Qualcosa è cambiato. Nuovi progetti, vecchie prospettive.

Salve, sono sybin, forse vi ricorderete di me per post come The Kite Flyer, oppure SybinQ Art Projects is Born. Tutta roba che scrivevo mentre ero a Londra, dove ho passato gli ultimi cinque anni.
L'ultimo post che ho scritto risale a Dicembre 2011 e, mentre spazzolo via la polvere virtuale ed elimino le ragnatele dalla rete, faccio il punto della situazione: un anno dopo avrei avuto una figlia (non, ceci n'est pas un mommy blog. Jamais! Jamais!) e ancora sei mesi dopo io e la mia famigliola ci saremmo ri-trasferiti in Italia.

A Bergamo, per la precisione, e non a Roma che è la mia città natale.

Roba che quando racconto questo ad un interlocutore c'è ancora chi mi chiede se sono sana di mente: "Usti! Da Londra a Bergamo? Bel cambiamento, neh?" Eh. Confesso che tale prospettiva non entusiasmava neanche me, che mi occupo di arte contemporanea ed ero scappata a Londra proprio per avere "qualche chance in più." Tuttavia, poi siamo arrivati qui e lo scetticismo iniziale si è trasformato in "umh", un suono onomatopeico a metà tra la riflessione e l'apprezzamento.

Per esempio, ho cambiato punto di vista. Per dire, a Londra, quando aprivo la mia famosa bay window, avevo questo paesaggio:

Paesaggio urbano e poco attraente, si, ma vivevamo a un tiro di schioppo da Oxford Street, quindi, ci stava. Il quartiere di Fitzrovia era la nostra oasi tranquilla nel mezzo del caotico centro di Londra. Però, per dire, adesso apro la finestra della casa a Bergamo, che nel mio giudizio iniziale era La Qualunque cittadina mai frequentata del Nord Italia, ed il paesaggio è il seguente:

Photo Credits: Eco di Bergamo

Quello che ti frega, a Bergamo, per quanto puoi essere prevenuta, sono le colline. La città alta è un gioiellino incastonato dalle mura e tutt'intorno la morbidezza di queste colline, puntinate da chiesette e abitazioni, sembra quasi un comitato di accoglienza.

Ho cambiato prospettiva. Quando arriva una figlia a cambiarti la vita si cerca un luogo che sia a misura di bambino e di famiglia. Ho iniziato perfino a parlare di maternità, in pillole.  Questo però non vuol dire che io sia stata con le mani in mano fino a questo momento: del resto, organizzare mostre e fare il curatore è una specie di mania.

Ecco un progettino a cui ho lavorato l'anno scorso: www.lightingmoodscontest.com
Un parco pubblico. Delle lampade ad energia solare. La sinergia tra arte e nutrimento culturale. Un concorso per artisti emergenti che ha visto vincere la giovane Isabella Mara, che ha avuto l'occasione di lavorare accanto ad altre due artiste storiche come Mariella Bettineschi ed Alice Anderson. L'idea era di trasformare un parco pubblico di periferia in un luogo espositivo, mettendo l'arte alla portata di tutti e ponendo l'accento sull'importanza delle energie rinnovabili.

Un altro bel progetto a cui sto lavorando attualmente è stato annunciato oggi su un altro blog, precisamente Ma Che Davvero di Chiara Cecilia Santamaria, che seguo praticamente dagli esordi. Che emozione! Ecco perché sono qui ad aggiornare in fretta e furia il mio bistrattato blog, nell'attesa che venga trasformato in un funzionalissimo sito web.

E continui a portare avanti gli intenti di SybinQ Art Projects di promuovere l'arte contemporanea attraverso la circolazione delle cultura, la commissione di nuove opere per spazi inconsueti e la creazione di networks internazionali.

Stavolta, per il Book Art Project lo spazio inconsueto è quello di un libro, trasformato in opera d'arte in un progetto unico nel suo genere. Per l'occasione, SybinQ Art Projects ritorna a Roma, al Pastificio Cerere, luogo storico di San Lorenzo, sede di studi di artisti che hanno fatto la storia della pittura Italiana, come ad esempio Giuseppe Gallo, per cui ho avuto il piacere di lavorare prima che la mia avventura Londinese avesse inizio.

