(e)migration | inernational curatorial project | bulart gallery

буларт галерия

представя

(е)миграция

кураторски проект 

вернисаж: 17 април 2013 от 18:00ч

дати: 18 април - 7 май 2013 

артисти:

авела адмон (германия)| антония колева-нитра | дарина пеева (българия/австрия) | иво бистрички |иван костолов | лиана димитрова (българия/канада) |люба халева | лучано чиветини (италия) | марк о`лийри (ирландия) | масимо росети (италия) | мазурски |николай нинов | паоло вивиан (италия) | роберт крьозингер (българия/германия) | рая георгиева | веселин дамянов-вес | велико маринчевски

за проекта
(e)migration е интернационален кураторски проект, фокусиран върху преместването. В неговото заглавие е заложена игра на думи с понятията миграция и емиграция. Латинската дума обозначава промяната на постоянното положение от една среда в друга,било на гени, хора, птици или животни,предизвикана  поради определени обстоятелства. В социален план „миграция” е понятие, което обозначава промяната на местообитаване,напускането , докато „емиграция” определя процеса на пристигане и установяване.В  проекта обаче не се разглежда физическото движение на човешките маси, а се обръща внимание на преместването и дифузията на култури, памет и идеи. Препозиционирането е като обект. Номадските пътувания на сърцето  предизвикват формирането на нови взаимоотношения, които засягат и размиват  моделите на колективната памет. Паметта като средство за съхраняване на информация  и опит бива принудена да приема нови роли- като тази на „дифузьор” в системата от ценности, където се оптимизират новите културни модели на поведение, където се  отхвърляа Аз-а и се приема нова форма на самоличност. Един процес на преформатиране на идентичност, който разтяга границите на  обществената отговорност и превръща  личността в постоянен номад, направил бягството в начин на живот.  Зигмунд Бауман  в „Културата на глобализирания град” /Culture in a Globalised City; Zygmunt Bauman/ пише „Днешната култура се свежда до жертвоприношения, а не до норми”  и в този смисъл тук, нормата се явява самото лично жертвоприношение . В този процес чувствителният  апарат на изкуството регистрира и съхранява акта на преместване, като квази свидетел  на свиването и разширението на частните граници на съществуване и съпротивление, бомбардирани от динамиката на бита, съблазните на свръхпроизводството, мимолетността на любовта и ефимерността на идеалите, свидетел на миграция и емиграция на ценности и позиции, извършвани най-често поради отхвърляне и саможертви.

В проекта  (e)migration са представени 17 творци от България, Германия, Ирландия, Италия, които чрез средствата на живописта, скулптурата,  дигиталния печат,  звука и текста предизвикват аудиторията на поход, в който непредубедения зрител обследва различните състояния на  мигриращия човек, сам превърнал се в обект, заради възможностите на различния прочит.Въпросът за идентичността в ерата на глобализация и тотално движение отвъд границите на културната дистанция и социалните модели. Изложба- предложение за интелектуално пътуването на сърцето, в търсене на алтер-его във времето на сливане между идеи и идеали в микрокосмоса на личността и колективната памет. Напускайки концепцията на проекта и установявайки се в своята перцепция зрителят разширява параметрите на прочит. Визуалната достъпност ,модерния формат и дозираната ирония оформят  профила на изложбата в диалогов режим, достъпен за сетивата, който способства трансформацията на  зрителя -мигрант в емигрант.

Дора Дончева-куратор

повече инфо има тук:
буларт галерия|шипка 22|варна 9000|българия|www.dorabulart.com

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bulart gallery 

presents 

(e) migration

opening: 17 april  2013 at 6 pm 

duration: 18 april -7 may 2013 

the artists:

avela admon (de) | antonia koleva-nitra |darina peeva (bg/at) | ivo bistrichki | ivan kostolov |liana dimitrova (bg/ca) |luba haleva | luciano civettini (it) | mark o`leary (ir) | massimo rossetti (it) |mazzurski | nikolay ninov | paolo vivian (it) | robert kreuzinger (bg/de) | raya georgieva |vesselin damianov-ves | veliko marinchevski

