SILVIA GIAMBRONE

06.09.2023 - 07.01.2023

"Ospitalità dello sguardo" , an itinerary that enhances the paths in Puglia, kicked off on Sept. 6. Curated by Isabella Battista, Carmelo Cipriani and Alexander Larrarte and implemented by the Fondazione Pino Pascali, the initiative is part of a larger cultural animation program as part of the "TheRout_Net" project funded by the Interreg V/A Greece - Italy 2014 - 2020 Program, thanks to which the Department of Tourism, Cultural Economy and Territorial Enhancement of the Region of Puglia is restructuring and re-functionalizing a network of public hostels along the Cammini di Puglia. (...)

The project, which involves the artists Francesco Arena, Rossella Biscotti, Silvia Camporesi, Silvia Giambrone, Guido Guidi, Francesco Jodice, Pino Musi, Luigi Presicce, Agnese Purgatorio, Massimo Uberti, Bianco Valente, Costas Varotsas is divided into three interconnected sections: On the road, Focus, Workshop/Lectiones Magistrales.

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IVA LULASHI

NAAN Gallery, Former Blloku area, Tirana, Albania
Curated by HARABEL

Duo show, with Iva Lulashi and Leke Gjeloshi.
Opening on 06.12.2023

SILVIA GIAMBRONE

ZACentrale, Cantieri culturali alla Zisa, Palermo
Curated by Agata Polizzi

​5.12.2023 - 03.03.2024

An original exhibition project featuring works by Yuri Ancarani, Per Barclay, Silvia Giambrone, Joanna Piotrowska, Genuardi/Ruta and Chen Zhen.

What happens when all our habits, objects, people and even certainties vanish? Taking our cue from reading The Clothes They Stood Up In (2001), the short novel by Alan Bennett, as brilliant as it is cruelly disorienting, we can grasp a simple but necessary question from the paradoxical irony of the story: is this really the life we want?

Our domestic space, public roles, daily life, relationships, habits; everything is called into question, even subsistence itself on this earth.

Such a scenario subverts the illusion of chasing happy days. We are instead left hanging at the question. Looking around, we see an unhappy humanity, forgotten wars, others we never wanted to see, a suffering planet, a material and intellectual poverty that is prevalent and assumed as normality, a withering of emotions that is frightening.

While Bennett with cynical sarcasm describes the alienation in the hyperbole of sudden emptiness, Giorni Felici? tries instead to imagine that it is time to answer the question starting from one’s own conflicts and limitations. The self is a marginal element when commensurate with the collective, but it is also the minimal constituent element that can bring about change on a grand scale.

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BINTA DIAW | SILVIA GIAMBRONE

Palais des Nations, Geneva

Celebrating the 75th Anniversary of the United Nations Universal Declaration of Human Rights.

Contemporary Art exhibition presented by the Italian Ministry of Foreign Affairs and International Cooperation in collaboration with the Permanent Mission of Italy to the United Nations in Geneva and Associazione Genesi. Curated by Ilaria Bernardi.

GIUSEPPE STAMPONE

curated by Bartolomeo Pietromarchi with Chiara Bertini and Fanny Borel

Transformations, hybridisms and fluidity create new forms that merge into a dreamlike, visionary atmosphere

Diario Notturno. Di sogni, incubi e bestiari immaginari is the group exhibition curated by Bartolomeo Pietromarchi with Chiara Bertini and Fanny Borel that presents the works of thirteen international artists born in the last thirty years of the last century: Bea Bonafini, Thomas Braida, Guglielmo Castelli, Giulia Cenci, Caterina De Nicola, Anna Franceschini, Diego Marcon, Wangechi Mutu, Valerio Nicolai, Numero Cromatico, Agnes Questionmark, Jon Rafman and Alice Visentin. These are joined by a special project by Giuseppe Stampone in dialogue with Scanno’s photographs from the Franco and Serena Pomilio Collection.

Diario Notturno, which pays homage in its title to one of Ennio Flaiano’s literary masterpieces, invites us to inhabit dreams and explore the nightmares of the present.
In a contemporaneity characterized by constant transformations, the artists involved propose a common imaginative, ironic or perturbing approach, which, borrowing a term referring to artificial intelligence, could be defined as “generative.”

Within the exhibition itinerary, in continuity with the dreamlike and visionary atmosphere of the works exhibited in the first rooms, there is a special project by Giuseppe Stampone, who reinterprets some significant places of the Abruzzo region through drawings on paper and on wood. His works are then placed in a dialogue with photographs of the picturesque village of Scanno from the Pomilio Collection and taken by Henri Cartier-Bresson, Mario Giacomelli, Hilde Lotz-Bauer, Gianni Berengo Gardin, Mimmo Jodice and Ferdinando Scianna: images in which there is a glimpse of the daily life of one of the most representative villages of Abruzzo, with particular attention to the industriousness of the women whose traditional clothes can be recognized.

The annual ranking of the most influential people in art

KARABBUING FILM COLLECTIVE

The collective, who hail from the rural Indigenous community in the Northern Territory of Australia, and whose members might number anywhere between 30 and 70 people, make films that bear witness to racism past and present and offer an alternative vision beyond that violent history. Their latest work, Night Fishing with Ancestors (2023), shown this year at solo exhibitions at Secession in Vienna, the Mori Art Museum in Tokyo and Goldsmiths CCA in London, as well as various screenings internationally, is typical, loosely centring on the story of eighteenth-century Macassan traders who sailed to the Australian coast from Indonesia to collect sea cucumbers, a moment of collaborative trade before the extractivist violence of white colonialism. As much as the content of their productions has won praise, woozily mixing documentary, sci-fi and humour, so has their decentred way of working, in which profits from screenings and prizes are ploughed into the development of their own community and their ongoing attempts to reclaim land from the Australian state.

ZANELE MUHOLI

‘At the beginning, showing what I did was very risky,’ Muholi told Numéro on the eve of their retrospective at the Maison Européenne de la Photographie. ‘This was at a time where many hate crimes happened in South Africa and people wanted to use queer people’s presence as a scapegoat for their own failures.’ The Paris show was the latest stop of an exhibition that has already travelled to Gropius Bau, Kunstmuseum Luzern and the National Gallery of Iceland (and is heading to Tate Modern next year), showcasing 20 years of photography focused on Black LGBTQIA+ subjects. ‘It has been a very long journey to get to where we are now,’ says the self-styled ‘visual activist’. They opened the Muholi Art Institute in Cape Town last year, offering residencies lasting six months to a year, with a stipend, housing and studio costs covered; the fruits of which were featured in an exhibition at Jonathan Carver Moore gallery in San Francisco in June. In February the institute presented a group exhibition, EMBODYING #HER, spotlighting the work of established and emerging women-identifying and queer artists.