La mostra sarà allo Spazio Cerere dal 26 al 30 Novembre 2015, e per me è un po' come tornare a casa, in tutti i sensi. Vi aspetto!

© Chiara Cecilia Santamaria, Ma Che Davvero

The Bay Window Project: Davide D'Elia

THE BAY WINDOW PROJECT

Artists in a Frame

curated by sybin

DAVIDE D’ELIA > Tropical Aryballoi

From Wednesday 22 June

SybinQ Art Projects

The window on Cleveland Street

London W1T 6DP

e. curatingcontemporary@gmail.com

Back again after the success of last year, The Bay Window Project continues to be an opportunity for young and established artists to create a site-specific work in uncommon settings. Beyond the white-cube display, the artwork forcefully enters the private sphere of a flat to be seen by an extemporaneous, unaware public. The aim is to map the evolution of site-specific art in a non-institutional environment.

The first 2011 artist invited to exhibit in The Bay Window is DAVIDE D’ELIA.

Davide D’Elia produces works that often re-value modern aesthetic graphic terminology by presenting itself beyond object and objectivity. He very much focuses on the vocabulary of the neglected and the degraded. By for example artificially creating the conditions for mould to grow, he bends the flow of time to his needs and questions the viewer about the process behind it. This creates what he had decided to be an object of art out of the spontaneous hands of nature.

For The Bay Window Project, Davide presents the work Tropical Aryballoi, 2011 (Living Still Life: Perforated vinyl, table, plant, magazines, books, candles, glass, stones, plywood, light. Dimensions variable.)

When Davide D’Elia first surveyed the bay window, all we were talking about was the way he works with mould, creating the conditions for it to grow spontaneously. For all the duration of the process, which requires high humidity condition and a meticulous chemical practice, he likes to live the environment he is going to contaminate, disrupting its normal function, violating the immaculate white gallery walls and leaving baffled visitors wondering about effective methods to efface mould. Being related with a different kind of environment – that is, the private dimension of an already inhabited flat, D’Elia had chosen a different kind of process; the negotiation with both the curator and the occasional viewer from the street. The fact that he couldn’t live the environment he was going to intervene into, led him to invent a parallel space based on the effects of warm and cold light, daylight and darkness.

As Davide observes, “the light in which we live conditions our mood, our perception of things and our domestic rites. The light we project outside through windows, be it warm or cold, reveals the DNA of our modus vivendi. Our micro-domestic world relates with the outside by transmitting signals, both territorial and individual, to passers by who can decide to receive, or ignore, such signals.” Playing around with the few elements available to him – a plant, a table with elements on it, old vertical blinds and bits and pieces of ordinary life’s accumulation, he created Tropical Aryballoi, a two-faced container that changes at the change of light, revealing itself only to the most diligent of spectator. Tropical Aryballoi is a living still life, always the same but in fact ever-changing.

The display runs 22 June – 13 July.

The artist wishes to thank photographer Serena Andreini for her kind assistance. For further information please visit www.davidedelia.com

Davide D’Elia (Born in 1973 near Salerno, Italy) lives and works between Rome and London. Selected Shows: 2011 - Strange cross, Ex elettrofonica, Rome (IT); 2010 - Yesterday I distractedly called upon my mind memories not mine…I was by them enlivened, Ex elettrofonica, Rome (IT); 2009 - Beyond Existence, Cordy House, London (UK); 2009 – 3500 Square Centimeters, 27th Biennal Graphic Art, Lujbljana (SL). 2008 - Every other day, Zico House, Beirut (RL).

Will Come Next: CATHERINE BERTOLA in July.

Warp and Weft

This is the critical essay accompanying the performance "Scala 1:18" by Marco Dalbosco

Behind the intertwining of textiles the remnants of the history of modern society are concealed. The Industrial Revolution, which began in England in the middle of the 18th Century, brought about the textile industries that drove people from the countryside to the city, to serve in the factories. The constant and never changing rhythm of factory machines has since lasted for centuries upon centuries.

With a long experience as a worker in an Italian textile factory, Dalbosco, originally from the Trentino region of Northern Italy, has taken on the meanings of factory work, investigating its dynamics. Following Guy Debord’s idea of society as a spectacle, instead of the spectacularization of the production system, the alienation of the individual, the suspension of a thinking being and the unavoidable conformation to the masses underline Dalbosco’s work. Still following Debord’s ideas, the same suspension is applied to the definition of art: every artwork holds a crystallized and closed eternity within it, whereas the direct experience of the ephemeral carries forward the concept of situation. A situation’s flux expires in the space of an action, and in this clever passage suspension is transformed into movement.

