alessandra Girardi. The glasses, other than being worn by select guests of the fair, journalists, curators and gallerists, will also be available for purchase at the VANNI Showroom in Piazza Carlo Emanuele II in Turin and at the Bookshop of Librerie Corraini inside the fair. Info: https://www.artissima.art www.vanniocchiali.com
LA POTENZA DELL’ARTE CONTEMPORANEA
Pinacoteca Provinciale di Potenza, 21 settembre 2019 – 12 gennaio 2020
A cura di Lorenzo Benedetti. Artisti: Muna Amareen, Benjamin Bernt, Bianco e Valente, Irma Blank, Alice Browne, Antonia Carrara, Karmil Cardone, Cristian Chironi, Fabrizio Cotognini, Tomaso De Luca, Maria Adele Del Vecchio, Drifters, Sean Edwards, Farshad Farzankia, Gerardo Fornataro, Carlos Garaicoa, Antony Gormley, Shilpa Gupta, Mona Hatoum, Rodrigo Hernandez, Carsten Holler, Jiri Kovanda, Jessica Lloyd-Jones, Massimo Lovisco, Jorge Macchi, Mario Macilau, Max Maslansky, Aldo Marinetti, Pascale Marthine Tayou, Sabrina Mezzaqui, Valentina Miorandi, Arcangelo Moles, Jonathan Monk, Margherita Moscardini, Rolf Nowotny, Damir Ocko, Giovanni Ozzola, Laura Paoletti, Eddie Peake, Giuseppe Penone, Michelangelo Pistoletto, Gianfranco Presta, Arcangelo Sassolino, Nedko Solakov, Ivano Troisi, Jack Vickridge, Danh Vo, Nari Ward, Ai Weiwei, Sophie Whettnall. La Potenza dell’Arte Contemporanea, vuole essere un luogo nuovo nel quale si apre per l’uomo contemporaneo una prospettiva vivibile dell’arte contemporanea. La mostra espone una serie di opere dalla collezione privata di Cataldo Colella che si pongono in dialogo con gli ambienti della Pinacoteca Provinciale di Potenza che diventa luogo straordinario in cui le opere possono costruire un loro spazio di dialogo. Nella mostra vengono esposti alcuni dei motivi centrali dell’importanza del collezionare l’arte contemporanea distinti in diversi punti. In primis il rapporto tra arte e territorio, che nel caso di una scelta legata ad un contesto internazionale permette di mostrare la forza dell’arte contemporanea in relazione alla rete sempre più densa di connessioni globali. Gli artisti presenti nella mostra presentano questo tratto peculiare del nostro tempo: dai quattro angoli del mondo la collezione mostra quanto l’arte sia, come il resto della nostra società, estremamente connessa con il resto del mondo. Potenza presenta una collezione che rispecchia questa dimensione del nostro periodo storico cioè quello di essere connessi con tutto il mondo e, come è sempre accaduto, l’arte si pone al centro di questo scambio interculturale. Nella mostra troviamo artisti da tutto il mondo che si confrontano usando le tecniche più disparate, artisti che sono già parte della storia dell’arte contemporanea internazionale sono esposti accanto ad artisti che hanno cominciato da pochi anni, ma che già hanno una chiara visione della loro ricerca. Una collezione è sempre un rapporto tra il pubblico e privato. Una collezione privata mostrata in un contesto pubblico rende da una parte accessibile una collezione spesso con opere altrimenti non accessibili a quel determinato territorio, come nella mostra di Potenza, e dall’altra permette di diffondere un modello culturale che vede l’arte entrare nel territorio attraverso una ricerca di artisti e opere che si diffondono nel territorio. Altresì si crea un momento pubblico di una collezione privata, e si apre la possibilità di creare nuove connessioni e aperture per generare nuovi collezionisti che a loro volta diffondono l’arte nel territorio. Mostrare le opere di una collezione privata incentiva la possibilità e l’interesse di creare altre collezioni, che come questa andranno ad arricchire il territorio della Basilicata. La grande stagione dell’arte fiamminga e olandese del XVII mostra come una delle più grandi e ricche produzioni della pittura mondiale si sia generata, non attraverso poche grandi collezioni, come avveniva da secoli nel resto dell’Europa, ma da numerosi collezionisti che aveva visto nella produzione artistica un bene sociale e messo le basi per un nuovo ceto sociale fatto di professionisti e mercanti costruendo le basi della società occidentale contemporanea. In pochi decenni vengono prodotti centinaia di migliaia di dipinti creando una delle stagioni più intense della cultura europea. Questo si ripete con il Salon del 1737 in cui per la prima volta si apri una esposizione al pubblico prima che fosse poi trasferita in collezioni private. Questo momento fondamentale nella storia dell’arte ha creato il momento in cui una coscienza ha potuto iniziare un dialogo e trasformare il modo di vedere, pensare e creare nuova arte. In questo senso le esposizioni di arte contemporanea sono un mezzo non semplicemente per mostrare delle opere ma anche, e forse soprattutto, per aprire nuove prospettive di creazione e immaginazione dell’arte.
Info: http://www.provincia.potenza.it/provincia/detail.jsp?otype=1102&id=165916
“Contemporanee/Contemporanei”
10 September from 17.45 | Polo Santa Marta, Verona. University of Verona and AGI Verona
80 works by artists of different generations in an exhibition by Denis Isaia
From Adrian Paci to Debora Hirsch, from Sisley Xhafa to Nico Vascellari, from Jorge Paris to Shilpa Gupta, and also Loris Cecchini, Giovanni Ozzola, Gianni Caravaggio, Pierre Bismouth, Lawrence Carroll, Cristian Chironi and many others: more than 80 Italian and international artists – born mostly after the Seventies – are the protagonists of Contemporanee / Contemporanei, the exhibition project curated by Denis Isaia that opens Tuesday, September 10 in the spaces of the Polo Santa Marta and other venues of the University of Verona. The project – born from the collaboration between the University of Verona and AGI Verona and the result of an agreement with which the association has granted on loan for five years part of its collection – inaugurates a path of knowledge and research, which aims to make the protagonists above all students. Contemporanee / Contemporanei, in fact, is not only an exhibition, but a project of awareness and continuous training in contemporary art that provides innovative educational paths and the direct involvement of students in the realization of conferences, talks, guided tours of the exhibition. The project aims, on the one hand, to develop transversal skills among students and, on the other hand, to promote actions to enhance contemporary art, transforming the University into a place of confrontation with Art, understood as the key to interpreting reality, a living subject from which to learn. An invitation addressed primarily to young people, but that extends to the entire community, to discover and deal with contemporary creativity. A new way, as Giorgio Fasol, President of AGI Verona, says, to be “infected without fear by the importance of research, by the vertigo of discovery, by the thrill of passion, by the pleasure of contact, by the urgency of dialogue and confrontation”. Set up in the spaces of the Santa Marta complex – former Provianda of the Hapsburg troops, since 2009 seat of the University of Verona – and in other locations of the University, Contemponraee / Contemporanei is the first permanent public exhibition of contemporary art in Italy, dedicated to works produced mainly in the 2000s. The exhibition, designed by the curator Denis Isaia, aims to contaminate university life in a free and informal way thanks to an exhibition – created in collaboration with the architect Francesca Maria Martellono – that enhances and highlights the historical value of the building and prepares for discreet and poetic encounters with the works: this space that today welcomes knowledge, innovation and experimentation, open to the university community, the city and the territory, will be the sounding board for the dreamlike, ironic, twilight or political tones of the more than 80 artists involved.
info: http://www.univr.it/contemporanee-contemporanei
Orani Drive
September 6 2019
from 18.00 PM. Departure point Piazza Itria, Orani (NU).
Reservations: 349/4634730 call between 10>13 or leave a message on WhatsApp
After a performance at Fog Festival Triennale Performing Arts in Milan, Cristian Chironi returns to the place he grew up for a new step in his itinerant project (already successfully presented in February 2018 by the Museo Nivola in installation mode).In Orani Drive, we board the Fiat 127 Special (Camaleonte) – so called for its ability to change the color of its bodywork according to where it stops. In fact, the car is customized for each occasion following the traditional color combinations of the homes by Le Corbusier where Chironi lives and works. For this step, participants will board the 127 not as normal passengers, but as actual drivers. Guided in this performance through the streets of Orani, the artist will sit beside as co-pilot and give the wheel to his fellow villagers in a journey made of memories and reflections on the themes of travel, community, border crossing, and integration.A tour of the town whose starting point is the Church of Our Lady of Itria, adorned on the surface with a mural by Costantino Nivola, which develops through the numerous historical and artistic testimonies of the town and its natural landscape. Among these, the historic center, where another idea of Nivola is realized (published in 1953 in the magazine Interiors), “The Pergola Village”: a project that transforms urban space into a domestic environment where collective life is brought together. In the “Su Postu” district, the house of the painter and engraver Mario Delitala, who won the Biennial Presidency Award at the Venice Biennale in 1936. Leaving the lanes of the heart of town, you come across the ruins of the Church of Sant’Andrea and its bell tower in the Catalan Gothic style of the Old Camposanto. Before returning to the starting point, the performative tour also passes by “Piazza Cumbentu,” where the Palazzo Comunale rises, with the convent that preserves the organ and the wooden choir from the XVIII Sec. A journey made of coming and going; out-of-window visions and generational correspondences: from Delitala to Nivola; from Le Corbusier to Salvatore Bertocchi; from Daniele Nivola to Aldo Chironi; from the Masters of the wall to the tailors Mura and Modolo; the Ziranu smiths; the Brundus; Fadda; Noli; Mureddu; Cavada, in a tangle of stories, trajectories and values.Le Corbusier’s slogan ‘a house is a machine for living‘ is reinterpreted in Orani in a new, collective way. A work of art for all, which puts this small town back in the center of the world. Alongside the stories of Chironi and his conversant guests, one can hear the compositions of Francesco Brasini, the Choir of Radio France, Massimo Carozzi, Alessandro Bosetti, Daniela Cattivelli, Dominique Vaccaro, recorded works in the various houses of Le Corbusier : Cité de Refuges Paris; Esprit Nouveau Bologna; Studio-Apartment Paris; Unitè d’Habitation Marseille; Casa Curutchet La Plata; Chandigarh. Orani Drive is a project produced by the Department of Culture of the Municipality of Orani. Info: http://www.comune.orani.nu.it/”>http://www.comune.orani.nu.it
Curvature
Cristian Chironi and Andrea Galvani curated by Efisio Carbone
Galleria Macca Cagliari, opening July 26 at 7pm
Curvature is a project by Cristian Chironi (Nuoro 1974, lives and works in different places around the world) and Andrea Galvani(Verona 1973, lives and works in New York and Mexico City), two of the most active and well-known Italian artists in the international contemporary art scene. This two-person show was born as a unified intervention specifically designed for Galleria Macca. In this exhibition, their cross-disciplinary research enters into a brilliant dialogue. Suggesting different points of contact, the artists’ interpretations of words and absolute concepts are transformed into real architectures of knowledge—engines that express meaning and investigate concepts such as fragility and temporality, matter and universal space. Cristian Chironi presents work from the Chandigarh, India stage of his My House is a Le Corbusier project, in which the artist inhabits Le Corbusier structures around the world. Chironi’s photographs become capsules through gestures of folding, enclosing his desire to modify architectural representation—lifting it from two to three dimensions, altering visual and spatial perception. Hic et nunc means to live in the here and now. In this extensive project, Chironi follows the trail of the great modernist architect, Le Corbusier. He embarks upon his journey from an existential assumption: to arrive at an architectural treatise, where the act of living takes on political and social dimensions.Andrea Galvani presents The Subtleties of Elevated Things (2019), a performance developed in collaboration with students from the Department of Physics at the University of Cagliari. It is a written intervention carried out directly on the walls of the gallery, in which complex astrophysical phenomena are analyzed through a constellation of calculations and graphic systems that progressively transform the exhibition space into a laboratory open to the public. During the show, the performers’ movements and their dense numerical network assume form as architecture while simultaneously modifying it. They preserve the work of the past, orient our knowledge in the present, and indicate a direction towards the future. Galvani enters the territory of abstraction, inside “Dark Matter” whose existence, recently demonstrated by observing the curvature of Space itself, marks a milestone in our understanding of the Universe—already intuited over 100 years ago by Albert Einstein’s Theory of Relativity. Cristian Chironi lives in Le Corbusier’s work in order to restore it to its original and vital dimensions—returning it to our present by physically curving time and space, like the pages sealed within these sculptural and transparent plexiglass works, which also find their own personalization in color. Andrea Galvani, who seems to sanctify space through experimentation, presents the hic et nunc in the absolute momentum that produces poetic remains, objects, actions capable of penetrating reality, of amplifying it. Through extraordinary performances, he raises a temple of human truth, drawing beauty from it in an Aristotelian sense. At the same time, he shows us the disarming fragility of our condition. Space as a place to live and inhabit, Time as research to be carried out and pursued; both are moved by an epiphany of objective truths, putting curves before lines in their ability to disclose, to reactivate, to open new dimensions.
