in collaboration with the tenth edition of the river to river. florence indian film festival, the marino marini museum will celebrate the tribute to satyajit ray with the amazing photographic exhibition satyajit ray: a creative passioned filmmaker by nemai ghosh.
the exhibition is organised with the support of the indian council for cultural relations of new delhi.
nemai ghosh came to satyajit ray initially as a documentarist, entered into a relationship of personal trust, which allowed him the freedom of the space and free access to his privacy as well as the more public situations, until ray came to acknowledge him as his boswell with a camera!
but even as ghosh’s camera recorded the master in his moment of silent mediation or at work in his study, in the simulated sets in the studio, or on location, with his close collaborators, his actors and technicians, or in any anonymous crowd, he must have felt a supertext emerging out of them and enveloping them - that of the creative process. the making of a film illustrates the creative process in a manner that few areas of creativity can match, for the simple reason that this is a mode of making that involves subjectivity and collectivity in equal measure.
nemai ghosh, born in 1934, will be remembered as the photo-biographer of satyajit ray: in fact, from 1967 to 1992, the year that satyajit ray passed away, he photographed every aspect of the maestro at work. his extensive archive of photographs on satyajit ray has travelled and exhibited all over the world.
although nemai ghosh is mainly identified with his work and an association with satyajit ray that stretched for over thirty-five years, he did not restrict himself only to ray. his passion for theatre led to a second collection of photographs that forms a pictorial history of theatre in kolkata over the last four decades. he concentrated on the experimental theatre groups of the city and its neighbourhoods and his photographs capture the distinctive individualities of renowned directors, actors and actresses. a selection of his theatre photographs was exhibited at nandan, kolkata 1998. he has documented the making of films such as jukti takko gappo by ritwik ghatak, interview, calcutta 71 and ek adhuri kahani by mrinal sen, paar by gautam ghosh and ijjodu by m s sathyu.
ghosh photographed the great masters jamini roy, ramkinker baij and benodebehari mukherjee over the years 1969 and 1970. he went back to his interest in documenting master artists from 2002, photographing more than 30 major indian painters and sculptors at work, resulting in a massive suite of photographs of the best minds in contemporary indian art at work.
'these 16 prints are only a small part of the large quantity of material amassed for my new project about the end of time. not the end of the world, but rather the end of chronos as our guardian of time, giving way to a deeper understanding of a wide, geologic, universal time, and to the emergence of what we know as reality.' (peter mettler)
for the 51st edition of the festival dei popoli (the international festival of documentary film), the museo marino marini will host 'the unveiling of notations (for the end of time)', a photography exhibit of the work of interdisciplinary canadian artist peter mettler.
notations (for the end of time) brings together 16 frames from peter mettler’s new film 'end of time'. mettler artistic activity includes music, dance and photography, arts that form the basis of cinema and other disciplines. his most notable work includes: 'gambling, gods and lsd' (2002), 'picture of light' (1994) and 'petropolis' (2009 – winner of the fondazione ente dello spettacolo at the 50th festival dei popoli).
the latter will be part of the photography exhibit, which will remain at the museo marino marini for the duration of the festival. in these sixteen harrowing color photographs, the artist’s attention to detail brings nature to life, and from the particulars of the landscape emerge signs, shapes and spirits.
more than 40 photo-portraits shot by the french photographer Felix Nadar - and selected out of the mediatheque de l’architecture et du patrimoine will be shown at the museo marino marini, beside recent works by contemporary artists who tribute an homage to him and his portfolio.
Among the artists invited, just to name a few, frank horvat, gabriele basilico, bernard plossu, jean-patrick gueritaud, pierre grech, francesco zizola, julia fullerton-batten, agnès geoffray, samantha appleton, alexandra auffret, chen man.
From the 21st to the 23rd of October, in parallel to the festival della creatività, the exhibition will be open to the general public free of charge.
in greek Ippios refers to everything horse-related and in Carlo Romiti's imagination it does refer to the infinite and suggestive eastern landscapes, to those lands where the man fell in love with this animal.
the horse and its landscape are the core of romiti's work and they are now hosted at the marino marini museum, sancutary of the horseman.