Dalbosco’s performance not only engages with but also engrosses the public; there is no account of its fleeting passage but for the films and photographs, today’s techniques of reproduction. In Scala 1:18, five performers, all dressed and with their hair in the same style, move according to the imagined trajectory of a warp and weft. They weave the void, pushing it towards something unknown as if to redeem the mechanics of alienation. It may succeed for a second, yet they can neither go beyond their starting point nor change a predetermined trajectory, as this would result in the breakdown of the machine put into motion. Hence, the dancers/performers are stuck in a never-ending production. A performance that appears to be a metaphor for our own thoughts: the movement may appear free but it is, without our knowing, constructed and constricted.

MARCO DAL BOSCO > Scala 1:18

SYBINQ ART PROJECTS, in collaboration with LONDON METROPOLITAN UNIVERSITY, is pleased to invite you to:

SCALA 1:18 a performance by  
MARCO DALBOSCO

Presented by sybin > susanna bianchini

TUESDAY 14 DECEMBER 2010

from 6:30 pm

Unit G15

London Metropolitan University

41 Commercial Road

London E1 1LA

RSVP ESSENTIAL at curatingcontemporary@gmail.com

Italian artist Marco Dalbosco presented the performance Scala 1:18 for the first time as a parallel event at Manifesta 7 (Rovereto, Italy 2008). Setting its contents in the factory ambient and analyzing its obsessive and repetitive production process, the performance involves five women, dressed and combed the same, repeating all the same gestures, steps and sequences enhanced by a projected video of machines at work. The entire operation seems to have a liberating aspect that redeems creativity from job alienation; in fact it focuses, at the same time, on the issue of repeating and modulating mechanisms, set behind the creativity myth. The performers look like they are free, whereas they always come back to the starting point; they become metaphor for our own way of thinking, which sometimes may be constructed and constricted.

Following Guy Debord’s idea of society as a spectacle, instead of turning the production system into a show it is the alienation of the individual, the suspension of a thinking being and the unavoidable conformation of the mass that underline Dalbosco’s work. The choreographer Gloria Ploritch and her students, all from the Italian Northern Region of Trentino, have been working all along with Dalbosco to give shape to this performance, never before presented in the UK.

The exhibition is accompanied by a text by the Curator. 

Scala 1:18 is the closing event of SybinQ Art Projects for the year 2010.

INFORMATION ABOUT THE ARTIST:

MARCO DALBOSCO lives and works in London. Selected Events > 2010: Scala 1:18, London Metropolitan University, London (UK) and 26cc Space for Contemporary Art, Rome (IT); Meeting Ring, SybinQ Art Projects, London (IT);Incerti Arredi # Office Sales, Cesare Pietroiusti’s Studio, Rome (IT). 2009: 1h Art Project, London (UK). 2008: Scala 1:18, Manifesta7, Parallel Event, Rovereto (IT). 2008: Incerti Arredi, Paolo Tonin  Contemporary Art, Turin (IT).

GLORIA POTRICH lives and works in Rovereto, Italy, where she teaches Contemporary and African dance at the CDM – Didactic Centre for Music, Theatre and Dance. Her research started from Expressive African Dance passing through Contact and Dance Theatre to arrive to a research-based type of dance characterised with a bond with live music. 

SUSANNA BIANCHINI lives and works in London. By using the pseudonym of sybin, she curated various shows and created SybinQ Art Projects, a nomad space devoted to the promotion of exhibition projects, especially with young artists. This is mainly through the commissions of new artworks and the creation of unusual shows settings, outside the so-called “regular” exhibition’s parameters.

This event is possible thanks to the support of the Provincia Autonoma di Trento (IT), Cultural Association Ordine_Sparso (IT), London Metropolitan University and Levent Bozdere (UK).

More information on www.marcodalbosco.com

A Change of Perspective: Valentino Diego and his Alterations

When I spoke about connections, I had no idea how far this would take me in terms of artists' contacts and all the great projects that have followed. 