Casa Victoria Ocampo “Una maqueta con jirafas”
exposición de Cristian Chironi
curadoria BIENALSUR, Benedetta Casini
23 de Julio 19hs > 20 Octubre, Rufino de Elizalde 2831, C1425 CABA Buenos Aires
En el marco de BIENALSUR-Bienal Internacional de Arte Contemporáneo de América del Sur, Chironi desembarca en la Casa Victoria Ocampo, donde recibe al público semanalmente mientras ahonda en las anécdotas y en las historias de las personalidades que dieron vida a la primer casa racionalista de Buenos Aires. La despectiva descripción de la casa, identificada por su mismo arquitecto Alejandro Bustillo como “Una maqueta con jirafas”, es el punto de partida para la exposición de Chironi. Collage, videos e instalaciones dialogan entre sí restituyendo al público un excéntrico retrato del paisaje urbano de la ciudad y de la casa que se erige como injerto ajeno en un barrio dominado por el estilo arquitectónico neoclásico.
https://bienalsur.org/es
Civitella XXV: Casting the Castle
Civitella Ranieri Foundation
22 June 2019
Casting the Castle, an ongoing performance art project curated by Saverio Verini, invites visitors to explore Civitella’s spaces and history. Three Italian artists are involved in this year’s edition: Cristian Chironi (Director’s Guest, 2012), Francesca Grilli (CRF 2017), and Cesare Pietroiusti (CRF 1996). Members of different generations, these artists have each experienced residencies at Civitella, and their return represents an occasion to experiment with their respective performance practices in the unique context of the castle. Sat, June 22, 2019 – 6:00 PM – 8:00 PM CEST – Civitella Ranieri Center, 06019 Umbertide.
www.civitella.org
Milano Arch Week
TRIENNALE Milano
Talk 23 MAY 2019 h. 15.00
Milano Drive
TRIENNALE Milano
FOG Festival at Fondazione ICA Milano
16 — 26 MAY 2019
Milano Drive is a multidisciplinary project investigating the relationships between the great modernist architect Le Corbusier and the city of Milan. In Milano Drive, the spectators become passengers, travelling on a Fiat 127 Special, renamed “Chameleon”for its ability to change colour. Moving across spatial, visual and acoustic dimensionsthe project creates a journey of urban reflection and imagination on the themes of travelling, mobility, housing and social transformation. With Cristian Chironi at the wheel, the passengers will be listening to his stories and to the sound compositions recorded in homes designed by Le Corbusier. Driving around opens a mobile environment made of tales, trajectories and values embodying the architect’s saying “a house is a machine for living in”. Production FOG Triennale Milano Performing Arts. Premiere. Duration: 30 minutes. From 16 to 19 and from 23 to 26 May. Thursday and Friday at 6 pm, 6.45 pm, 7.30 pm, 8.15 pm. Saturday and Sunday 11 am, 11.45 am, 12.30 am, 5 pm, 5.30 pm, 6 pm, 6.45 pm, 7.30 pm, 8.15 pm. Limited availability. Performance for 3 participants at a time.
https://www.triennale.org
The Phair
2 May 2019
Talk with Giangavino Pazzola
Ex Borsa Valori, Turin
www.thaphair.com
Miart
5 – 7 April 2019 – preview 4 April
Hall 3 | Booth D 03
Exelettrofonica with Studio Sales
http://www.miart.it
BOLOGNA DRIVE
1+2+3 February
Opening hours: 11>13 + 14.30>17.30
Art fair grounds and the Costituzione (main) entrance (prior reservation needed)
Reservations: +39 349/4634730
10>11 + 13>14 + 18>19 or leave a message on whatsapp
(reservations accepted starting Monday, 28 January 2019).
Bologna Drive is the next step of the project My House is a Le Corbusier. This time artist and performer, Cristian Chironi, seeks out evidence of the impact the great Modernist architect, Le Corbusier, has had on the city of Bologna. In Bologna Drive, visitors get into a Special model Fiat 127, renamed Chameleon for its ability to change the colour of its bodywork depending on where it stops – the colour following the typical Le Corbusier colour palette. Driven by Chironi himself, Chameleon will make a tour of the fair district on a journey of urban reflection and imagination on the themes of travel, mobility, housing, crossing borders, and social transformation. Also aboard and taking part in the conversation will be Chironi’s companions – among them Franco Vaccari. There will also be music by Francesco Brasini, the Radio France Choir, Massimo Carozzi, Alessandro Bosetti, Daniela Cattivelli, and Domenique Vaccaro, composed and recorded in the various buildings constructed by Le Corbusier that Chironi has lived in at one time or another. Le Corbusier’s famous “a house is a machine for living in” is reinterpreted for this project. A mobile environment of travel and movement develops around the “Machine for living in” in a remix of stories, trajectories and values. Alongside Bologna Drive will be a new public artwork by Chironi conceived as a tribute to the imaginary Wetroplitan line laid out in Bologna by Kinkaleri and Xing at the beginning of the new millennium: 4 luminous signs featuring a large white W on a red background placed in 4 different spots in the city to mark the entrance to as many “underground” venues that became temporary cultural hubs. Chironi has re-designed the W sign, simply rotating it, into a new symbol that shows 3 steps. The news sign will be installed in front of the art fair entrances.
The car trips will run for 3 days. Every trip will last 15 minutes and take 3 passengers. There is no charge but reservation is required. Meeting point: W Fiera.
http://www.artefiera.it
LE CORBUSIER. ABITARE IL VIAGGIO.
seminario con Bénédicte Gandini, Fondation Le Corbusier
Orfina Fatigato, DiArc, Univesità degli studi di Napoli Federico II
Cristian Chrironi, artista
organizzato nell’ambito del clusterLab HE_MODERN Heritage, culture and modern design
9 gennaio 2019 ore 14, Venezia, Terese, aula C, Università IUAV di Venezia
www.iuav.it
GRAND TOUR D’ITALIE 2018
La seconda edizione di Grand Tour d’Italie, il progetto ideato dalla DGAAP e organizzato con l’associazione qwatz, che pone in relazioni artisti italiani e centri d’arte contemporanea internazionale, si svolgerà tra Roma e Napoli. Tra il 29 novembre il 2 dicembre, 18 artisti italiani parteciperanno a uno studio visit a porte chiuse durante il quale avranno l’occasione di presentare il proprio portfolio a 9 interlocutori internazionali.
Il format prevede quattro sessioni di lavoro durante le quali gli artisti si racconteranno alle istituzioni mostrando opere, video, progetti editoriali e tutto ciò che serve a promuovere il proprio lavoro. La selezione, curata da Carolina Italiano (DGAAP) e Benedetta di Loreto (qwatz), si è concentrata su quei giovani artisti italiani che maggiormente si occupano nelle loro opere di aspetti antropologici, sociali, identitari e relazionali.
Gli artisti selezionati sono: Elena Bellantoni, Alex Cecchetti, Cristian Chironi, Gabriella Ciancimino, Rä di Martino, Francesco Fonassi, Anna Franceschini, Silvia Giambrone, Francesca Grilli, Diego Marcon, Elena Mazzi, Stefania Migliorati, Margherita Moscardini, Matteo Nasini, Marco Raparelli, Eugenio Tibaldi, Serena Vestrucci, Luca Trevisani.
Le istituzioni straniere invitate sono: ART plus (Marsiglia), BAR – Beirut Art Residency (Beirut), Dena Foundation (Parigi), EVA International (Limerick), Inter Arts Center (Malmo), Spike Island (Bristol), Triangle Art Association (New York), Whitechapel Gallery (Londra), WELS (Brussels).
Those who Utopia eat apples
Corte Dogana, 2
12 October 2018 – 2 December 2018
The exhibition, to be held in the charming location of the Antica Dogana of Verona, is concentrated on the main theme of the 2018 edition of ArtVerona, Utopia, by exploring it in four sections: Utopia come libertà (Utopia means freedom), Utopia come lusso del pensiero (Utopia means thought as a luxury), Utopia come costruzione di comunità (Utopia means the building of communities), Fallimento come rischio dell’utopia (Failure as risk of utopia), investigating the controversial, recurrent and fickle nature of utopia and the challenges it poses in going beyond conventional facts and present times.
The works by Nanni Balestrini, Maurizio Cattelan, Cristian Chironi, Danilo Correale, Vittorio Corsini, Cuoghi Corsello, Gino De Dominicis, Ceal Floyer, Claire Fontaine, Cyprien Gaillard, Andrea Galvani, Carlos Garaicoa, Christian Jankowski, Thomas Kuijpers, Ugo La Pietra, Maria Lai, Lisa Dalfino e Sacha Kanah, Robin Hewlett e Ben Kinsley, Glenn Ligon, Davide Mancini Zanchi, Masbedo, Elena Mazzi, Adrián Melis Sosa, Luciano Ori, Adrian Paci, Gina Pane, Pino Pascali, Beatrice Pediconi, Diego Perrone, Gianni Pettena, Paola Pivi, Andrea Santarlasci, Tomás Saraceno, Marinella Senatore, Stefano Serretta, Caterina Erica Shanta, Mauro Staccioli, Kyle Thompson, Piotr Urlansky, Ben Vautier, Vedovamazzei, from the 1960’s to the present, compose trans-generation dialogues where the intent of rethinking society is set opposite to the provocation hidden in the representation of a solitary escape and of a rebellious gesture.
Exhibition conceived by Adriana Polveroni
curated by Adriana Polveroni and Gabriele Tosi designed for the charming rooms of the Palazzo ex Dogana di terra, loaned to the Superintendency for Archaeology, Fine Arts and Landscape of the Provinces of Verona, Rovigo and Vicenza, that is working at the project together with the Municipality of Verona.
Catalogue by Manfredi Editore
info: www.artverona.it/en/those-who-utopia-eat-apples/
polychromy
27 June – 14 September 2018
Marsèlleria via privata Rezia, 2 – Milan
Marsèlleria presents Polychromy, a multidisciplinary project by Cristian Chironi, built through space, sound and visual dimensions.
On show a Fiat 127 Special, renamed Chameleon because of its ability to change its body colors depending on the contexts where it is brought. Inside its passengers compartment are playing audio-documents and sound compositions from the project My sound is a Le Corbusier, which was born from the collaboration with Francesco Brasini and different musicians, among which Radio France choir, Alessandro Bosetti, Massimo Carozzi, Dominique Vaccaro, Daniela Cattivelli and many others. These music compositions were recorded inside different Le Corbusier’s houses all over the world, and the ones on show are the unreleased pieces coming from the Indian step in Chandigarh, a city in the North of the country entirely designed by the Swiss architect in 1953. A ‘machine to live in’, customized following the typical color combinations of the houses where Chironi lives in the realm of the project My House is a Le Corbusier.