curated by stefano collicelli cagol
inauguration: friday, 9 april, at 7.00pm
the exhibition curated by stefano collicelli cagol, with coordination by alberto salvadori, looks to sculpture as a possible arena through which the categories that (in)-form the world's models can be reconsidered. the works in sette piccoli errori / seven little mistakes reflect on the processes of making forms, showing the potentiality of sculpture as a medium to investigate our present. each work is produced through a recursive logic by which individual elements both contain and are contained by others. this recursivity results in a process of continual and mutual transformation among the elements of each works here presented. similarly, the works look at the process of making in order to question the fields of knowledge in which they are embedded. in doing so, they use sculpture as an arena through which we might question the categories that formed our perceived world.
the sculptures of marino marini, the city of florence and the ex-church of st. pancrazio (today, the marino marini museum) provide a context in which some of the most fundamental aspects of the modern tradition are embedded. these include the modern idea of space, the conception of history and of the nation state. for the last five centuries, these ideas have contributed to mold the forms of the world. with the transposition of a three-dimensional reality to the two-dimensional plane of the paper, the central renaissance perspective generated a new idea of measurable space, creating a refined instrument for the control of any given territory. today, however, these conceptual parameters seem to fail to explain our contemporary situation in all its complexity. the nation state considered as a marked territory under sovereign control, the idea that knowledge can be measurable, and the idea that history is based on a logic too often still eurocentric no longer responds to the challenges of the present.
the title "seven little mistakes" highlights the distance of the seven artistic practices presented from the traditional conception of sculpture (as instantiated by marino marini’s body of work). at the same time, the title refers to the need to re-think the process through which a form comes into being, allowing a degree of openness, fragmentation and error in the work.
curated by luca scarlini
sylvano bussotti has always pursued a vast activity in graphic arts, expressed in the staging of complex and sumptuous works. in the scores, true cornerstones in the history of twentieth-century music, images are harboured that become notes and designs that lend themselves to be reinterpreted as a score, a suggestion for future action on-stage.
corpi da musica. vita e teatro di sylvano bussotti, from 17 february to 22 march 2010, curated by luca scarlini, proposes a vast selection of the artist's graphic works, many of which are here presented for the first time in public. the overview starts in the 1940s, with the first portraits, that capture moments of a nomadic existence divided among many cities, and then passes through projects for shows that were never realized and iconographies of works that have had a vast resonance, in a mix of art and life. a remarkable visual itinerary, that over the years has emerged only in a few occasions, starting with the exhibitions connected with the activities of gruppo 63, under whose aegis the famous debut in palermo of bussotti took place in 1965, of “la passion selon sade”, a very black mass in the name of the divine marquis, that told of a chamber theatre of eros and dreams. the halls of the museum will be filled with the sound of the music created and chosen by the maestro himself.
for the occasion, a catalogue will be published by artout-maschietto editore with inedited materials and a selection of the writings on the arts published over decades in various newspapers and magazines, from “marcatre” of the new avant-garde, to “frigidaire”, in which bussotti published a sequence of notes for the cartoon character, ranx xerox.
sylvano bussotti, born in florence in 1931, dedicated himself to a project for a total work of art having, for a long period of time, the name of bob (bussottioperaballet), directing, designing sets, painting and writing librettos and lyrics. his catalogue is full of incursions in different areas, theatre as well as cinema, with, above all, “rara film”, 1965-1969, a true summa of the avant-garde of the time, and “apology”, realized in berlin in 1972, to which must be added at least the amusing film clips made for the biennale in which he appears next to patty pravo and moira orfei. a student of luigi dallapiccola, among others, in florence, after the encounters in paris with pierre boulez and john cage, he revealed himself in darmstadt with “five piano pieces for david tudor” (1958), that then became part of the work that sanctioned his fame, with the unequivocal title “pièces de chair”, presented in 1960 and decidedly dedicated to an aesthetics of the musical gesture, of immediate theatrical impact. active here is a clear idea of “open work”, that is the fundamental element of his research; according to the words of the musicologist ivanka stoianova: “for bussotti's artistic production total openness is a typical and permanent characteristic”. from these years is also the work with carmelo bene for a series of famous poetry concerts dedicated to maiakovskij; the representation of gender in this prospective becomes basic and finds a place in his most important titles, that confront texts by de pisis, pasolini and especially aldo braibanti, to whom he was tied by a lasting friendship. “la passion selon sade” is the work that consecrates him and is a “success by scandal” in palermo, in 