
House of water
Memory Instinct in a Digital Era Clarifying and documenting what we remember and experience, and from that to create and attempt to influence.
Curator: Pietro Franesi
The toys box
The box where the toys are placed whenever one has finished to play, a container in which the creative activity is temporarily put away, together with that reality that even though it appears suspended, it doesn't cease to exist. It is the most cherished and precious thing that a child has, like a drawing, that (sometimes) without any reference to the visible objects from which he is surrounded, he spontaneously gives with joy to those he loves most. Meanwhile he draws he lives his story.
Each toy/piece of art is a piece of a tale: an object, a painting, a photo, the music.
The most concrete reality is the fruit of abstraction, matter manipulated by the idea, by the feeling. Like a natural flow of water which nobody knows where it originates. We know the water because a definition was given to it, but we do not know who has created it.
The Creator is the wind, the breath, the heartbeat, the fertilization. It is the question that is aimed to the Sky.
Thus the artist, tired of semiotics, semantics, of abstraction and figurativism, already accepted his human form, doesn't want to enter in another shape, the artist; therefore he takes his creations (those which make feel himself very proud of) and arrange them in a box. The box is a means, not a limit for the art objects, which are instead the subjects.
They aren't pieces of a puzzle to be put together, but elements to be placed according to one's own liking and to be taken anywhere one wants to, beacause they belong to the recreational world.
Whoever stops to look at them, becomes attacted by their reference to the external world and by their colours, but, the more one dwells upon them, the more he starts to hear something: the silence and their inner sound. That freedom that the artist experiences when he becomes "Everything"; soon after the onlooker feels their candor, the lightheartedness, and little by little he wants to own them. He wants to have them all.
They remind him of his desires, the songs sung by the mother, the feelings.
Finally the artist can share his living and emotions, which are the same for everybody, and his happiness finds realization in this process of giving them to others.
Exhibitions
2009 “1000 Artisti a Palazzo”, Group Exhibition, Palazzo Arese Borromeo, Cesano Maderno, Italy
“Rispettivamente Arte”, duo show, Sala Civica C. Levi, Desio, Italy
2008 "Painting and Graphic Art" solo show, Villa Vertua, Nova Milanese, Italy
2006 “Aesthetica Art Exhibition” at the Gateway to the Quarter, York, UK
“ Sara Manzotti Painting and Graphic Art “ solo show, Villa Tittoni Traversi, Desio, Italy
“ Hypegallery ”, Spazio Assab One, Milan, Italy
2005 “ Women’s Art Show 05 “, Fairfields Arts Centre, Basingstoke, UK
“ Hypegallery ”, Palais de Tokyo, Paris, France
“Lexmark European Art Competition 2004”, The Air Gallery, Dover Street, London, UK
“ Living London “, London College of Fashion, John Prince’s Street, London, UK
“ Hype Gallery “, The Old Truman Brewery, Brick Lane, London, UK
“ XHIBIT ’03 “, The London Institute Gallery Mayfair, London, UK
“ In – Print “, Cumbria Institute of the Arts c/o The Gallery at The Canopy, Kendal, UK
2002 “ In – Print “, Cumbria Institute of the Arts, Carlisle, UK
“ Brixton Open “, The Bettie Morton Gallery, Brixton, London, UK
“ Canonbury Gallery Open “, Canonbury Gallery, Islington, London, UK
“ Exposure “, The Beatrice Royal Contemporary Art Gallery, Eastleigh, UK
2001 “ Artists in Print too “, Atrium Cotton Building London Bridge, London, UK
“ Gardens “, InsideSpace Gallery, Burlington Arcade Piccadilly, London, UK
“ Artists in print “, R. K. Burt Gallery, London, UK
“ Engraving European Biennial 2001 “, Rotary Club Acquiterme, Ovada, Italy
1997 “ Menotrenta “, Competition for young artists, Hajech Art Space, Milan, Italy
1996 “ Young Brera’s Engravers “, Il Melograno d’Oro Art Space, Milan, Italy
“ In Accademia “, National Printmaking Competition for Academies of Fine Arts, L’Aquila, Italy