Beside the car is to be found, all along the wall, an “architectural keyboard” containing 43 colors associations, which one reproducing an atmospheric effect, together with the chromatic range of 288 color matches designed by Le Corbusier – the architectural polychromies created in 1931 consisting of bright and softer colors, which need to follow precise mixing rules – that should be combined intuitively and synchronously, as if they were sounds. The colors are applied to the different components of the car body, creating a recognizable and fantastic visual weave. The polychromy is a multifunction instrument, piano, window, wall, wardrobe, attire, screen, library, practical guide, garage.
www.marselleria.org
Nuove committenze. Forme luoghi contesti per l’arte contemporanea
Museo Nivola, Orani, 8 giugno 2018, h 15:30
In occasione della mostra Lo spazio del sacro: artisti e architetti nella chiesa del Santo Volto del Gesù, il Museo Nivola organizza in collaborazione con l’Università di Sassari una giornata di studio su “Nuove committenze. Forme luoghi contesti per l’arte contemporanea”. Interrogarsi sulle committenze significa interrogarsi sui rapporti tra arte e società, sui ruoli e le funzioni che l’arte svolge o può svolgere nella contemporaneità, ma anche sui modi in cui l’arte stessa si trasforma in relazione ai contesti pubblici e privati che la promuovono. A discutere di questi temi saranno figure provenienti dai diversi ambiti del mondo dell’arte: da quello della creazione a quello del collezionismo, dei musei, dell’organizzazione culturale, della critica e della curatela. Intervengono Alessandro Beltrami (critico e giornalista, quotidiano Avvenire), Cristian Chironi (artista), Domenico d’Orsogna (giurista, Università di Sassari), Luigi Fassi (direttore Man, Nuoro), Mario Pieroni (presidente Associazione Zerynthia), Luisa Perlo (cutratrice a.titolo, mediatrice programma Nuovi Committenti), Oliva Sartogo (curatrice della mostra Lo spazio del Sacro), Renato Soru (politico e collezionista). Coordinano Giuliana Altea (presidente Fondazione Nivola) e Antonella Camarda (direttrice Museo Nivola).
www.museonivola.it
Housebooks
May 25th – Sep 30th, 2018
bruno, Dorsoduro 2729, Venezia
Cristian Chironi crosses the space at bruno with a selection of artworks that create a dialogue with famous architects Pierre Jeanneret, Tadao Ando, Le Corbusier and their works.
Exhibited in Italy for the first time and created between 2016 and 2017 while resident in homes designed by each of the architects’, these artworks position reinterpreted books in a brand-new space-time dimension. Pages act as architectural elements and are associated to other materials.
Among the artworks
A mural, which was created for the first time on the coast of Oaxaca during his stay in Casa Wabi (designed by the Japanese architect Tadao Ando), serves as a framework for a hand-carved book by the artist that highlights, with triangular shapes, the colours of Mount Parral.
A wide collage made in Chandigarth (India) during his stay in the actual Museum Maison of architect and designer Pierre Jeanneret, where cutouts of the designers
interior furniture are overlapped on top of the sketch of the Secretariat Palace, designed by his cousin Le Corbusier for the city itself.
A selection of artworks made during his residencies for the project My house is a Le Corbusier: pages that confront and create new architectures when folded together; stapled pages that compare landscapes distant from one another; folded pages in a flower shape that unite different buildings, such as Casa Curutchet La Plata; Unité d’Habitation Marseille, Studio-Apartment Paris, Esprit Nouveau Bologna […].
Housebooks are homes linked to motion, comparisons between cultures and languages, visions of houses in the form of books and viceversa.
Housebooks is a project of the artist in collaboration with bruno. Throughout its duration meetings will be organized in the presence of the artist using video and talk interventions related to the architectures covered in the exhibition in order to indirectly reactivate the spaces treated in the pages and create a dialogue with art and architecture.The presence of the artist will be an opportunity for an artist publication designed and published by bruno.
We would like to thank Fondation Le Corbusier; Fundación Casa Wabi Pierre; Jeanneret Museum. A special thanks to Francesca Crudo for her cooperation.
For information and press please contact: info@b-r-u-n-o.it
Miart
13 – 15 April 2018 – preview 12 April
Hall 3 | Booth D 03
Exelettrofonica with Studio Sales
http://www.miart.it
I’m back
Nivola Museum, Orani. February 9 – April 2, 2018
Curated by Silvia Fanti Catalogue: Postmedia Books
Cristian Chironi’s exhibition I’m back is a reflection on the values and meanings associated with the life and work of Costanti- no Nivola, an artist active on the international scene of mid 20th-century Modernism but powerfully tied to his home town, Orani, in the mountainous area of Barbagia in Sardinia, a place of infinite returns and departures.
Like Nivola, Chironi also set out from Orani, and is returning there for this occasion, after a series of experiences in various places and contexts as part of the project My house is a Le Corbusier, supported by the Fondation Le Corbusier and now also the Fondazione Nivola.
In the early 1980s, Costantino Nivola, by then quite ill, called his nephew Daniele from his home on Long Island, asking him to go to his house in Tuscany, in a final attempt to bring his belongings back to Orani. Daniele recalls: “He said to me: Go to Dicomano and try to take what’s there. Including the car! There are two art posters of some value… Steinberg… There were his sculptures, paintings… The Picasso wasn’t there anymore…In the end I even left some sketches. Not all of it would fit in the car”.
Daniele left the Port of Civitavecchia with a Fiat 127 full of art, coming home knowing that he had brought back only a small part of that cultural—and existential—patrimony. What was in that car, what had it brought back? A material legacy, to be sure, but also the start of a symbolic relay race, an incitement to “go” and become a citizen of the world.
Decades after that trip, Cristian Chironi is cutting through the residential area and parking the same car in the Museo Nivola’s space for temporary exhibitions, Orani’s old wash house, treasured by the sculptor as a symbolic site of the town’s old com- munity-focused way of life.
It is an artistic and performative gesture that sets the mood for the whole exhibition/installation, which is titled I’m back, bringing the museum space to the road and vice versa, in a journey made up of departures and returns, generational corre- spondences, encounters, and imaginary visions shot from the car window. Sitting in the passenger’s seat of a Fiat 127 “Special”, renamed “Chameleon” because it changes color depending on where it is parked, visitors will be able to listen to audio documents and sound compositions from the project My sound is a Le Corbus- ier, the fruit of collaboration between various musicians (Francesco Brasini, the Radio France Choir, Massimo Carozzi, Alessan- dro Bosetti). The sound compositions were recorded in various homes scattered throughout the world designed by Le Corbus- ier, the great master of modern architecture and a close friend and collaborator of Nivola, to whom the architect gave a plan for a house to be built in Orani for Daniele’s father, but never completed: a project that in turn spawned My house is a Le Cor- busier.
Playing on Le Corbusier’s famous statement that “a house is a machine for living in” (in Italian, the word “macchina” means both “machine” and “car”), Chironi customized the vehicle with Le Corbusier’s typical color palette and created an environ- ment around it packed with signs of travel and transit, in a playful remix of stories and meanings.
Le Corbusier’s slogan reappears in manipulated form in a 1970s car advertisement that creates a play between Pop, memory, and imagination. The Fiat “Camaleonte” is temporarily stopped by an improbable traffic sign: a “step-stop” that indicates a series of stylized window-sill/steps, and references Chironi’s last trip and stay in Chandigarh (India) and the design of the fa- cade of the Pierre Jeanneret House Museum, where the artist lived for a month. A large sculpture by Costantino Nivola, Madre (Mother), hosted in the exhibition space, is used as a kind of notebook or logbook, its surface serving as a screen for videos beamed from a projector set up on a construction support, a functional tool that accompanies the visitor through the journeys and stops that made up the project My house is a Le Corbusier, documenting the artist’s stays in Italy, France, Argentina, and India. Horizons, like the skyline quickly drawn on the letter from CONI (the Italian National Olympic Committee) inviting Chi- roni to present his work at the upcoming Winter Olympics in Korea, just as Nivola had been invited exactly fifty years earlier, for the Olympics in Mexico City in 1968.
I’m back is an exhibition about parallel paths, crossroads, detours, leaving and returning home. A journey undertaken by a mad navigator for whom Orani is the center of the world.
http://www.museonivola.it/en/
Prospectum
Casa Italia Pyeongcang 2018 Winter Olimpycs South Korea 7.2.2018 > 25.2.2018
Gea Casolaro, Cristian Chironi, Carlo e Fabio Ingrassia, Davide Monaldi, Maurizio Nannucci, Valerio Rocco Orlando, Patrick Tuttofuoco, Massimo Uberti. Curated by Ex Elettrofonica
Casa Italia si presenta come risultato di un progetto che mira a valorizzare l’eccellenza italiana nello sport, nell’arte, nel design e nell’accoglienza, con una nuova vision: PROSPECTUM. L’obiettivo è presentare il nostro Paese attraverso un’invenzione culturale riconosciuta in tutto il
mondo: la rappresentazione della prospettiva. Un’idea che ha rivoluzionato il modo di vedere la realtà e di interpretarla e che, a Casa Italia 2018, viene attualizzata e resa moderna da un
linguaggio contemporaneo. Gli artisti ed i Partner coinvolti nel progetto PROSPECTUM per Casa Italia PyeongChang, chiamati con le loro diversità a realizzare un ambiente contemporaneo, unico ed accogliente, rappresentano appieno l’eccellenza e l’eclettismo del nostro Paese. Tutto richiama l’idea della prospettiva come griglia ideale attraverso cui guardare il mondo.PROSPECTUM riassume la complessità dei punti di vista che siamo chiamati a tenere in considerazione se vogliamo produrre sviluppo ed essere percepiti come accoglienti a trecentosessanta gradi.
http://www.pyeongchang2018.coni.it/it/home/casa-italia.html
Duplex
Aula Magna Academy of Fine Arts in Bologna, bi-solo exhibition from 02.02.2018> 04.02.2018.
Cristian Chironi, Margherita Moscardini. A cura di Carmen Lorenzetti
Durante il periodo di Arte Fiera e ART CITY BOLOGNA 2018 l’Accademia di Belle Arti di Bologna propone la mostra site specific DUPLex, nuova edizione di EX, esposizione dedicata ai giovani artisti formatisi presso la nostra istituzione. Nella prima edizione quattro giovani artisti erano stati presentati al MAMbo: in quella attuale, due artisti già affermati sulla scena internazionale verranno presentati nell’Aula Magna dell’Accademia. Cristian Chironi (1974) e Margherita Moscardini (1981) lavorano ed espongono in un luogo denso di storia e di memorie come l’Aula Magna, l’antica chiesa barocca dei Gesuiti, uno spazio caratterizzato anche dei gessi settecenteschi, che furono palestra dei primi studenti di scultura dell’allora Accademia Clementina. I due artisti sono accomunati in questo periodo da pratiche esperienziali che li vedono artisti “radicanti”, che viaggiano all’estero portando avanti progetti complessi e stratificati, dove studiano nuovi contesti e li vivono sia dal punto di vista progettuale sia relazionale, in stretta relazione con il territorio. Cristian infatti all’interno del suo progetto My house is a Le Corbusier ha appena concluso il suo soggiorno in India, mentre aspetta di tornare in Argentina, Margherita è attualmente in Giordania per il progetto INVENTORY. THE FOUNTAINS OF ZAATARI, selezionato tra i vincitori del bando Italian Council promosso dal MIBACT. Il progetto EX prevede anche due workshop rivolti agli studenti dell’Accademia: nel caso poi di Margherita, il workshop a Bologna è gemellato con altri due workshop all’Accademia di Brera e di Palermo ed è connaturato al progetto stesso. La finalità del progetto EX, curato da Carmen Lorenzetti in collaborazione con i docenti teorici dell’Accademia, è quella di mappare la storia recente dell’Istituzione e di proporla sia come percorso esemplare agli studenti, sia al pubblico che ricostituisce così una memoria illustre.
http://www.ababo.it
My house is a Le Corbusier (Pierre Jeanneret Museum)
Chandigarh (India) November 9th > December 9th 2017 Pierre Jeanneret Museum
Following a series of residences and encounters in structures by Le Corbusier in Italy, France and Argentina, Cristian Chironi with My House is a Le Corbusier, takes temporary residence in India, in the Pierre Jeanneret House Museum in Chandigarh, from November 9th through December 9th, 2017.