1965, during a meeting of the gruppo 63, before an extensive international tournèe that fixes for all time the icon of the avant-garde diva cathy berberian, justine and juliette at the same time, intent on executing variations on a sonnet by louise labé, on an operatic background of prie-dieux, with a kapellmeister (the composer himself in glam clothes) who manoeuvres with equal nonchalance a baton or a whip. the golden costumes, the jewels and the hyperbolic wigs quickly find their way to “vogue” giving bussotti vast fame in extra-musical spheres as well, in a boldly provocative key, as also demonstrated in a rowdy encounter with the world of the living theater, on the occasion of a memorable soirèe in bordeaux in 1967. in the production of the following years, a mixture of echoes from the renaissance and mechanisms of risk will be evident in works like “rara requiem” (1969), the fine biographical work “on a theme” for quartet and orchestra, “i semi di gramsci “(1971), the opera “lorenzaccio” performed in hamburg in 1972, a summa of inspirations from de musset for narrating a chromatically overburdened world that in the drawing by bussotti on the cover associates, as in the future “caravaggio “by derek jarman, a vaguely 16th-century costume and a motorcycle. in 1973 it will be the turn of the ballet “bergkristall “ from the story with the same title by adalbert stifter and later “le racine, pianobar for phèdre “(1981), first chapter of a series of interventions on the racinean theme and the splendid “bal mirò” (1981). at the comunale of florence in 1988 he presented “l’ispirazione”, based on an idea by ernest bloch and directed by derek jarman, who opened the performance with cruel fragments from “the last of england”, while his muse tilda swinton incarnated futura, lady of the theatre and of space. among his latest works, we must at least mention “tieste”, presented at the opera of rome in 2000 and “silvano, sylvano”, presented at the auditorium in 2009.
the marino marini museum presents display, a new exhibition series curated by alberto salvadori, that every four months will present a project realized by young artists.
the space dedicated to this intervention is located in a spot visible from outside as well, in the churchyard of the church of san pancrazio, between the gates and the glass door that opens onto the museum's halls. these works will be in confrontation with the works of marino and, basically, with his sculptures.
for this first year, the planning will be addressed to young tuscan artists. the first appointment of display is with studio ++, a collective started in florence in 2006 by fabio ciaravella, umberto daina and vincenzo fiore that focuses its work on expression and experimentation, making use of new technologies for dealing with themes related to contemporary man.
for this occasion, studio ++ exhibits senza titolo, an installation about 2 metres in height, a cruel metaphor of the relationship between life and death; a kind of column where, at the top, an aquarium containing a goldfish is in contrast with a vase full of soil, and with a sprout planted in the centre, at the base. slowly,regularly, drops of water fall from the aquarium to the vase, metaphorically taking life from the fish and giving it to the sprout. a slow, reciprocal, unceasing give-and-take that creates a tension between the two elements, water and earth.
the programme of display will continue with liquid cat and, subsequently, with margherita moscardini.
fabio ciaravella (palermo 1982), umberto daina (palermo 1979) and vincenzo fiore (palermo 1981) are enrolled in the faculty of architecture in the city of florence, where they live and work. in 2006 they founded 2006 studio ++ to fulfil a need of giving form to their own reflections. in recent years they have exhibited their works in group and solo shows, they have collaborated with different realities giving their personal contribution in the field of art and in the use of mass media in expression and research. they were chosen in 2008 for “italian wave” at artissima 15, turin; in 2009 for “networking”, a project for young artists active in tuscany.
from wednesday, january 20, 2010, the museo marino marini will host a.e.w.o.m. [le strabisme du dragon]: third step of the research project realized by luca pozzi, curated by alberto salvadori in conversation with valerio borgonuovo. the project was conducted on the basis of the specific experiences and relative theoretical contributions of researchers and artists that he has involved, conveyed in interview form on the occasion of the previous exhibition events “w.o.g.u. pennsylvania-italy 1983/2009” and “m. southern california-italy 1995/2009”.
a.e.w.o.m. [le strabisme du dragon], developed by the artist between 2007 and 2009, is conceived as a hypotetical test of a complex visual “diagram”, consisting of a tight network of correspondences found between different disciplines: history of art, theoretical physics, theology and martial arts converge in a single act emerging within an ancient early christian site in the heart of the city known as the symbol of the italian renaissance.
more specifically, the project visualizes the area of intersection between the dragon (a mythological figure symbolizing the union of elements), whose gaze in different directions is here the effect of an apparently contradictory squint, and the aleph experiment - the physics research programme of the cern/european centre for nuclear research in geneva, concerning the observation of the systematic result of innumerable high-energy collisions between subatomic particles of opposite charge. the acronym at the beginning of the exhibition title is inspired by this reference, literally “aleph experiment without mass”.