about the project ( in english)
(e) migration is an international curatorial project focused on translocation and  movement. The title is a play on words between the concepts of the terms of migration and emigration. The Latin word means constant change position from one environment to another whether the genes or people, birds or animals, caused due to certain circumstances. In social point of view the term "migration" is a concept that denotes the change of habitat, leaving it; as "emigration" defines the process of arrival and establishment. The project is not considered physical movement of human masses, but it paying attention to the movement of cultures, memory and ideas; repositioning is as an object. Nomadic journey of the heart causing the formation of new relationships that affect and fuzzy the models of collective memory. Memory as a store of information and experience being forced to adopt new roles - as the "diffuser" in the system of values which optimizes the new cultural patterns of behavior where rejects the ego and adopts a new form of identity. A process of reformatting identity that stretches the boundaries of community involvement and personality becomes a permanent nomad, who made escape a lifestyle. 
Zygmunt Bauman / in “Culture in a Globalised City” / writes „Today's culture is reduced to sacrifice, rather than rules” and in this sense here, that very personal sacrifice is a the norm. In that process the sensitive apparatus of art registers and stores the act of moving as the quasi witness of shrinking and expansion of the private boundaries of existence and resistance, bombarded by the dynamics of everyday life, the temptations of overproduction and evanescence of love and the ephemeral ideals; the witness of migration and emigration of values and attitudes conducted mostly due to rejection and sacrifices. 
The project  (e)migration presents 17 artists from Bulgaria, Germany, Canada, Ireland and Italy, which by means of painting, sculpture, digital printing, sound and text provoke the audience on a journey  where the unprejudiced spectator examines various states of migratory man and himself has become an object because of the possibilities of the different approach of reading.
The question of identity in the era of globalization and totally move beyond cultural distance and social models. Exhibition proposal for the intellectual journey of the heart in search of alter-ego in the time of a merger between ideas and ideals in the microcosm of the individual and collective memory.
Leaving the project concept and settling in his perception the viewer expands the parameters of reading. Visual accessibility, modern forms and dosage form irony profiled this exhibition in interactive mode, accessible to the senses, which enables the transformation of viewer-migrant into viewer-emigrant.
Dora Doncheva- curator

more you could find here:

bulart gallery | 22 shipka st | varna 9000 bulgaria|www.dorabulart.com

Gianluca Capozzi: The Passenger (eng text)

    БУЛАРТ ГАЛЕРИЯ | BULART GALLERY 

представя | presents

ДЖАНЛУКА КАПОЦИ (ИТАЛИЯ) | GIANLUCA CAPOZZI (ITALY)

"THE PASSENGER"

работи върху хартия | works on paper

куратор | curator 

Раул Замудио Тейлър (САЩ) | Raul Zamudio Taylor(USA)

2 -16 | 04 | 2013

откриване | opening  02 |04| 2013  18:00  

варна.шипка 22 | varna. 22 shipka st

about the exhibition:

 "The Passenger is a solo exhibition of paintings and works on paper by the Italian artist Gianluca Capozzi. The exhibition’s title is culled from the similarly titled film by Michelangelo Antonioni;  and the curatorial framework that ties Capozzi’s works with the film is manifold and not as disparate as it may seem: the film’s protagonist, which is played with aplomb by Jack Nicholson, is an American journalist who exchanges his identity with a deceased man he finds in a North African hotel room. The transnational undercurrent of the film manifests in the exhibition in a roundabout way: the works were made in the artist’s studio in Italy and shown abroad. It is not so much that the artworks take on a new identity with each itinerary, but a work can acquire other meanings altogether by its reception in myriad cultural contexts thus engendering narratives that were not originally intended. 

Although Capozzi’s works for the current exhibition were inspired from diverse sources, experiences, and musings, their polysemy multiplies as analogues to Antonioni’s protagonist. Further highlighting this are works that range from the figurative to the purely abstract; even the latter pieces are not devoid of the referential in feigning non-representational forms found in nature as well as in culture. Some works appear like frenetic topographies or the automatism of someone under trance. Even Capozzi’s figurative works trigger the imagination not only in spite of their formal exuberance, but because their titles are oblique and rife with anthropomorphic ambiguity which results in a corpus of icons, archetypes, surrogates, doppelgangers, and so forth. 

