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Artissima #1: Highlights of this year's fair, A look at Turin's industrial and esoteric history
by ArtSlant Team


ON OCCULTISM AND RACE TRACKS: ARTISSIMA

Turin's industrial and esoteric history, by Federico Florian

Turin rises up along a natural handle, the point where two rivers – the Po and the Stura – join together. The town seems to find its refuge there, and grows to the South multiplying its reticulum of streets and blocks. It resembles a reserved beautiful lady, adorned with yellow autumn leaves and magnificent stone facades – she softly reclines on the Piedmontese hills and looks towards the Alps, whose embrace protects her from the Northern winds.

Turin, especially in autumn, is so charming and inspiring that it instills in the traveller such poetic ardors. But this city has a peculiar, uncommon disposition. I’ll try to describe it in a few lines.

First of all, not everybody knows that Turin was chosen as the Capital City immediately after Italy’s unification in the XIX century (and it remained so for only five years) – it owes its regal, orderly appearance to this reason. Also, only a few might be informed that the town is renowned as a notable esoteric center, located at the vertex of the magic triangle which connects it to Lyons and Prague (it’s not coincidence that the painter Giorgio De Chirico once defined it as “the most intense, enigmatic and unsettling city not in Italy but in the whole world”). Think of the Mole Antonelliana: a weird former synagogue, now the symbol of the town. If Nostradamus had been able to admire it during his stay in Turin in 1556, he probably would have compared the monument’s high pinnacle to a supernatural catalyzer, equipped to capture celestial energies. Instead, I like to imagine the Mole as the beam of an overturned compass, whose needle is the building’s majestic steeple pointing towards a heavenly Masonic eye...

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ARTISSIMA 20: EXPERIMENTATION AND EXPANSION

Alicia Reuter previews the highlights of this year's fair

Turin is gearing up for the 20th Artissima, and judging by the enthusiastic tone of the press releases, directors anticipate strong sales and record visitor numbers. The ambitious fair was recently named one of the world’s best by New York-based Skate’s Art Market Research, ahead of vaunted names such as Frieze and Art Basel Miami Beach. This accolade isn’t undeserved; Artissima’s distinction lies in its enthusiastic experimentation, even if returning director Sarah Cosulich Canarutto is markedly more cautious than 2010/11 director Francesco Manacorda. The expansion of the fair from 172 galleries in 2012 to 190 (sixty of those from Italy) this year will likely reveal its future inclinations, and whether it’s possible to continue to be innovative while maintaining the numbers...

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Driant Zeneli is one of the most promising young artists in the contemporary art panorama. About two weeks ago at the Gallery of Modern and Contemporary Art in Turin, he presented his latest creation, Leave me alone, in the context of the show “Vitrine – Gente in strada (Passaggio pedonale)” curated by Anna Musini, on display until January 12. Federico Florian met him a few days after the opening of the exhibition, and they had this exciting, inspiring conversation...

FF: How did you get to the work [Leave me alone]?

DZ: Leave me alone originated as a reflection on the spread of viral videos on the web. I noticed that videos on YouTube need to contain three elements in order to become popular: surprise, sex and violence...

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McArthur Binion, Under In:and:Out of Violet,  1978-79, oil stick, Dixon Wax crayon on aluminum, 46" x 59"; Courtesy of Kavi Gupta, Chicago/Berlin. At Artissima, Back to the Future Section.

Loris Cecchini, Stochastics (turtleslike cluster) II, 2013; Courtesy the artist and GALLERIA CONTINUA, San Gimignano / Beijing / Le Moulin (Photo Veronica Tronnolone); At Artissima, Main Section.

Jimmy De Sana, Gauze, 1979; Courtesy The Jimmy De Sana Trust and Wilkinson Gallery, London. At Artissima, Back to the Future Section.

Daniel Jacoby, Cuculí, 2011, Courtesy the artist, Galerie Antoine Levi (Paris) and Maisterravalbuena (Madrid). At Artissima, New Entries Section.

 
   

                

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Posted by ArtSlant Team on 11/11/13

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