Ladies and Gentlemen, I give you D.V., aka Valentino Diego. A post from very long time ago gave an introduction to our MA Curating the Contemporary brand new, self managed, not credited and auto funded Window Project, affectionately nicknamed the MACC Relay.

The first of four projects opened on 13 October, in the middle of one of the craziest weeks for London's contemporary art scene - and for SybinQ Art Projects in particular - ever. 

I already knew Diego's great capability to build things. Still, I had no idea about his incredible visual talent, nor about his photographic memory. Working with him made me rediscover another notion that is not really attached to contemporary artists anymore since a very long time: being able to craft things, to create new objects with your hands, to bend the medium and give it a different meaning. 

In one word: craftsmanship.

Diego took plain MDF, some metallic bits and pieces, hangers, bin bags and transformed everything into an environment, a place with functioning objects in it. This function was given by the idea behind the installation: a fake alteration shop, a prop, trying to convince the passer-by of its authenticity. 

In the text I wrote for the display panel, I came up with the concept of the street window being the primary form of display: we look at these windows expectantly, because we're used to them offering us something we may - or may not - desire.

Once again, the intention here is to stop this process.

Every single object on display seems to shout Just stop, look at me, look at me closely, I am not what you assume I am. Don't assume: experience it. 

Yesterday it was de-installation day, and all these beautiful objects came back to be waste material. While I was carrying everything out of the space and stacking them in a safe place (I don't have the heart to just throw everything away, as the artist instructed me), I couldn't help to think: all this work, and none of this made to last. 

On my way back to the underground, I noticed a huge advertising board at London Met, made to cover the current works in progress to refurbish the studios. It reads: "See things from a different perspective".

What a coincidence.

The Bay Window Project: Alice Anderson

THE BAY WINDOW PROJECT
Six Artists in a Frame


curated by sybin


NEXT OPENING: Tuesday 9 November at 6:30 pm. The artist will attend.
                                 Until Sunday 5 December.


SybinQ Art Projects
The window on Cleveland Street (between 92 and 96)
London W1T 6DP
T. 07913 717999
E. sybin@inwind.it


The Bay Window Project is a private window turned into a showcase of site-specific works, interrupting and changing the normal social fruition of such space and investigating the perception of art in a public display.


The fifth artist invited to exhibit in The Bay Window is ALICE ANDERSON.
(Born in London, 1976, where she lives and works)


The “obsessive artist” Alice Anderson uses memory and time to tell stories about her childhood, reinventing it as fiction through the language of movies and integrating this process with sculptures and environmental installations made of doll’s red hair. The characters she depicts, the family hierarchy in which the mother has the total power, behave in a cold and distant manner, like robots, obeying the rules of her world. By transforming herself into a doll, Anderson too becomes one of them, either succumbing or managing to free herself from her own plots.


For The Bay Window Project, Alice is presenting Rear Window (50 cm doll made out of silicon and plaster. Courtesy: The Artist and SybinQ Art Projects).


When Alice Anderson’s doll took shape, she was sharing details of her private life that she would have never thought to say to a total stranger. The person working on it listened and modeled her face, and at the end of the process they both looked at the result in awe. Before knowing this story, I remember walking past the doll at one of Alice’s solo shows and almost ignoring her until, out of the corner of my eye, I clearly saw it smiling. In the collective imagination, we already know that a doll is not just a decorative object or a toy, but is fraught with uncanny and sometimes not quite clear feelings. Since she was created, Alice’s doll – or perhaps Alice herself – has always been trapped somewhere, looking at events unfold before her, watching, without being able to act; The Bay Window will be her home for a while and only one thing is certain: she will be watching.


INFORMATION ABOUT THE ARTIST: www.alice-anderson.org


Selected Solo Shows: 2010 The Isolated Child, Cinematheque Francaise, Paris; Mother Web, Royal Opera House, London; Alice Anderson’s Time Reversal, Riflemaker, London; 2009 The Doll’s Day, Artprojx Space, London; Selected Group Shows : 2010 elles@Pompidou, Pompidou Centre, Paris; Living in Evolution, Museum of Contemporary Art, Busan, Korea; 2009 Voo Doo, Riflemaker, London; 2008 Peur et Desir, Palais de Tokyo, Paris; Hbox, Tate Modern, London; 2006 Art Unlimited / Art Film, Art Basel, Basel.