Cultural Association “ La Cuba D’Oro “, Rome, Italy
“ Salon I “, Spazio Linati Gallery, Milan, Italy
1995 Cultural Association “ La Cuba D’Oro “, Rome, Italy
“ Ex - libris and Engraving “, Libreria Duomo, Milan, Italy
“ Salon I “, Studio Lattuada Gallery, Milan, Italy
IV National Competition of Graphic Art, Brisighella, Italy
IV National Competition of Painting, Lissone, Italy
Publications
Image of a print chosen for the book ‘Illuminations’‘ by the Celestial Arts, Houston, USA, 2006
Images of paintings and prints used for The European School of Oncology leaflets:
Advances in Clinical Oncology Conference May 2005, Warsaw, Poland
Skin Melanoma Conference April 2005, Moscow, Russia
Advances in Breast Cancer and Melanoma Conference September 2004, Sofia, Bulgaria
Familial Cancer Conference 2004, Milan, Italy
Gynaecological Cancer Programme Brochure 2004, Milan, Italy
Breast Cancer and Melanoma Course and Seminars 2004, Milan, Italy
Chirurgia e Immagine Corporea 2004, Italy
Carcinoma Conference 2004, Milan, Italy
Event Brochure and Flyer 2003, Milan, Italy
Image of a painting used for the Department of Culture, Media and Sport Annual Report 2001 book cover, London, UK
Qualifications
2000 - 2003 Professional Development Award in Design
Certificates in Experimental Printmaking, Applied Printmaking, Printmaking Techniques
London College of Printing, London, UK
1996 - 1998 Diploma di Maturita’, (Art High School Diploma)
Liceo Artistico Hajech, Milan, Italy
1992 - 1996 Diploma in Painting (B.A. equivalent)
Brera Academy of Fine Arts, Milan, Italy
1989 - 1990 Certificate in Graphics
R. Bauer Institute, Milan, Italy
1983 - 1987 Diploma in the Teaching of Art (A level equivalent in art subject)
Institute of Art, Cantu’, Como, Italy
Title: DUTY CUBE
The idea is to interpret in a contemporary way and far from all rules the “Universal Judgment ” by Michelangelo.
The personalities with their past actions will become the new gods free to do anything trough connivances and calculations sometimes with good intentions but with disturbing results.
They are souls that float in a spiral that culminates with a symbol, there where Michelangelo has painted the vital touch between God and men. It’s a big question mark that contains and implicates the disturbing meaning of the work of art. Where will mankind go? Our personalities will move within the cube/worship place and from time to time they will be accompanied by quick questions written aside by the artist, almost as to involve the guest in a series of universal and personal questions that will remain inside, obliging him/her to reflect.
But the artist will insert also unknown men and women, autobiographical allusions that surface from his unconscious. It will be a marvelous trip through his contemporary history but also through his own intimacy, where personal power games chase each other trying to prevail above others.
For this reason the music that will reign inside the cube/worship place will be the pure essence of the concept of the game, the candid side of this term: nursery rhymes sang by kids in all languages.
Title: Body Painting
I was born in a extraneous world, I had to confront it and than I didn't understand it, and in the end I accept it. In reality I don't accept it, I live it, since I am here, I want to live as I say.
I want to live over lines, which I am not able to draw straight but always soft, round, like my body.
Nonconformist? No, It's not for me.
I write bad, I drink and smoke. I still dream to change the world without moving a muscle.
Fuck, I'm afraid.
At the same time a simple and old symphony exalt myself and in a second I fell inside a power that shake me from the stomach and sweep me all. In that way I can see clear. Sometimes the colors don't be enough, I scream on the canavas and I hide under that my desperate soul which wants coming out and asks help.
HELP.
IT'S GOOD. IT'S BAD.
JUMPS OF JOY AND CRIES OF DESPERATION.
Sometimes I'm crazy and sometimes I'm caste.
Sometimes I feel me the devil, other times an angel from the heaven.
I had my first black and white.
BIOGRAFIA
Nàschidu in Biddamanna (Og), bivet e traballat in Tortoelì ( Og ).