Both a work in progress and construction site of ideas, collaborative space, research, exhibitions, didactic occasion, in addition to a residence – not to mention a living experience – My house is a Le Corbusier (begun in 2015), is intended to evolve over the long term and culminate in the totality of all the experiences that Chironi will undergo while actually living for variable periods of time in the many homes designed by Le Corbusier around the world. The long-term project (which will unfold over the potential arc of 30 habitable homes by Corbusier in 12 countries) is a performance, stretched out over time, house after house. Pilgrim habitations inextricably tied to the movement and the intersection of diverse geographies and cultures.
Chironi’s point of departure is a real historical episode: in the late 1960s, the Sardinian artist Costantino Nivola, who enjoyed a great friendship and collaboration with Le Corbusier, stopping by his hometown of Orani (also Chironi’s birthplace), entrusted his brother’s family with the construction of “Chischeddu” on a design by the great architect, with the hope that he and his sons, masons all of them, would scrupulously follow the plans. But they failed to understand the importance of this. Some time later, returning from Long Island, Costantino discovered that the house they had built did not correspond at all to the specifications which, as the entire family protested, “had neither doors nor windows and looked more like a shack than a house”. Costantino Nivola reacted by seizing the plans, which have since been lost. The house, which still stands today in Orani, built with a preference for low-brow functionality over the modernist vision of the architect, reflects only the ‘mood’, if that, of the original concept.
Taking inspiration from this real episode, Cristian Chironi identifies the narrative potential for an analysis of a series of relationships in the contemporary, tied to the concepts of communication, reading and interpretation, with the consequent linguistic and socio-political implications. Falling, in this historical period of precarious economic stability, in the impossibility of owning one’s own home, bartering the freedom to live in the houses designed by Le Corbusier around the world.
Chironi turns these houses into “privileged vantage points” to better understand how the legacy of Le Corbusier is perceived today, and in what condition the “home of man” currently finds itself. A reading of architecture through storytelling and the direct experience of its spatio-temporal dimension, where one can discuss and see the artist at work, partake in events, consult the assembled material or simply drink a coffee.
The house in India is located in the fifth sector of the city of Chandigarh and was designed by architect Pierre Jeannette, cousin of Le Corbusier. Pierre Jeanneret lived in the house from 1954 to 1965, during which time he developed much of the governmental housing and infrastructure of the city as well as controlled the implementation of Le Corbusier’s projects in Chandigarh. Le Corbusier himself stayed at the house during his annual visits to India and the house is now converted into a museum. The ground floor hosts Pierre Jeanneret’s work, while the first floor is used as a residence for scholars and researchers. The museum house, like the whole Chandigarh Capitol complex, is a UNESCO World Heritage Site.
In 1947 Le Corbusier and Pierre Jeanneret were chosen to build a city that would stand as a symbol of modernity. Le Corbusier designed the urban plan on which the city was built, as well as many public buildings. The ‘urban settlement’ was conceived for one hundred fifty thousand inhabitants and today counts approximately eight hundred thousand. It was envisioned as a living organism, and subdivided into an urban grid sectored according to function and social class. Chandigarh blends all of the architectural studies carried out by Le Corbusier in his travels and is considered his masterpiece, an environment in which the primacy of the public upon the private space is eliminated in the construction of a work of art on an urban scale.
If the residence at Esprit Nouveau in Bologna was like living on a construction site, a tangible experience synthesized with the image of an open book resting atop a head like a roof, the one at the Parisian Studio-Apartment binds intimacy and design: the figure, in this case, is a sofa of scaffolding on which the visitor was invited to sit and engage with projections of communal life on a facing wall. The creative experience at Unité d’Habitation in Marseille was a comparison between different cultures and languages that emerged from living in an apartment designed in the 1950’s in a Medtirranean metropolis of the 21st century. Casa Curutchet, in Argentina, was a window from which to imagine, with clinical eyes, different ways of living, such as in a series of images pinned together in a binder the collects and matches architectures distant from one another.
The residence in Chandigarh aims to overcome that last remnant of the frontier that separates permanence from mobility. House and city, corridor and street, interior and exterior are all on the same level. Walking about the city therefor creates an entrance into a new context, an adaptation to the culture and to the environment, absorbing it, transforming it and re-recreating it. A vision of the house in the form of a city and vice versa, to which corresponds the daily creation of documents, artifacts, actions, and interventions.
Le Corbusier designed the 26-meter-high metal sculpture featuring an open hand, icon of the city and symbol of welcome “to receive and to give.” An ideal proportion of human measure, the Modulor represents the synthesis of his philosophy and design process. But it is Chandigarh’s future to be in the hands of it’s inhabitants, and in their ability to fathom living in a space that offers no further possibility for development without risking its disfigurement. The art of living that Chironi has developed through his trajectory therefor becomes useful as a point of comparison in this aspect of collective experience: of this place and of this historical moment.
My sound is a Le Corbusier provides a sound map of the urban space made in collaboration with musician and composer Francesco Brasini.
Cristian Chironi’s experience at Jeanneret’s home will last from November 9th to December 9th. The first week will serve for acclimatization; the second for a solitary work; the remaining weeks will be open to visits and interaction with the public (subject to appointment by email); the last week will be dedicated to display of the works and the materials produced in exhibition form.
Details and appointments with be communicated on the following pages: www.cristianchironi.it www.facebook.com/myhousisalecorbusier Email: cristianchironi@gmail.com
My house is a Le Corbusier (Pierre Jeanneret House Museum) is a project promoted by the Le Corbusier Foundation of Paris, the Pierre Jeannette Museum and the Le Corbusier Center with the support of the collection Anna and Francesco Tampieri and the Institute of Italian Culture of New Delhi, in collaboration with MAN – Museo d’Arte della Provincia di Nuoro, l’Istituzione Bologna Musei | MAMbo – Museo d’Arte Moderna di Bologna, Xing, NERO.
Pierre Jeanneret Museum, 5, Uttar Marg, Sukhna Lake, Sector 5, Chandigarh, 160005, India. Hours Monday through Sunday from 9:00 am to 4:30 pm.
40° sopra La Performance
13-14 ottobre 2017
Palazzo Magnani, Bologna
a cura di Fabiola Naldi e Maura Pozzati
Artisti: Cristian Chironi, Francesca Grilli, Jacopo Miliani, Davide Savorani, Sissi
performance ECO: 14 ottobre, h 12.00 > 19.00, via Zamboni 20
Venerdì 13 ottobre e sabato 14 ottobre, in occasione della Giornata del Contemporaneo promossa da Amaci, la Quadreria di Palazzo Magnani ospiterà 40° sopra La Performance, progetto ideato e curato da Fabiola Naldi e Maura Pozzati. Cinque artisti quali Cristian Chironi, Francesca Grilli, Jacopo Miliani, Davide Savorani e Sissi sono stati chiamati a interagire con performance inedite o prodotte per l’occasione con la volontà da un lato di riflettere sulla performance attuale in ambito artistico e dall’altro lato con il desiderio di “ricordare” la Settimana Internazionale della Performance svolta alla Galleria d’Arte Moderna di Bologna esattamente 40 anni fa. 40° sopra La Performance inoltre è liberamente ispirato al titolo del secondo manifesto del Nouveau Réalisme “A 40° au dessous de Dada” in cui il critico Pierre Restany individuava la longitudine temporale delle Neo Avanguardie 40 anni dopo il Dadaismo. In questa occasione la stessa fondamentale longitudine critica viene evidenziata dalle due curatrici nella nota manifestazione bolognese del giugno 1977. Ciascuno degli artisti ha scelto uno spazio preciso di Palazzo Magnani, sede di UniCredit a Bologna, per permettere al pubblico non solo di entrare in relazione con la propria ricerca ma anche con i luoghi stessi del noto palazzo storico, affrescato dai Carracci, di cui a fine maggio è stato inaugurato il nuovo percorso voluto dalla Fondazione del Monte e UniCredit per valorizzare il patrimonio artistico della Quadreria. Oralità, fisicità, suono, installazione, ambiti comuni delle produzioni artistiche internazionali attuali si affiancheranno in due giorni di azioni nelle quali potere indagare il corpo ma anche le possibili interazioni sinestetiche in una reciproca complicità fra pubblico e autori.
STREET VIEW
7 Ottobre 2017 h. 17.30 – 19.00 /MacroLottoZero, Prato.
MLZ – Body To Be a cura di Kinkaleri, Massimo Conti, Marco Mazzoni, Gina Monaco
Body To Be è un progetto di Kinkaleri sulla performance contemporanea. Il progetto intende esplorare la dimensione performativa nella città, attivando percorsi artistici pensati per il territorio e emersi progressivamente da fasi di produzione partecipata in cui sperimentare forme collettive di condivisione pubblica. L’artista invitato per questa edizione 2017 è Cristian Chironi con una performance diffusa nello spazio pubblico dell’area del Macrolotto0 di Prato. Un workshop di formazione con l’artista è previsto con l’obiettivo di offrire nuove opportunità di riflessione e crescita culturale soprattutto nelle nuove generazioni relativamente alle arti visive contemporanee.
L’intervento di Cristian Chironi per il MacroLottoZero si concentra sui temi dell’abitare una città, una cultura, un linguaggio; un discorso in cui la personalità individuale e quella collettiva si mischiano in un gioco di specchi che trasforma l’incontro in un atto circolare in cui performer e spettatore possono fondersi in un unico gesto performante. Partendo dal lavoro dell’artista, il progetto è pensato in forma di happening collettivo distribuito nello spazio urbano, un esercizio di messa in relazione con l’altro realizzato in collaborazione con i partecipanti al workshop tenuto in precedenza dall’artista.
Street view si svolgerà direttamente nel traffico cittadino, in contemporanea in diversi luoghi del MacroLottoZero. La performance sarà organizzata come un’azione simultanea, il collettivo resta in attesa al semaforo, come i lavavetri o i venditori, fino a quando il segnale consente di addentrarsi tra le auto per sfogliare libri di diversa natura. Al di là del finestrino scorrono fugaci apparizioni e l’automobilista si ritrova così ad essere spettatore – incuriosito, disturbato, indifferente, distratto – da un’azione fuori luogo e non immediatamente codificabile che rimanda all’altrove extraurbano.
info: Kinkaleri / www.kinkaleri.it
la lama di procopio
nuovo spazio di casso, casso (pn), august 5th – october 1st 2017
a dolomiti contemporanee and agi verona collection exhibit, curated by gianluca d’incà levis and giovanna repetto, opening saturday, august 5th, 6 pm
artists: gundam air, franklin evans, stuart arends, cristian chironi, ode de kort, alexandre singh, etienne chambaud, gianni caravaggio, eugenia vanni, marcelline delbecq, corinna gosmaro, pratchaya phintong, renato leotta, marko tadic, james beckett, jiri kovanda, davide mancini zanchi, maria laet, ivan moudov, michail sailstorfer/heinert jürgen, christian manuel zanon.
more info: http://www.dolomiticontemporanee.net/DCe2013/?p=12630
Casa Wabi
residence, May > June, Puerto Escondido, Mexico
curated by Alberto Ríos de la Rosa
Main
Fare l’artista: una guida pratica al sistema dell’arte
Seminars at Fondazione Fotografia Modena, 21 May 2017
www.fondazionefotografia.org
RADIEUSE, CAPITOLO 98
with: Cristian CHIRONI, Chiara COLOMBI, Alessandro DI PIETRO, Roberta GIGANTE, Francesca GRILLI, Elena MAZZI & Rosario SORBELLO, Diego Miguel MIRABELLA, VOID curated Emmanuel Lambion (Bn PROJECTS) organisation & production: RosAnna Musumeci – Arte Contemporanea, It-Be asbl
For this exhibition, especially conceived for the spaces of the Brussels Istituto Italiano di Cultura, and the second one of a cycle starting in the Fall 2017, we invited nine Italians and one Belgian artists to confront themselves, or their practices, around a mediated and polysemic apprehension of the concept encapsulated by the title.Whilst one could indeed immediately think of Radieuse as a reference to Le Corbusier’s opus, the concept should not be literally read, or interpreted as an indirect reference to the spirit of our times. Instead, it should be best and more fundamentally apprehended in its etymological derivation, from the Latin radius, i.e. the geometric ray. A word, then, implicitly alluding both to the idea of irradiation and to that of a link between a centre and its periphery, or, conversely, from the periphery to the centre, in a dynamics of exchanges and encounters, of alternating to-and-fros, addressing concepts of space, otherness, diversity, in a porosity of distinctive approaches, practices, idioms and/or disciplines.The project’s centrifugal irradiation starts with its communication, through works which are not shown as such in the exhibition: For instance, in the visual chosen for the invitation card, a picture whose subject and atmosphere evoke the atelier’s warmth. This photograph shows indeed a greyish portrait, the pictorial essay of a conceptual artist acting in a deliberately anonymous and confidential way.