The everyday life of Alice Anderson’s Doll will be documented. Stay tuned!

Please follow the MAP below to find her:

MEETING RING > Marco Dalbosco

Wednesday afternoon, 13 October.
A hint of sun tries to come through the clouds, ponying up.

In front of London Metropolitan University and, contemporaneusly, the Whitechapel Gallery, a small group of people gather at the corner of the pavement. One of them is mounting an imposing tripod, whereas another looks around nervously, maybe hoping that no officer will come over asking questions about it. It's fifteen minutes past one.

The performance is due to start soon, but the imagination of the artist and curator, who devised all this together, saw many more people participating and there are just around 10. It has been very difficult trying to convince people to join in: despite the interest - or simulated interest - in a mock confrontation among artists and curators, it's hard for people to expose themselves not only under the gaze of a video camera, but under that of the casual public. Thanks to the efforts of a few, more bystanders join in.

No rehearsals were done, and there actually is some discussion about who wants to "be" the artist or the curator; artists are supposed to run around the curators, and not everyone wants to: hangovers, just eaten, can't be bothered.

At half past one, the whistle blows.

The running path is longer than anticipated and the group in the middle, the "curators", are struggling to turn into a compact mob as instructed and can't really keep up: it looks like they want to chase the runners, follow them, without getting any attention. Their movements are clumsy and they seem to be in conflict in the same group. Move right...no, left! No, back!
The runners, the "artists", seem more free, but they keep on going on their path without looking back.

Suddenly, two members of the different groups switch positions and this changes dynamics: the group in the middle starts to walk at a leisurely pace and the other one breaks the line, running in different directions. Some instructions are shouted discretely and, after a couple of minutes, everyone freezes.

The whistle blows again. The match is over.

With Many Thanks To:

Spike

Caterina

Maddalena

Chiara

Aniela

Becky and friends

Francesco

Nick

Alex

Alessandra 

Joe

and

Fabio for documenting


Please visit www.marcodalbosco.com

SybinQ Art Projects > 13-14 October Events

Click on the images to enlarge them

SybinQ Art Projects is pleased to present a series of exhibitions and events curated by sybin and opening during the Frieze Art Fair week. In addition to this, we are glad to introduce a useful tool to avoid missing all the parallel events in the area: The Fitzrovia Art Map.

Wednesday 13 October 2010: performance

MARCO DALBOSCO > Meeting Ring

Starts at 1:30 pm

63 Whitechapel High Street (corner with Commercial Rd) London E1 7PF

13 October – 3 November 2010: solo show

VALENTINO DIEGO > Alterations

Opening: Wednesday 13 October at 6:30 pm

41 Commercial Road, London E1 1LA

THE BAY WINDOW PROJECT
14 October – 7 November 2010: solo show

SILVIA IORIO > The Viewing Cabinet

Opening: Thursday 14 October at 6:30 pm

The window on Cleveland Street, London W1T 6DP

For the most exciting week of the year in London’s art world, the nomad association SybinQ Art Projects will present three International artists in two different parts of the city.

Starting on Wednesday 13 October in London’s East End, Marco Dalbosco and Valentino Diego will present, respectively, a performance and a show both engaging with the notion of stage and representation in different ways.

Disrupting the normal afternoon passers-by routine, Marco Dalbosco will coordinate the performance Meeting Ring at 1:30 pm: the social gathering will see artists and curators, the two very figures that allow shows to happen, ironically confronting each other in a virtual ring where they will have to pursue their preferred role through suggested actions that may, or may not, enter in conflict with one another. To express the supposed existence of a clash between artists and curators, we can recall Daniel Buren’s critical definition of the curator as being a “super-artist, using artworks as many brushstrokes in a huge painting”. But, the artist wonders, is this really the case? The reason why this artificial antagonism is staged lays in Dalbosco’s aim to explore how this particular social interaction works, transforming the performance in a rehearsal for a proper dialogue and constructive confrontation that is expected to follow afterwards. After all, relationships are built on dialogue, not procedures.