Sergio Muntoni pintat belle dae cando est nàschidu.
Giai dae pitzinnu at àpidu s’istintu mannu pro sas artes figurativas e de su
paesàgiu.
At fatu istùdios a inghìriu de sa pitura naturalìstica e ambientale italiana e
europea, faghende una autoriflessione profunda subra su divenire de
s’imàgine de s’arte, lompende a su cumbinchimentu ca, lassende pro
bonas sas operatziones de chirca e avanguàrdia, goi mutida, s’arte est fata
dae cussu traballu mannu chi est s’inventzione poètica de sa realidade.
Òperas suas s’agatant in museos, colletziones pùbblicas e privadas.
Testos crìticos de sa pitura de Sèrgiu Muntoni giughent sa frima de Paolo
Levi, Donat Conenna, G. Mugnone, G. Tuti, D. Picciau, G. Patellaro, S.
Busnelli, M. Belgiovine, I. Maidai, B. Bandinu (iscritore antropòlogu), G.
Lilliu (archeòlogu, Acc. De sos Lintzeos), M. Vanni, L. Ciatto, Barbara
Campagna (giornalista), F.R.Porcu (giornalista) L.Piras(giornalista e iscitore).
De sa monografia de Sergio Muntoni b’at una versione in VHS pro contu de
sa Vìdee- editziones televisivas- Milano- CD Rom pro contu de sa domo
editritze Alba Ferrara.
ONORIFITZIÈNTZIAS.
- Professore Mastru de arte “ Honoris Causa 2003”. Accadèmia
intern. dei Dioscuri, Taranto.
- Insignidu de su tìtulu de Gran maestro e ambassadore de s’arte
italiana in su mundu ( Cavalieri Templari della Civetta , regione Puglia,
prov. di Brindisi , Arte Mondadori, Palatzu de Provìntzia de Brindisi ,
2007.
- Insignidu de su tìtulu de: Acadèmicu, setzione arte dae
s’acadèmia “Greci Marino”, acadèmia de Verbano, Novara.
- Acadèmia Internatz. De Arte Moderna, Roma – Acadèmicu S.C.
Dae su 1997 Sergio Muntoni est pintore ufitziale e Legambiente
responsàbile provintz. de Salvalarte.
NO PROPAGANDA PROJECT
too much words lost ? for nothing… too much expressions misunderstood … too much stars anonymous …
“ NO PROPAGANDA “
And the world will be a preview or not …
The action is planetary but wants to be globally.
In front of so much light consummation and visual and virtual gavage – sumptuous and expensive – there is a need in reacting with a campaign of sticking placards, which shows but doesn’t encourage. Art to provide help to consumers and non-consumers, which presents like nonsense or an allegory of non-advertising, claiming an anti-advertising message for a non-public by the means of primary communication and visible (very visible) for everybody everywhere.
art like a useless propaganda – or propaganda like a useful piece of art.
… finding in a antediluvian gesture imaginary art in a primary and universal communication …
As a big campaign, but for nothing , derision and NO-fun …
SP 38 , October 08.
Stephanie Homa’s work, in its innocent, child-like style, reflects the aesthetics of drawings made during childhood, taking the viewer on a nostalgic trip down memory lane.
In this naïve manor, Homa, who is sometimes referred to as Cake, juxtaposes simple motifs of memorable objects such as animals, birds, trees and rainbows with man-made symbols like cars, helicopters and tall buildings that appear slightly more abstracted, attempting to create a tension between the two. The realms of nature clashing with the products of civilization are accentuated by a combination of the use of bright or pastel colours and the artist’s impulsive flow.
Homa is inspired by automatism, a method which the Surrealists and Dadaists commonly used, where the artist strives to allow the impulses of the unconscious to guide the hand in matters of line, colour, and structure without the interference of conscious choice. By working in this way, a dreamlike atmosphere is created in her works, however a distinct central figure often appears, which is given symbolic importance.
Homa’s expressive freedom is an attempt to dispose of conventional drawing techniques, which is also apparent in the materials she works with, often using imperfect or used papers that have been folded or marked since their production. Despite this, her well composed collages with their precisely placed dots, stars and hearts suggest a well thought-out arrangement.