But this irradiation is of course mainly expressed by the purposeful eclecticism of the selection of artists and works, whose confrontations operate at turns through correspondences or dissonances, and are further enhanced by the show’s spatial articulation, whether it be in the main exhibition hall and or in the suggested parcours through different spaces of the Istituto (its theatre, library, employees’ workplaces…).
Exhibition open from 16.03 until 26.04.2017Istituto Italiano di Cultura, Rue de Livourne 38, B- 1000 Bruxelleshttp://www.iicbruxelles.esteri.it/iic_bruxelles/it/
ARTISTS FOR IAN
is an initiative Ilaria Marotta and Andrea Baccin (CURA.) and artist David Balliano, with the generous support of the artists who donated their works: Harold Ancart, Giorgio Andreotta Calò, Salvatore Arancio, Cory Arcangel, Francesco Arena, Jesse Ash, Adam Avikainen, Davide Balliano, Pedro Barateiro, Mark Barrow & Sarah Parke, Anna-Sophie Berger, Luca Bertolo, Charlie Billingham, Carola Bonfili, Marco Bongiorni, Lupo Borgonovo, Thomas Braida, Peter Linde Busk, Chiara Camoni, Paolo Canevari, Hugo Canoilas, Ludovica Carbotta, Cosimo Casoni, Paolo Chiasera, Cristian Chironi, Danilo Correale, Daniel Gustav Cramer, Cynthia Daignault, Tomaso De Luca, Svenja Deininger, Maria Adele Del Vecchio, Gabriele De Santis, Andrea De Stefani, Stanislao Di Giugno, Ra Di Martino, Patrizio Di Massimo, David Douard, Haris Epaminonda, Francesco Fonassi, Anna Franceschini, Luca Francesconi, Oscar Giaconia, Goldschmied & Chiari, Andreas Golinski, Paolo Gonzato, Francesca Grilli, Jason Gringler, Andrea Grotto, Camille Henrot, Benedikt Hipp, Rodrigo Hernández, Hitnes, Helena Hladilova, Yanyan Huang, Graham Hudson, Marguerite Humeau, Invernomuto, Sophie Jung, Avish Khebrehzadeh, Andrea Kvas, Emmanuelle Lainé, Jimmy Limit, Emiliano Maggi, Mahony, Benoît Maire, Domenico Mangano, Diego Marcon, Nicola Martini, Andrea Mastrovito, Eva & Franco Mattes, Dave Mc Dermott, Ryan McGinley, Caroline Mesquita, Jacopo Miliani, Adrien Missika, Laurent Montaron, Justin Mortimer, Margherita Moscardini, Matteo Nasini, Valerio Nicolai, Nick Oberthaler, Claudio Olivieri, B. Ingrid Olson, Marco Palmieri, Athena Papadopoulos, Seb Patane, Dario Pecoraro, Nicola Pecoraro, Luana Perilli, Alessandro Piangiamore, Giuseppe Pietroniro, Anna Plesset, Gianni Politi, Riccardo Previdi, Marco Raparelli, Magali Reus, Pietro Roccasalva, Emanuel Rohss, Andrea Sala, Alessandro Sarra, Arcangelo Sassolino, Sarah Ancelle Schönfeld, Maaike Schoorel, Tina Schwarz, Marinella Senatore, Namsal Siedlecki, Francesco Simeti, Alessandro Simonetti, Alexandre Singh, Sissi, Elisa Strinna, Alberto Tadiello, Gian Maria Tosatti, Panos Tsagaris, Sulltane Tusha, Patrick Tuttofuoco, Aleksander Velišcek, Claudio Verna, Zoe Williams, Andrew Norman Wilson, Viola Yeiltaç, Duane Zaloudek, Driant Zeneli, Raphael Zollinger, Davide Zucco.http://www.artistsforian.com
Back to the Land
curated by Andrea Lerdawith Andreco, Cristian Chironi, Neha Choksi, Andrea Nacciarriti, Giorgia Severi, Francesco Simeti, Julius von Bismarck. Studio la Città, Verona 26 November 2016 – 4 February 2017Saturday, November 26, 2016, at 11:30 am, opens the exhibition Back to the Land curated by Andrea Lerda. On show will be presented several works by Italian and international artists: Andreco, Cristian Chironi, Neha Choksi, Andrea Nacciarriti, Giorgia Severi, Francesco Simeti, Julius Von Bismarck. The Back to the Land project that Studio la Città is presenting in its rooms in Verona, is not simply an exhibition but a further step along a virtual path that for some time, at a global level, has singled out contemporary art as a tool for bringing to the fore ecological questions and for stimulating environmental ideas.
corpo.gesto.postura [body.gesture.posture]
curated by Simone Menegoi
Artissima Fair, Oval Lingotto, Turin, 4.11.06 > 6.11.06 (preview thursday 3)
with: Alfredo Aceto, Boundary | Adriano Alloati, Foundation 107 | Ghada Amer, Private collection, Turin | 22 apparatus, Project Diogenes | Vanessa Beecroft, Renato Alpegiani Collection | John Bock, Castello di Rivoli Museum of Contemporary Art | Marco Calderini, Albertina Academy of Fine Arts in Turin | Duncan Campbell, FRAC – Regional Fund for Contemporary Art in New York | Cristian Chironi, Pinacoteca Giovanni e Marella Agnelli | John Coplans, Gaia collection | Jacques-Louis David (Atelier), Academy of Fine Arts in Turin | Giulio Delvè, Cripta747 | Filippo De Pisis, GAM – Galleria Civica d’Arte Moderna e Contemporanea | Saul Fletcher, Rebaudengo | Prinz Gholam, Gaia collection | Piero Gilardi, PAV – Park of Living Art | Mimmo Jodice, Collection Renata Novarese | Sarah Lucas, Rebaudengo | Macchieraldo and Palasciano, made. International Network for Art Residencies and Educational Programs | Anna Maria Maiolino, Castello di Rivoli Museum of Contemporary Art | Marcello Maloberti, Zegna Foundation | Babette Mangolte, Rebaudengo | Margherita Manzelli, Castello di Rivoli Museum of Contemporary Art | Marisa Merz, Merz Foundation | Pierre Molinier, Renato Alpegiani Collection | Carlo Mollino, Room Italian Center for Photography | Ugo Mulas, Foundation for Modern and Contemporary Art CRT | Rick Owens, Owenscorp Collection | Giuseppe Penone, Private collection, Turin | Michelangelo Pistoletto, Cittadellarte Fondazione Pistoletto | anonymous sculptors, Academy of Fine Arts in Turin | Carol Rama, Sardi Foundation for Art | Turi Rapisarda, Foundation 107 | Man Ray, Fondazione Spinola Banna per l’Arte | Silvia Reichenbach, GAM – Civic Gallery of Modern and Contemporary | Luigi Serralunga, MEF Ettore Fico Museum | Hans Schabus, Gaia collection | Pia Stadtbäumer, Renato Alpegiani Collection | Franz Erhard Walther, Gaia collection | Franz West, Marco Rossi Collection | Francesca Woodman, Renato Alpegiani Collection | Erwin Wurm, MEF – Ettore Fico Museum | Heimo Zobernig, Marco Rossi Collection.
Artissima organises a large-scale thematic exhibition at the Oval pavillon that celebrates the great public collections of Torino and its region. For the first time in 2016, the show combines both art works from major museums and foundations and loans from important private collections. The result is a unique exhibition titled In Mostra, in which Piemonte’s commitment to collecting at the highest international level is displayed. Curated this year by Simone Menegoi, the project, entitled ‘corpo.gesto.postura’ (‘body.gesture.posture’), focuses on the human figure and the exploration of the body in art. The selection includes sculptures and videos, paintings and photographs, performances and drawing from the nineteenth century to the present. Some works evoke a dialogue between statues and living bodies, while others relate the artistic representation and evocation of the body.
Artissima, Section Dialogue, with Elena Mazzi, Ex Elettrofonica Gallery, Booth Lilac 4.
Sunday 6th at 12.30 Meeting Point, Talk Laboratorio Del Dubbio, with Sara Enrico, Marco Rainò, Gianluigi Ricuperati, Elisa Sighicelli along with Paola Anzichè, Sandro Caranzano, Cristian Chironi, among the LDD participants.
www.artissima.it
Ibidem. Lo spazio enciclopedico
a cura di Denis Viva
Cristian Chironi, Carlo Guaita, Lorenzo Missoni
Fondazione Ado Furlan, 13 novembre- 23 dicembre, Pordenone
Ibidem è un progetto triennale d’arte contemporanea, avviato e sostenuto dalla Fondazione Furlan. La parola, che in latino significa “in quello stesso luogo”, viene impiegata nella notazione bibliografica come formula abbreviativa. Essa esprime il duplice interesse di questa seconda tappa del progetto: per il libro, in particolare per l’enciclopedia, come vero e proprio luogo praticabile e osservabile; e per un arte che ritorna, che compie un’indagine ricorrente verso determinati luoghi e la loro inesauribile identità. Tre artisti italiani, di differenti generazioni, propongono un lavoro sull’enciclopedia in quanto fonte, sito, repertorio che investe il ruolo delle immagini nella conoscenza, il loro impiego nel pensiero scientifico o nella rappresentazione architettonica, o la loro possibilità di essere trascese e divenire un luogo dell’immaginario.
www.fondazioneadofurlan.org
Lo stato delle cose
a cura di Marta Papini
16a Quadriennale di Roma 13 Ottobre 2016 – 8 gennaio 2017
Adelita Husni-Bey, Giorgio Andreotta Calò, Alberto Tadiello, Cristian Chironi, Margherita Moscardini, Elena Mazzi e Sara Tirelli, Yuri Ancarani: sette voci rilevanti nell’attuale panorama nazionale e internazionale e diversissime tra loro. Nella lontananza tra le loro pratiche, che rende impossibile assimilarle in una lettura univoca, si apre uno spazio dialettico e di confronto tra le singole ricerche e tra queste e il pubblico.
Il progetto consiste in un programma di sette mostre e sette eventi che si estende per l’intero arco temporale della 16a Quadriennale d’arte: gli artisti invitati si alternano nello spazio in una sorta di staffetta, un meccanismo espositivo a incastro che adotta una temporalità differente rispetto alle altre mostre che nel frattempo si svolgono a Palazzo delle Esposizioni.
Lo stato delle cose non è una mostra collettiva, dove le immagini e i significati delle opere si sovrappongono e si intrecciano grazie alla tessitura di una regia curatoriale. È piuttosto un esercizio di attenzione: il pubblico, in rapporto uno a uno con l’opera, ha la possibilità di soffermarsi sulla ricerca di ciascun artista sia nella mostra sia attraverso un public programme, pensato come parte integrante del progetto, che ne approfondisca la complessità.
Da un lato, le opere installate non si confrontano mai in uno spazio visivamente unitario, ma possono essere associate e dialogare solo nella mente del visitatore. Dall’altro, oltre a esporre il proprio lavoro, ogni artista ha l’occasione di invitare relatori a tenere conferenze su ambiti di ricerca che lo interessano, programmare proiezioni cinematografiche, organizzare laboratori aperti al pubblico, tenere studio visit.