Following the performance, please join us at 6:30 pm to celebrate Valentino Diego’s first solo show in London: Alterations is a site specific installation created for a window in the London Metropolitan University’s premises in the East End. Inspired by the tailor shop windows you may find in residential areas, with owners putting their work on display in order to attract clients, Alterations is a stage prop trying to convince the distracted passer-by of its authenticity. Working on displacement and on the “redemption” of the fake object through a meticulous attention to details, the artist’s response to the window follows the general lines of a “wrong perspective” theme: the gaze builds the perception of a space but, unless the mathematical rules of perspective are applied, its representation may differ from reality. Diego’s representation of a temporary alterations shop offers a wrong perspective in its literal meaning.

Moving to the West End and in conjunction with Frieze’s Art Fair opening on Thursday 14 October, THE BAY WINDOW PROJECT will feature the first solo show in London of its fourth invited artist: Silvia Iorio.

For The Bay Window Project, Silvia is presenting The Viewing Cabinet, 2010 (Two panels, Plotter print, 193 x 80 cm each. Courtesy: The Artist and SybinQ Art Projects)

In line with the previous shows, which explored issues like capturing the gaze and the notion of voyeurism, the artist has created a viewing cabinet of her latest works. The concept of a cabinet of curiosities, a treasured collection normally reserved to a few, is turned inside out, becoming a public display that demands to be seen and, in turn, watches. Reflecting Silvia’s interest in the connection between science and art, the work aims to direct the never-resting gaze to explore this cabinet through a binocular in a sort of voyeuristic game, with the viewer actually standing on a street and using a magnifier tool to look in what would be a private window. This particular collection is almost invisible to the naked eye, its miniature details concealed: only our natural curiosity, which for example allowed Galileo to define the Solar System, will reveal what lies under the starry sky.

Please note that you will need a binocular to see Silvia Iorio’s work. Binoculars will be available at the opening and by appointment.

INFORMATION ABOUT THE ARTISTS:


MARCO DALBOSCO
Born in Rovereto, Italy, 1958. Lives and works in London. Selected Solo Shows: 2010 – 26cc Space for Contemporary Art, Rome (IT); 2008 – Paolo Tonin Contemporary Art Gallery, Turin (IT). Selected Group Shows: 2010 – Michael Landy’s Art Bin, South London Gallery, London (UK); Censorship and Self-censorship, performance with Cesare Pietroiusti, Rome (IT); 2008 – Scala 1:18, Manifesta 7, Trento (IT); 2006 – Mavarte Gallery, Valencia (E). www.marcodalbosco.com


VALENTINO DIEGO
Born in Ciriè, Italy, 1978. Lives and works in London. Selected Solo Shows: 2010 – Race, with Tomas Dzadon, Hunt Kastner Artworks, Prague (CZ); Roomates/Coinquilini, with Pietro Ruffo, MACRO Museum of Contemporary Art, Rome (IT). Selected Group Shows: 2009 – Usine de reve, 26cc, Rome (IT); 2007 – Versus XIII, VELAN, Turin (IT); Spazi Incorretti, Fondazione Pastificio Cerere, Rome (IT); 2006 – Generazioni/Rigenerazioni, CAMeC, La Spezia (IT); 2005 – Italian Camera, San Servolo, Venice (IT).

SILVIA IORIO

Born in Rome, 1978. Lives and works in Berlin. Selected Solo Shows: 2007 – Chromatèma, Silvia Iorio, Artist’s Corner, Auditorium Parco della Musica, Rome, (IT); 2005 - N-Kiloton, Silvia Iorio, The Venice Biennale, 51. International Art Exhibition, Venice, (IT). Selected Group Shows: 2010 – Sorry, We’re Open, London Metropolitan University, London, (UK); 2009 - Galleria Vistamare, Artissima 16, The International Fair of Contemporary Art, Turin, (IT); 2007 - Across Art and Science, MAKRÁČ Institute of Macromolecular Chemistry, Prague (CZ).

Leaving Frieze Art Fair? Do not miss all the events in Fitzrovia!

Keep yourself on top of what’s going on with the Fitzrovia Art Map, realized by MD in collaboration with SybinQ Art Project. Download and print it here.

Will come next for THE BAY WINDOW PROJECT: Alice Anderson in November

Cadavre Exquis Video, previously in THE BAY WINDOW, showed the work of more than 60 artists. True or false?

Leave your thoughts on the Guestbook post. 

SybinQ Art Projects

T: 07913717999

E: sybin@inwind.it

THE FITZROVIA ART MAP

Click on the images to enlarge and print them!