In one work titled Woman (2013), for instance, the frontal quality of the figure’s pose belies the allusion to portraiture. Yet because the title only refers to gender, it is potentially the representation of all women, or no women, or maybe it is the ideation of womanhood operating archetypally. In allowing the work a degree of narrative opacity, Capozzi’s figure becomes both like Nicholson who takes on the identity of the deceased as well as the deceased himself; for the identity of Woman remains free-floating as it negates singularity in not being any woman in particular. Other works in the exhibition also underscore the conceptual strategy of ambiguity to various degrees. 

With rather demure and literal titles including Man, Man at the Sea, Three Men (all 2013), Capozzi presents an iconography of images where the figures become exceedingly reduced to an almost absent presence.  Outlines of humanoid forms become shadows and shells of their former selves. Capozzi’s “portrait” gallery or phantasmagoric salon leaves the viewer with a self that is concomitantly other; it is a dialectical ontology of 

being/ nonbeing. 

But this self is, however, an existential one; for it is symbolically the deceased man in the North African hotel room, just as Gianluca Capozzi is metaphorically Antonioni’s protagonist.  But whereas Nicholson’s journalist documents the ubiquitous and the mundane, Capozzi’s artistic reportage is of a philosophical bent that reminds us that were all passengers too, in one degree or another, on our own journey filled with self-empowerment, self-doubt and occasionally feeling as if living a life of mistaken identity.  

Raul Zamudio - New York City

Raúl Zamudio Taylor is a New–York based independent curator and critic. He was Art Director, Other Gallery, Shanghai; and Director of Exhibitions, White Box, NY. He has curated over 60 exhibitions in the Americas, Asia and Europe. Recent exhibitions include co-curator, 2009 Beijing 798 Biennale, co-curator, 2008 Seoul Media Art Biennale, and artistic director, 2008 Yeosu International Contemporary Art Festival. As a critic, he has authored over 200 texts published in books, encyclopedias, museum and gallery exhibition catalogs, magazines and journals.

*images: Jack Nicholson in The Passenger, directed by Michelangelo Antonioni, 1975 ; works by Gianluca Capozzi - Woman, The men at the sea, At the sea;

the author for his project:

For the gallery Bulart I thought one installation of drawings on paper, very light, combined with some paintings on a canvas very double.
A dualism that divides attention between the volume and its absence.The paintings and drawings Represent the faces That turn in masks, keeping Their expressiveness.
An aesthetic observation That addresses the issue of empathy in social communication, verbal and visual.
A look at the primordial world, complete in an instant of time, discovering, communicating the beginning of a vision That happens and it Becomes an exchange at a specific time.The technique used is acrylic on linen canvas and drawings, acrylic, oil and pastel colors.The drawings are attached to the wall so as to preserve their volatility, as a leaf.The canvas have a thickness of 4 cm and are attached to the wall, like a stone.The difference between matter and anti-matter makes manifest a duality.
Dualities are part of life and represent the energy with which the man makes his life experience to bring to the infinite consciousness.This is the path of man, is a chance to become aware, of coming to know.

Gianluca Capozzi (1973) was born in Avellino, Italy where his lives and works. He finished Florence Academy of Fine Arts (1996),Faculty of Fine Arts, Granada, Spain (1997). He presented his solo projects (Palazzo Ducale, Genoa, Velan center, Turin, Mac, Caserta, Museo Laboratorio, Pescara, Artra gallery, Milan, Morotti gallery, Varese, Paolo Erbetta, Berlin,  and others) Participated in several curatorial projects, biennials for contemporary arts, collective exhibitions and competitions in Italy, The Netherlands, Spain, Germany, Austria, Costa Rica as most important of them are : ArtWiki project, 7th Berlin Biennale; Under the Volcano, Andromeda Contemporaneo, Costa Rica ; Spam, Pastificio Cerere Fundation, Rome; Apokalips, Pirelli Palace, Milan, La retina lucente, Galleria Civica d’Arte Contemporanea, Termoli; (2012); Research Power Glory (2009), MUSA, Museum auf Abruf, Wien, ; Versus XIV (2008), Velan center, Turin;  Biennial of Tehran (2008); New painters of the reality (2007), Padiglione arte contemporanea, Milan and others;  For his art wrote the art critics Raul Zamudio Taylor, Pier Luigi Tazzi, Francesca Referza, Mark Westall, Raffaele Gavarro, Blanca De La Torre, Massimo Sgroi, Gabriele Perretta, Antonello Tolve, Lorenzo Canova, Alberto Mugnaini, Joakim Borda, etc.