Lo stato delle cose offre una chiave per entrare nei mondi degli artisti, un’opportunità per approfondire il loro lavoro in un contesto nuovo, senza relegare la ricerca a un momento ancillare della mostra, ma riportandola al punto fondamentale della condivisione dell’opera, all’interno di un contesto istituzionale che diventa così performativo, dinamico e discorsivo.
info: www.quadriennalediroma.org
ECO
24 & 25.09 / CN D – Centre National de la Dance, Pantin Cedex (F)
Audible et visible depuis les berges du canal de l’Ourcq et les abords du CN D
13:30 > 20:30 / durée 7 h Accès libre
Un homme est suspendu sur la plus haute terrasse du Centre national de la danse. Face à la ville, dans un temps distendu, l’artiste performeur italien Cristian Chironi lance un Eco, un écho ? L’Eco de Cristian Chironi personnifie le rapport au son et à l’espace, invente de nouvelles histoires, tissant un lien poétique intense et sensible. En demeurant sept heures durant, un livre sous le bras, les jambes ballantes, sur les hauteurs du bâtiment gris, surplombant Pantin, au loin Paris, Cristian Chironi lance à heures régulières un écho… un cri dans la ville, comme un cri de berger parcourant les vallées, un fil tendu vers l’imaginaire et le poétique. Tourné vers Rabat, l’artiste adresse son cri symbolique au Maroc de Bouchra Ouizguen qui partage ce week-end d’ouverture avec lui. Tel un alpiniste urbain, un défricheur de nouvelles ressources, Cristian Chironi haut perché, si l’on peut dire, embrasse le temps et l’espace, projetant son cri, trouvant écho sur les façades des immeubles environnants, inventant acoustiquement un nouvel être ensemble, un monde éphémère et sonore, ludique et énigmatique.
info: www.cnd.fr
TITOLO
l’edito inedito Cap.IV Il faro
Villa Romana Firenze 4/09 > 2/10/2016
A project by Francesco Carone. Works by: Stefano Arienti, Emanuele Becheri, Francesco Bernardi, Luca Bertolo, Chiara Camoni, Francesco Carone, Cristian Chironi, T-Yong Chung, Michelangelo Consani, Mario Dellavedova, Elena El Asmar, Carlo Guaita, Andrea Marescalchi, Amedeo Martegani, Maurizio Mercuri, Sabrina Mezzaqui, Concetta Modica, Adriano Nasuti-Wood, Marco Neri, Nero/Alessandro Neretti, Giovanni Oberti, Luca Pancrazzi, Luigi Presicce, Namsal Siedlecki, Eugenia Vanni.
Opening 3/09 at 5pm. Villa Romana Via Senese 68, 50124 Firenze
www.villaromana.org
My house is a Le Corbusier (Curutchet House)
La Plata (Argentina) 1st August > 26th August 2016 House of Doctor Curutchet, designed by Le Corbusier.
Following the residencies that took place in a number of architectural works of Le Corbusier across Italy and in France: Esprit Nouveau (Bologna), Studio-Apartment (Paris), Appartement 50 – Unité d’habitation (Marseille), and the transits through the Cité de Refuges (Paris) and the Pavillon Suisse (Paris), Cristian Chironi takes the project My house is a Le Corbusier to a temporary residency in Argentina, in the home/studio of Doctor Curutchet at La Plata, Buenos Aires province, between the 1st and 26th of August 2016.
Chironi’s point of departure is a real historical episode: in the late 1960s, the Sardinian artist Costantino Nivola, who enjoyed a great friendship and collaboration with Le Corbusier, stopping by his hometown of Orani (also Chironi’s birthplace), entrusted his brother’s family with the construction of “Chischeddu” on a design by the great architect, with the hope that he and his sons, masons all of them, would scrupulously follow the plans. But they failed to understand the importance of this. Some time later, returning from Long Island, Costantino discovered that the house they had built did not correspond at all to the specifications which, as the entire family protested, “had neither doors nor windows and looked more like a shack than a house”. Costantino Nivola reacted by seizing the plans, which have since been lost. The house, which still stands today in Orani, built with a preference for low-brow functionality over the modernist vision of the architect, reflects only the ‘mood’, if that, of the original concept.
Taking inspiration from this real episode, Cristian Chironi identifies the narrative potential for an analysis of a series of relationships in the contemporary, tied to the concepts of communication, reading and interpretation, with the consequent linguistic and socio-political implications. Falling, in this historical period of precarious economic stability, in the impossibility of owning one’s own home, bartering the freedom to live in the houses designed by Le Corbusier around the world.
Chironi turns these houses into “privileged vantage points” to better understand how the legacy of Le Corbusier is perceived today, and in what condition the “home of man” currently finds itself. A reading of architecture through storytelling and the direct experience of its spatio-temporal dimension, where one can discuss and see the artist at work, partake in events, consult the assembled material or simply drink a coffee.
The Curutchet house, designed by Le Corbusier, was commissioned in 1948 by Dr. Pedro Domingo Curutchet, one of the leading innovators of medical surgery. The construction of the house was assigned to architect Amancio Williams, and took place between 1949 and 1955, when it was finally completed. It stands on four levels, and comprises of a courtyard that separates the clinic from the house. The construction acts as an example of the five fundamental principles of Le Corbusiers architecture. It is clearly defined by its division into functional areas: work, life, rest, free time. The house also presents the characteristic relation between fullness and emptiness of space and is one of the only buildings designed by Le Corbusier that is attached to a preexisting construction, acting harmoniously with the historical context surrounding it. The house is a historical national monument in Argentina and currently houses the Colegio de Arquitectos de la Provincia de Buenos Aires. The Curutcher house, together with sixteen other buildings designed by Le Corbusier has been voted to be included in the list of world heritage sites.
The design of Casa Curutcher is contemporary and in continuity with the ideas developed by Le Corbusier with the Unité d’Habitation in Marseille. For the present occasion Chironi will adopt the same approach used in the previous events by focusing on the relationship between house and visitor, on the confrontation between different languages, on the impact of direct experience on the artist’s work acting thus as a measure and thermostat of the present. By repeatedly redefining his lifestyle, challenging the linguistic and cultural codes he is used to, exceeding the distinction of static and mobile living, Chironis research will start from the notions of hospitality of and interaction with the audience, and aim at finding a way to live the world.
The similarity between the real story of the Nivola family, Chironis starting point for the whole project, and the famous film The Man Next Door, directed by Mariano Cohn and Gaston Duprat in 2009 and set in the Curutchet House, is symptomatic. The film tells the story of a brawl between neighbours, during which a wall is the only thing separating their different “worlds of living”. On one side lives Leonard, a successful designer with a passion for architecture, and on the other lives a rustic, second hand cars salesman named Victor.
On settling in his new home Victor decides to build a window, in order to have more light, on the same wall separating him from his neighbour, causing the start of the brawl and for both men to have to acknowledge each others existence.
One of the most interesting aspects of the story about the La Plata house is the relationship between the client, Dr. Curutchet, and the architect, Le Corbusier; particularly the fact that Le Corbusier accepted a commission from a total stranger in a far away place, without a previous meeting or personal conversation. He never even set foot in the house nor in the construction site. These facts present a key of comprehension for this new step of My house is a Le Corbusier.
Chironi will use the clinic as a reception, consultation and examination area. One where the visitor will be free to lie down and listen. This is where the extension of the project, dedicated to sound, takes place. My sound is a Le Corbusier together with other additional elements, will constitute the containing body of this journey. Unlike the previous steps, where the artists focused on the domestic dimension of the homes, this moment will be slightly more clinical, an opportunity to separate a studio from a private space.
An encounter will take place on the 26th of August where all the reflections on Chironis experience in the houses of Le Corbusier will be shared amongst the artist, the director of Casa Curutchet Julio Santana, and Equipo Curutchet House, accompanied by the presentations of video materials, various documents and by discussions with the audience.
The experience of Christian Chironi in the Curutchet House will last about a month and will be articulated in moments of solitary work and moments during which the visitor will be able to interact with the artist in the house.
Details and events will be announced on www.facebook.com/myhouseisalecorbusier and https://www.facebook.com/Casa-Curutchet-154300111312755/?fref=ts
My house is a Le Corbusier (Curutchet House) is a project developed in collaboration with the Foundation Le Corbusier in Paris, Colegio de Arquitectos de la Provincia de Buenos Aires and Equipo Curutchet House. With the support of Bologna Musei | MAMbo – Museo d’Arte Moderna di Bologna; MAN – Museo d’Arte della provincia di Nuoro, Xing, NERO.
Casa Curutchet – Calle 53 no 320, 1900 La Plata, Buenos Aires, Argentina. T. +54 221 482-2631. Opening times Tuesday to Friday between 10 and 17 o’clock. Saturday and Sunday between 13 and 17 o’clock.
www.capbacs.com www.cristianchironi.it www.fondationlecorbusier.fr
Santarcangelo Festival internazionale del teatro in piazza
8-17 July 2016, Santarcangelo di Romagna
with: Aleppo. A laboratory for experiments in performance and politics, Mara Oscar Cassiani, Cristian Chironi, Luigi Coppola e Christophe Meierhans, Cosmesi, Alessandra Crocco e Alessandro Miele, Luigi de Angelis e Emanuele Wiltsch Barberio, I Detective Selvaggi, Dewey Dell e Massimo Pupillo, DOM-, Riccardo Fazi / Muta Imago, Nicola Galli, Voldemārs Johansons, Kinkaleri, Amir Reza Koohestani / Mehr Theatre Group, Enrico Malatesta, Motus, Ivana Müller, Ninos du Brasil, non-scuola, Zachary Oberzan, Markus Öhrn/Azdora + Stefania ?Alos Pedretti, Bouchra Ouizguen, Palm Wine, Parasite 2.0, Philippe Quesne, Cristina Kristal Rizzo, Michele Rizzo, ronin e gruppo nanou, Scenario Live, Alessandro Sciarroni, The Soft Moon, Mårten Spångberg, Strasse, Teatro delle Briciole, Zapruder filmmakersgroup + ZEUS!, Centrofestival, dopofestival mobile, P.S. Presente Sostenibile
“the Festival invites us to immerse ourselves in art and fiction as though in a possibility that the real might become a turbulent disturbance, to think of art and imagination as an opportunity to extend the real and create a reality that at least momentarily includes the invisible, the impossible, the agency of the non-human, the infinitely small and infinitely large, extinct animals and the most distant galaxies, feelings we cannot name and the so-luminous abysses they inhabit.”
info: http://santarcangelofestival.com/sa16/
Modern Geographies
4 – 5 JULY 2016 Laboratorio del Dubbio – Turin
Monday 4 July 18.30 > 21.30 Open studio Cristian Chironi 19.30 Cristian Chironi in conversation with Giangavino Pazzola. Open debate around the project My house is a Le Corbusier, video screenings and presentation of the book Broken English/My House is a Le Corbusier (NERO, 2016).
For the Venice Architecture Biennale he directed, Rem Koolhaas asked the question: “How and in what form have we absorbed modernity?” Invited by Laboratorio del Dubbio to focus on the theme of the Modern (or Modernity, or Modernism), Cristian Chironi begins with a line of research that opens with the project My House is a Le Corbusier, and with recent habitation experiences inside structures created by the Swiss architect, to bear direct witness to the experience of a new way of living in the contemporary world. Through active presence at Laboratorio del Dubbio and in the city, the installation of a sample of works in space and a public encounter, curated by Giangavino Pazzola, Chironi implements a narrative device capable of including and welcoming the viewer into his experience, making an otherwise precluded architectural and cultural legacy accessible.
My House is a Le Corbusier is a work spread across time and space, an experimental work in progress, a construction site of ideas and research, education and inclusion, as well as a diffuse residency inside the works of Le Corbusier.
Tuesday 5 July 18.30 > 21.30 Opening and group installation of CAMPO and special guests 19.30
CAMPO in conversation with Marco Rainò. Round table with guests and video screenings.
Modernity, more than a (concluded?) historical period, is a cultural condition that has a more or less conscious impact on those who live in the contemporary world.