Stephanie Homa was born in Germany in 1981. She studied textile and surface design in Berlin, graduating last year, and now lives and works in London where she has mainly been selling her work online.
Curator: Pietro Franesi
Title: Lost civilization of vessels
2009
video, DVD stream MPEG2 PAL 4:3 Stereo, 5' 10''.
This short movie has been realized with homonymous photographic series, consisting of 675 elaborations 24x32 cm, in order to create an additional narration that serves to better comprehend the meaning project.
As a file of mysterious and alien origins, the artwork displays the finds of what seem a civilization suddenly disappeared.
Of this civilization, incomprehensible to the eyes of exotic archaeologists, remain nothing but but debris of toxic substances and rubbish, which lay under an invisible dust into a still atmosphere, crystallized, with muffled reverberations, where the nature slowly returns to its archaic equilibriums.
From these poisonous debris, lost on calm moor, one tries to deduce with logic the fate fell on this “civilization of the vessels” that it has vanished leaving no other traces.
These debris are the only clues of the past existence of a certain form of almost intelligent life, that however has gone lost or has been corrupted up to the self-destruction.
The echo of a foolish tumult from a distant planet extinguishes itself in a final dull roar.
Perhaps attracted by this roar, the travellers came in this stone lost in the cosmos just to ascertain the end of that tumult.
RICREARTE takes life from an intuition of Sabrina Locatelli, graduated in Architecture at the Polytechnic of Milan.
RICREARTE mostly plans, produces and commercializes objects of innovative design using recovered materials. From here the definition [eco] design, meant like reinterpretation of the discarded object and gesture of resistance to the contemporary phenomenon of compulsive wasting.
Objects of design like lamps, carpets, mirrors and sittings are the real outcome of this projecting reflection.
The searching distance is a complex way. It begins from the study, the research and the choice of the materials. Through the planning of the finished work and of the execution instruments, it is advanced until its complete realization.
A continuous dialectic dynamics characterizes the entire process, from the idea to the realization, through the research of an equilibrium between shape, colour, matter and proportions.
If from Arman’s works and then in the Sixty’s, through the Junk Art, the refusals have made their appearance into art galleries, now is the whole world of the design that gives its attention on (?) and re-interpretates them.
Nowadays it isn’t just an esthetic issue, born to give visibility to the implications of the society of the consumptions, but also an ethic issue to the sustainability of life styles. From the provoking attempts, the disconcert operations and the re-contextualization beloved to the artists, [the eco] design moves the attention on the refusal in an ecological point of view: creating objects by what is discarded is a meaningful gesture above all in the name of sustainability and respect of the atmosphere.
It’s a poetic gesture!
ROTHKO CARPET - PRODUCT DESCRIPTION
1. definition
Rothko is a carpet in pure wool felt, hand interlaced.
2. philosophy
The Rothko carpet conjugates tradition and innovation.
One traditional technique as the webbing, through its interlace of weft and warp, joins the innovative topic of the sustainability, meant at the same time as idea, style of life, way to produce.
3. materials
The material used for its realization is recovered from flashes (rejects) of industrial working. They’re selvage drafts of working of the felt. The main characteristics of the “raw materials” are the length (ca. 50 meters every selvage), the thickness and the trace of the seam executed before the cut with a clashing coloured thread.
4. working
The instrument for the realization of the carpet is a handicraft chassis by hand, with specific adjustments according to the base material.
The qualities of the material allow to create, in phase of webbing, a particular, large weft interlace, in which the colour of the felt mixes to the seam’s one following an irregular course (due to the natural torsion of the fiber in phase of working) that creates sophisticated nuances. The connection of “strips” of different colours is made without seams, simply interlacing several selvages the one with the other.
5. finished product
The used technique concurs to obtain infinite variations, through the choice of many different colours, various modalities to assemble them (lines, squares,…) and multiple dimensions.
The characteristics of the material, the particular weft, the design and the colours, rewards every carpet an only piece.
A contemporary weave from an ancient technique.