through the highly imaginative visualization of gravitational interactions, the aim of the exhibition is to make a virtually symmetrical basis field experienceable. a potential field that exists prior to mass. but also a field which, as it possesses continual quantum fluctuations, is metastable. a field that someone call “vacuum”.
luca pozzi (1983) lives and works in milan. a visual artist, cultural researcher and interdisciplinary mediator, he conducts, within his own domain of reference, a programme aimed at the formulation of a comprehensive vision of experience, capable of extending its possible emerging correspondences to a dimension of knowledge devoid specificity and therefore wider. drawing on theoretical contributions expressed by researchers and artists indirectly involved (by means of conversations in the form of interviews) in the projects realized up to now, the artist, by employing different media and materials, comes to realize hybrid installations, characterized by an original use of the force of gravity: a tool for reflection on man and on the mysterious physical laws that underlie natural processes. among the exhibitions realized in 2009 are the solo shows “m. southern california-italy 1995/2009” (galleria astuni, bologna/pietrasanta), “supersymmetric partner” (museo diocesano, milan) and “w.o.g.u. pennsylvania-italy 1983/2009” (galleria federico luger, milano); whereas worthy of mention among the group exhibitions are “sensibili energie” (galleria d’arte contemporanea, arezzo) and “la différence?” (c.a.b., grenoble). in the same year he participated in the artist-in-residency programme promoted by the dena foundation for contemporary art (centre international d’accueil et d’échanges des récollets, paris). moreover early 2010 will see him engaged in the project "o.s.o.b.e. [other side of brane experiment]" at monumental complex of santa maria della vita in bologna.
For the 51st edition of the Festival dei Popoli (the International Festival of Documentary Film), the Museo Marino Marini will host the unveiling of Notations (for the end of time) a photography exhibit of the work of interdisciplinary Canadian artist Peter Mettler from November 14 to 20. The event is made possible thanks to Florens 2010.
Notations (For the End of Time) brings together 16 frames from Peter Mettler’s new film “End of Time.” Mettler artistic activity includes music, dance and photography, arts that form the basis of cinema and other disciplines. His most notable work includes:“Gambling, Gods and LSD” (2002), “Picture of Light” (1994) and “Petropolis” (2009 – Winner of the Fondazione Ente dello Spettacolo at the 50th Festival dei Popoli). The latter will be part of the photography exhibit, which will remain at the Museo Marino Marini for the duration of the festival. In these sixteen harrowing color photographs, the artist’s attention to detail brings nature to life, and from the particulars of the landscape emerge signs, shapes and spirits.
“These 16 prints are only a small part of the large quantity of material amassed for my new project about the end of time. Not the end of the world, but rather the end of Chronos as our guardian of time, giving way to a deeper understanding of a wide, geologic, universal time, and to the emergence of what we know as reality.” (Peter Mettler)
The Swiss Embassy will hold a cocktail reception for the inauguration on Sunday the 14th, at 11:30, at which the artist will be present. The exhibit completes “Peter Mettler: Epiphanies and Revelations,” the retrospective dedicated to the Swiss-Canadian artist by the Festival dei Popoli and curated by Giona Nazzaro.
river to river. florence indian film festival celebrates its 10th edition with a tribute to and a photographic exhibition on multi-award winning and celebrated director satyajit ray, in addition to the films in competition and special screenings.
nemai ghosh came to satyajit ray initially as a documentarist, entered into a relationship of personal trust, which allowed him the freedom of the space and free access to his privacy as well as the more public situations, until ray came to acknowledge him as his boswell with a camera.
but even as ghosh’s camera recorded the master in his moment of silent mediation or at work in his study, in the simulated sets in the studio, or on location, with his close collaborators, his actors and technicians, or in any anonymous crowd, he must have felt a supertext emerging out of them and enveloping them - that of the creative process.
the making of a film illustrates the creative process in a manner that few areas of creativity can match, for the simple reason that this is a mode of making that involves subjectivity and collectivity in equal measure. where art converges on industry and ultimately defines itself in terms of industry, the director as creative artist is tugged in different directions simultaneously.
nemai ghosh records for posterity - the way only camera can - that painstaking, punctilious creativity that defined a ray film - capturing in the stillness of the stills the seeds of the mobility of the moving images that would erupt from these - through a chemistry that was the creative filmmaker’s final input.
samik bandyopadhyay - film and theatre critic