Laboratorio del Dubbio invites CAMPO to directly come to grips with these theme, starting with the “domain” of architecture – theoretical and practical – to explore other disciplinary territories. The dialogue is accompanied by the invention and production of a visual installation that besides presenting the precious path of research and analysis conducted to date by CAMPO in the spaces of its operative headquarters in Rome in an unprecedented “synthetic formula,” also sets out to stimulate the production of ulterior connections and knowledge.
http://www.laboratoriodeldubbio.it
twiner#4 – With or Without Wings
an art and design project by ex elettrofonica + secondome design gallery
8 – 15 maggio, opening: venerdì 6 Maggio 2016, dalle ore 18,30. Lounges del Corporate Hospitality degli Internazionali BNL d’Italia Centrale del Tennis, Viale delle Olimpiadi, Foro italico Roma
La galleria d’Arte Contemporanea Ex Elettrofonica e la galleria di Design Secondome sono liete di presentare la mostra twiner#4 – With or Without Wings, che inaugurerà venerdì 6 Maggio 2016, dalle ore 18,30 nelle lounges del Corporate Hospitality degli Internazionali BNL d’Italia all’interno del Foro Italico.
Con la consueta ironia, propria del linguaggio contemporaneo, With or Without Wings, letteralmente Con o Senza Ali, gioca sul metaforico parallelismo, spesso usato, tra gli atleti e gli uccelli. Gli sportivi sono paragonati a questi animali per la loro velocità, per la perfezione dei gesti, per la proverbiale eleganza di portamento e per l’audacia con cui si lanciano in imprese apparentemente impossibili. A ben vedere gli uomini condividono con gli uccelli anche la natura di bipedi, e in un certo senso anche le ali, non fisiche ma metaforiche. Già Aristofane, nel 414 a.C. nella sua opera teatrale Gli Uccelli aveva immaginato una città ideale, Nubicuculìa edificata nel cielo, dove uomini e volatili convivevano, e Giacomo Leopardi, forse il più noto dei nostri poeti, nelle sue Operette Morali (1824) scrive un Elogio degli uccelli dove queste creature sono paragonate agli uomini.
La mostra ha la qualità di trasformare il Centrale del Tennis in una contemporanea Nubicuculìa, un luogo dove il contrasto, la corruzione, le frustrazioni del quotidiano siano superate a favore di un’utopia impossibile da realizzare, se non per poche ore. Grazie alla nostra immaginazione e al tennis le nostre ali mentali varranno più di quelle reali dei volatili. Pronti a guardare il mondo dall’alto?
Stefano Arienti Atelier Biagetti Karen Benbenisty Bosa ceramiche Silvia Camporesi Edra Guglielmo Castelli Luce di Carrara Cristian Chironi India Mahdavi Iulia Ghita Coralla Maiuri Kaarina Kaikkonen Seletti William Kentridge ·TO·DO Michaela Maria Langenstein Giorgia Zanellato Margherita Moscardini Beatrice Pediconi Max Renkel Emily Sartor Marinella Senatore Kiki Smith
info: info@exelettrofonica.com info@secondome.biz
Atelier Pozzati
10 marzo > 17 aprile 2016 Bologna Autostazione
Piazza XX Settembre 6, angolo Via dell’Indipendenza
La mostra Atelier Pozzati, curata da Antonio Grulli, è un omaggio alla figura del Maestro Concetto Pozzati come artista e come docente dell’Accademia di Belle Arti di Bologna (in un arco temporale di circa 30 anni, dal 1976 al 2004) attraverso la selezione di 16 suoi studenti che sono diventati affermati artisti capaci di raggiungere la più importante scena dell’arte internazionale ottenendo grandissimi successi e riconoscimenti, tra i quali: Alessandra Andrini, Sergia Avveduti, Bertozzi & Casoni, Pierpaolo Campanini, Paolo Chiasera, Cristian Chironi, Cuoghi Corsello, Marco Di Giovanni, Maurizio Finotto, Lino Frongia, Omar Galliani, Eva Marisaldi, Andrea Nacciarriti, Alessandro Pessoli, Leonardo Pivi, Sissi.
La figura di Pozzati come artista ha attraversato gli ultimi decenni dell’arte e della storia italiana riuscendo a imporsi nelle principali manifestazioni espositive nazionali e internazionali. Si tratta di una personalità complessa che è riuscita a lasciare un segno forte anche nel panorama politico. È altrettanto nota la sua lunga attività di insegnante all’interno delle Accademie di Belle Arti italiane, ma ad oggi è mancato un momento di riflessione per organizzare e provare a capire quali risultati, e di quale livello, questi anni di insegnamento hanno prodotto.
La mostra Atelier Pozzati cercherà di lavorare in questa direzione proponendo una parziale selezione di studenti che si sono formati con il Maestro durante gli anni di insegnamento all’interno dell’Accademia di Belle Arti di Bologna. Anni in cui dalla sua aula sono transitati artisti capaci di raggiungere la più importante scena dell’arte internazionale, ottenendo grandissimi successi e riconoscimenti. Ma non solo. La sua esperienza risulta un unicum a livello nazionale: per il numero e la qualità degli artisti che con lui hanno studiato, ma soprattutto perché è riuscito a fare in modo che ognuno di questi fosse in grado di trovare una propria voce e indipendenza intellettuale. E’ quasi impossibile infatti trovare somiglianze tra coloro che si sono formati con
Pozzati, i quali spaziano attraverso le più disparate poetiche ed hanno abbracciato tutti i linguaggi e i mezzi dell’arte di oggi; dalla pittura al video, dalla performance al disegno, dalla scultura all’utilizzo del testo poetico. La mostra si limita a una piccolissima e parziale selezione di artisti, ma l’analisi andrebbe allargata ai molti critici, curatori e direttori di museo che con lui hanno studiato, ai registi teatrali, agli scrittori, finanche ai politici, mostrando come Pozzati sia stato in grado di trasmettere la sua figura, essendo lui stesso non solo un grande artista, ma una figura di raccordo con il mondo politico, le istituzioni civili, e un intellettuale in grado di ripensare la geografia delle istituzioni culturali di Bologna.
La mostra Atelier Pozzati, organizzata da Caravan SetUp nasce dalla volontà di Simona Gavioli e Alice Zannoni di realizzare il desiderio di Concetto Pozzati che, nel festeggiare i suoi 80 anni a dicembre 2015, espresse queste parole: “Sarei felice di brindare con quelli che sono stati i miei studenti!”. L’esposizione non è solo l’occasione per rinnovare gli auguri a Concetto Pozzati, ma vuole essere un momento di ringraziamento pubblico alla sua carriera, come artista e sopratutto come uomo.
Info: info@caravan-it.com
www.culturaliart.com
BROKEN ENGLISH / MY HOUSE IS A LE CORBUSIER
A book on Cristian Chironi
Bologna MAMbo
31.01.2016 at 11:00 am
Bologna MAMbo – museo d’arte moderna di Bologna and Xing
present Broken English / My house is a Le Corbusier. A book on Cristian Chironi produced by Museum MAN
On the occasion of arte fiera/art city bologna, MAMbo Museum hosts the book launch of ‘My house is a Le Corbusier / Broken English’, published by NERO. A two-sided book containing two different projects by Cristian Chironi: an evolving performance undergone by the artist whilst living in houses designed by Le Corbusier, and Broken English, which began as a performance before developing into a multilayered exhibition. At MAMbo Chironi will be in dialogue with Silvia Fanti, Lorenzo Giusti and Giuliano Gresleri.
where: mambo – via don minzoni 14 – bologna
www.mambo-bologna.org www.museoman.it www.xing.it www.neromagazine.it
agenda.comune.bologna.it/cultura/artcity
Detail
Title: Broken English / My House is a Le Corbusier
Author: Cristian Chironi
Copyright: Cristian Chironi, NERO, MAN_Museo d’Arte Provincia di Nuoro
Release: January 2016
Languages: English/Italian
Format: 16 x 22 cm – hardcover
Pages: 192
Description:
My House is a Le Corbusier / Broken English is a two-sided book containing two different projects by Cristian Chironi.
The project called My House is a Le Corbusier is a work in progress that the artist himself defines as “a crucible of ideas, research and exhibition” and a sort of living experience that is intended to grow over time. Indeed, it is an evolving performance, or cacophony of experiences, undergone by the artist whilst living for variable periods in houses designed by Le Corbusier.
On the other hand, Broken English, began in 2012 as a performance, before developing into a multilayered exhibition with performative elements. It superimposes linguistic and socio-economic issues through the transformation of uncertain variants of the English language into images, objects, sounds, videos, texts and installations.
The book itself, divided into two specular sections, has two covers: the reader can choose to begin with either of the projects. Intersecting and diverging, both projects raise questions surrounding communication, reading and interpretation and concomitant linguistic and socio-political implications. At the very center of the book, there is a section with two theoretical essays written by Silvia Fanti and Lorenzo Giusti.
The Cave
Cagliari’s City Museums present The Cave, a project by artist Cristian Chironi which opens the new exhibition venue Cartec – Cava arte contemporanea – Contemporary Art Cave. This cave was dug in the Middle Ages as a stone quarry; during World War II, it served as an air raid shelter, and at the end of the war it was used for some time as a makeshift dwelling for people whose homes had been bombed. Today, it has been turned into an exhibition space for contemporary art exhibitions and public art projects. The Cave project has turned this space into an underground construction site, a workshop and art studio, a maze of passageways to be crossed in several directions, where several creative languages and media come together: installations, sound, performances and visual art. The idea was to turn both the interior of the cave and the space around it into a temporary living space: to create a new – yet ancient – stopover point, a meeting place for tracing connections, exchanging ideas and musing on some of the most topical issues of our times: protection; reception; integration; housing. A sort of digging process, made day after day. Four months of work in progress, which the artist chose to spend on site. In the first phase of the process, the artist interviewed the older people in the neighbourhood, jotting down their memories as sources of inspiration for creating his works and rewriting the history of the place. This was followed by a workshop with the “young” people of the city, conceived as a process of joint ownership. In parallel, and up to opening of the exhibition, the cave served as the artist’s studio, where one could talk to him and witness the development of his artwork. A long period of construction – at times solitary, at times with people coming in – with scattered public events presenting videos, documents and performances, plus conferences and seminars on several themes: architecture and landscape in wartime; curatorship as a form of reception; the ways in which historical events transform spaces; exchanges of ideas and reflections on the concept of integration; and contemporary housing. Cristian Chironi carved out in the cave his personal research path through his interpretation of witness accounts: every evening he brought back home with him the atmosphere of the cave and some fragments of the anecdotes he had heard from the cave visitors. The Cave experimented with a form of reception: visitors played an active role in the project, by moving freely in this “parallel” space while maintaining free use of their own.
MUSEI CIVICI CAGLIARI Cartec – Cava Arte Contemporanea, from April to 15th of July
Largo Giuseppe Dessì, 09124 Cagliari www.museicivicicagliari.it
ARTISTS’ SALON
La scena contemporanea francese, italiana e svizzera a NEW YORK
13 e 16 Gennaio 2016 2.30 PM – 5.30 PM 10.30 AM – 1.30 PM
Gibney Dance – Agnès Varis Center for the Performing Arts
Presentato dai quattro Festival italiani Short Theatre, Santarcangelo dei Teatri, Terni Festival, Drodesera, l’Office National de Diffusion Artistique (ONDA) e Pro Helvetia Swiss Arts Council
In collaborazione con l’Institut français, e a New York, con i Servizi Culturali dell’Ambasciata Francese, il Consolato Generale della Svizzera e l’Istituto Italiano di Cultura.ARTISTS’ SALON è uno spazio d’incontro che raduna tredici compagnie della scena contemporanea provenienti da tre differenti nazioni – Francia, Italia, Svizzera – con l’obiettivo di incontrare curatori e organizzatori culturali più da vicino. Strutturato in una serie di incontri tra artisti e operatori, il Salon è una piattaforma, uno strumento per scambi proficui e vivaci, al fine di scoprire nuovi lavori e nuove visioni.FILIPPO ANDREATTA (IT) – GAËLLE BOURGES (FR) – CRISTIAN CHIRONI (IT) – YOUNGSOON CHO JAQUET (CH) – MOHAMED EL KHATIB (FR) – MASSIMO FURLAN (CH) – GILLES JOBIN (CH) – THOM LUZ (CH) – CHLOÉ MOGLIA (FR) – MUTA IMAGO (IT) – CRISTINA RIZZO (IT) – NOÉ SOULIER (FR) – STEREOPTIK (FR)Gibney Dance – Agnès Varis Center for the Performing Arts
280 Broadway (Enter at 53A Chambers Street)
New York, NY 10007
Contatti : Nicole Birmann Bloom
Email: artistssalons2016@gmail.com
VC30 | CHAOTIC PASSION
Museo d’arte contemporanea Villa Croce
December 17, 2015 – March 20, 2016
Opening December 16
Curated by Anna Lovecchio and CHAN
Writing about collecting, Walter Benjamin maintains that “every passion borders on the chaotic” in a continuous tension between the poles of order and disorder. Does the same hold true for a museum’s collection? For the thirtieth anniversary of Villa Croce Museum, the exhibition Chaotic Passion intends to explore this dialectical relation by putting artworks from the collection in dialogue with works produced over the last ten years by a new generation of artists.
Located in the namesake villa, Villa Croce Museum opened to the public in 1985 as a venue mainly dedicated to contemporary art exhibitions. The permanent collection started with the acquisition of the Cernuschi Ghiringhelli collection by the City of Genova in 1990 and was increased mainly through gifts and donations over the following decades. Therefore, the historical core of the collection reflects Maria Cernuschi Ghiringhelli’s own passion for the developments of Italian abstraction and her personal sentiment that the purchase of an artwork was a means to sustain and support the artists themselves.
Chaotic Passion proceeds on the assumption that the museum’s permanent collection should not be locked up in a fixed aesthetic canon that speaks uniquely of a past more or less distant from our time. Challenging the works of the collection by re-positioning them into the present makes it possible to bring to the fore diverse aspects of their ongoing significance. It may shift the expectations of the public by prompting the renewed appraisal of the works’ valence and the renegotiation of their meaning.
Through a loose cross-reading of the collection, two lines of research were singled out for their relevance with regard to current artistic processes: abstraction and the verbo-visual research. Abstract paintings form the most outstanding part in the collection of Villa Croce Museum. For this occasion, they are related to contemporary practices that engage abstraction from a different angle in order to address economic, geopolitical and emotional issues. In the same way, works from the collection that explore the act of writing as an aesthetic gesture and language as a tool of artistic creation become the starting point for a broader reflection on the destructuring of language beyond its communicative function and on new modes of legibility and representation of the linguistic sign.
Orchestrating aesthetic attitudes from different time periods in unexpected alignments and along outward trajectories, the exhibition cuts loose with historicist narratives to experiment correspondences among artworks that encourage a free-flowing approach to the artistic research. Chaotic Passion invites the public on a nonlinear journey where the past and the recent are constantly shuffled. It creates an ecosystem formed by multiple temporalities, dissonances, and reverberations where the works are asked to engage one another in mysterious relationships and experimental combinations that promp different interpretations of abstraction and language as fields of aesthetic research.
Meris Angioletti/ Chiara Camoni/ Alice Cattaneo/ Cristian Chironi/ Danilo Correale/ Claire Fontaine/ Silvia Giambrone/ Alice Guareschi/ Jacopo Miliani/ Margherita Morgantin/ Rebecca Moccia/ Andrea Nacciarriti/ Pennacchio Argentato/ Serena Porrati/ Maria Domenica Rapicavoli/ The Cool Couple/ Serena Vestrucci/ Void.
Vincenzo Agnetti/ Cesi Amoretti/ Antonio Calderara/ Ettore Colla/ Gianni Colombo/ Pietro Consagra/ Dadamaino/ Corrado D’Ottavi/ Lucio Fontana/ Virginio Ghiringhelli/ Osvaldo Licini/ Piero Manzoni/ Bruno Munari/ Anna Oberto/ Mauro Reggiani/ Regina/ Ben Vautier/ Rodolfo Vitone/ Gianfranco Zappettini/ Alberto Zilocchi.
My house is a Le Corbusier (Appartement 50 – Unité d’habitation)
Marseille 14 november > 13 december 2015
Appartement 50 – Unité d’habitation Le Corbusier
After Espirt Nouveau in Bologna and Studio-Apartment in Paris, Cristian Chironi takes his project My house is a Le Corbusier to a residency in apartment 50, inside of the Unité d’habitation built by Le Corbusier in Marseille.
Simultaneously acting as work in progress, think tank, space of research and collaboration, exhibition and didactic platform in addition to residency, My house is a Le Corbusier has the ambition to grow during a long term period, during which Chironi will spend variable amounts of time within the walls of the many Le Corbusier complexes present around the world. The outcome of this growth means to take the form of all the experiences that Chironi might realise there.
This long term project will develop across 12 nations as a performance extended in time, home after home. They are “Pilgrim Homes” inescapably linked to the movements and intersections of a diversity of geographies and cultures.
Chironi’s point of departure is a true story. In the second half of the sixties the artist Constantino Nivola, who shared a deep friendship and a history of collaboration with architect Le Corbusier, was passing by the town of Orani (both Nivola’s and Chironi’s town of origin). There, in the hands of his brother “Chischeddu”, he left a signed project of the great architect in the hopes that Chischeddu and his sons (who were masons) would scrupulously follow its instructions for a house they were about to start building. However, the token’s importance was not received and some time later, after returning from Long Island, Constantino noticed that the house, which was ready, did not correspond at all to the characteristics of the original project. Constantino reacted by taking the project back. The house, which still stands, was built favouring working class functionality over the modernist idea (the same family declared “it had neither doors or windows and it looked more like a hovel than a home”) and it now bears, perhaps only the “mood” the original plan.
Drawing on this event, Cristian Chironi will detect potential narratives, necessary to the analysis of a series of contemporary relations which, depending on the context they are detected in, will carry with them certain linguistic and socio-political implications. He will immerse himself, during times of economic instability and precariousness, in the impossibility of owning a home and will exchange it with the freedom to live in Le Corbusier homes across the world.
In order to understand how the heredity of Le Corbusier is received today and in what conditions the “home of man” is, Chironi makes these homes into “privileged observation posts”. From this position he can, in return, offer a rendition of the architecture through narration and direct contact with its dimension of time and space; a place where to hold discussions and confrontations, where one can observe the artist at work, attend events, look through available documentation or simply have a coffee together.
Appartement 50 is the third stage of Chironi’s geogreaphy of inhabitation. This national historical mounument, which usually welcomes exhibition projects and designers, will, on this exceptional occasion, open its doors to a project touching, in addition to design, several planes of expression. The apartment stands on two levels, its main characteristics are a sense of familial comfort and light coming through a large window on the south side of the building. L’Unité d’habitation was commissioned by the french government in 1945 as part of a plan to provide council homes to combat the housing crisis. Le Corbusier, whose ideas were equally invested in social research as they were in design, took this opportunity to redefine the importance of the domestic and collective space.
Looked at through the present time, the Unité d’habitation acquires further significance for Chironi. Today there is a sense of detachment between architecture and civil society, the tendency is to invest in spectacle rather than essential living necessities. Le Corbusier had anticipated some current problematics, for example the excessive growth of cities, the use of cheap construction solutions, the lack of habitable space and the changing relationship between neighbours. The third stage of this project will also be a chance to assert Le Corbusier’s ability to foresee the development of such issues.
Living in the Unite d’habitation in a time of forced migrations and asylum seeking, becomes even more valuable to Chironi. In the role of artist he calls for architecture and politics of construction to take an active role and think about new and affordable housing solutions. In the Cité Radieuse it is exactly the unity of personal and social needs that gives it its strength, by considering the living units as cells of a shared organism.
The construction Unité d’habitation was inspired by ideas of functionality and practicality that can be found on an ocean liner. Starting from this similarity Chironi embarks on a journey of homes, reestablishing connections, occasions of hospitality and giving particular attention to issues of the present time. The Unité d’habitation is thus steered as a ship across the mediterranean, along a journey of living.
During this course Chironi will try to get in contact with the living conditions and individual stories of his neighbours, near and far, by interacting with the communal areas of the complex (including the kindergarden, the roof terrace, the library and the other spaces of the shopping area) and at the same time with the cities of the mediterranean, in order to develop a vision of an open and united society. Rethinking the mediterranean, not as someone else’s problem, but as a place of belonging, reunification and rediscovery, for a new journey into research and form.
Over the years I have felt myself become more and more a man of everywhere but always with this firm attachment to the mediterranean : queen of forms under the play of light. (Le Corbusier) Cristian Chironi’s experience at the Unite’ d’habitation will last one month and will be punctuated by a time of solitary work and one in which the visitor is welcomed to the apartment to interact and get to know the artist.
Running alongside My house is a Le Corbusier, a project dedicated to sound, My sound is a Le Corbusier, will carry on with three appointments: a “mise en abyme” recorded in the Appartement 50: a conversation between Cristian Chironi, the sound artist Alessandro Bosetti and the ghost of composer-architect Iannis Xenakis, who collaborated with Le Corbusier by applying musical elements onto architectural concepts and developing them together. The sound composition of Alessandro Bosetti will be printed on vinyl. A work by Cristian Chironi and musician Francesco Brasini will see as its subject the Mistral, a wind blowing from North West onto the architectural parts of the house as if blowing into a sail, and finally a field recording from the crypt of the basilica of Notre-Dame-de-la-Garde (the city’s symbol and protector of sailors and fishermen), will be offered as ex-voto.
The fiction writer Marcello Fois will contribute to the project My house is a Le Corbusier (Appartment 50 – Unite’ d’habitation) with a piece of text.
The live events will continue on the 29 of November, with a new version of the performance ECO, for which Chironi will sit for the whole day on the edge of the roof terrace. Looking at the horizon and carrying a book on the mediterranean under his arm, he will establish a personal and empathic relationship with the territory surrounding him, the unite d’habitation and with the city itself. A long lasting action, from dawn till sunset, during which time Chironi will remain in complete silence, listening to the calling of the sea and introducing an ideal bridge between North, South, East and West.
On the 10th and 11th of December, in Florence, two days of reflections on the theme of habitation in the XXI century will take place, created by Patrizia Mello (Department of Architecture, University of Florence) and Valentina Genuine (Le Murate. Progetti Arte Contemporanea), starting from Chironi’s experience as inhabiter of Le Corbusier’s houses. The meetings will make use of video projections, phone connections with Appartement 50 and discussions with students, researchers and a representative of Fonadation Le Corbusier, with the support of the Institute Français of Florence).
Details on all the appointments – confirmed and in the making – will be announced on www.cristianchironi.it and www.facebook.com/myhouseisalecorbusier
My house is a Le Corbusier (Appartement 50 – Unité d’habitation) is a project in collaboration with the Foundation Le Corbusier of Paris and the Appartement 50. With the support in the communication office of the institution Bologna Bologna Musei | MAMbo – Museo d’Arte Moderna di Bologna, MAN – Museo della Provincia di Nuoro, Xing Bologna and NERO.
A special thanks to Jean-Marc Drut e Patrick Blauwart. Alice Santiago for collaboration.
The inhabitants of Cité Radieuse Unité d’habitation Le Corbusier – Appartement 50, 5e rue, 280 boulevard Michelet, Marseille.
14 november > 13 december – period of residence / 23 november > 13 december – individual visits by appointment: send an email to cristianchironi@gmail.com
www.appt50lc.org www.fondationlecorbusier.fr
Godless
2 October 2015 – 13 January 2016
EX Elettrofonica
Ex Elettrofonica is pleased to announce Godless, Cristian Chironi’s first solo exhibition in Rome. Moving instinctively throughout the fluid spatiality of the gallery, Chironi creates a panorama with its origin sin error and in the combination of opposites, forcing works created with different media to coexist, as is common in his artistic practice: sculpture, photography, video, performance, engraving, graphics and collage.
For this occasion, the artist has designed an installation apparently free fromall narration, in which the works, belonging to his past and present journey, are arranged informally. The inspiration for Godless came from the history of Elettrofonica, a company that had its warehouses in Vicolo Sant’Onofrio in the 1970s, whose origin was preceded by a dramatic family event. The result is a virtual journey, consisting of invisible connections, powered by unexpected correspondences of events that are related, though distant, referring to an imaginary other. Cristian Chironi writes: “The fact is that I could easily describe that story in images, by simply using my story. The events are different but parallel.”