The Bay Window Project: GUEST CURATORS

THE BAY WINDOW PROJECT: Guest Curators

curated by sybin

CADAVRE EXQUIS VIDEO: opens Thursday 16 September at 7:30 pm.

SybinQ Art Projects

The window on Cleveland Street

(please note that there is no physical address: the window is visible where Cleveland St meets Carburton Street)

Information: 07913717999 - sybin@inwind.it

SybinQ Art Projects is pleased to present GUEST CURATORS, where The Bay Window Project becomes the hosting place to promote outstanding curatorial projects, in the spirit of a constant dialogue among curators and artists on an international level.

Cadavre Exquis VIDEO / Cadáver Exquisito VIDEO / Cadavere eccellente VIDEO is a project conceived by Project Room Arte Actual / FLACSO and coordinated by María Rosa Jijon (Quito), Federica La Paglia (Rome) and Alexis Moreano (Paris).

Characterised by a recreational spirit either in its construction and its presentation to the public, CADAVRE EXQUIS VIDEO is the result of an open call to which followed the participation of 62 artists from Ecuador, Italy, France, Germany, Spain, Argentina, Messico and Chile. The participants were invited to send a short video each, all then edited together in the order of arrival, to create something different, apparently with no sense or common thread but that of automatism and chance. The video is inspired by the parlor game “Consequences”, in which players wrote in turn on a sheet of paper, folded it to conceal part of the writing, and then passed it to the next player for another contribution, which would be totally disconnected from the rest. The Surrealists further developed these aspects of random composition, intuition and probability, arguing that creation should be based on collective, open dialogue.

After the success of the screenings in Quito (Ecuador) and Rome, the video is now traveling to London, becoming the Bay Window’s first group show.

Cadavre Exquis VIDEO is a video by:

Concetta Modica, Emanuele Napolitano, Silvia Stucky, Jacopo Benci, Edwin Carrera, Alterego, Galo Teràn Chico, Hugo Burgos, Manuel Carrion Hurtado, Lidia Tropea, Gruppo Sinestetico (Albertin, Sassu, Scordo), La familia producciones, (Andrés Ganchala, Robert Cárdenas y Christian Tapia), Ugo Piergiovanni / Haggar, Pablo Encalada Romero, Diego Paúl Villavicencio Ordóñez, Emy Díaz, Elsye Suquilanda, Tomas Astudillo, Daniele Prosdocimo, myfavouritecolor Enrico Zanetti, Enrico Marcon, Nicola Picogna, Giovanni Bai  Pablo Andres Quartagno Nicolò Vigna, Ingrid Falk & Gustavo Aguerre, Avelino Sala, Paulina León, Giovanni Zapata, Adelina Ducos, sybin, Werther Germondari & Maria Laura Spagnoli, Angelo Antonuccio, Pasquale Fameli, Manuela Viera-Gallo, Erich Breuer, Ilenia Zincone, Amparo Ferrari, conceptinprogress (art collective), Gastón Ramírez Feltrìn, Micha Otto, Alex Ferraté  Vera León y Pedro Cagigal, Chiara Girolomini, Karla Tobar, Sebastian Zabronski, Juan Zabala, Carolina Redondo, Parus Major, María Amelia Viteri y Colectivo Desbordes de Géner@, Luana Perilli, Benna, Rosa Jijon, Paúl Rosero Contreras, Annamaria Di Giacomo, Patricio Ponce, Eleonora Chiesa, Karina Cortez,Cyril Aboucaya, Julie Genelin, Francisca Sánchez, Cyril Gauthier, Guillaume Aubry, Laëtitia Badaut-Haussmann, Eugenio Percossi, Alexis Moreano, Estefania Peñafiel Loaiza.

INFORMATION ABOUT THE CURATORS:

Marìa Rosa Jijon is a visual artist living in Rome and working between Rome and Quito, Ecuador. Federica La Paglia is a contemporary art critic and curator in Rome; she is interested in Latin – American art, in particular socio-political and relational projects. Alexis Moreano is a cinematographic critic from Ecuador, also interested in some aspects of contemporary art; he lives and works in Paris. The Project Room in the Arte Actual Gallery FLACSO, Ecuador, is a workshop of ideas that, through short and informal presentations, encourage the diffusion of experimental and open projects. The Project Room is conceived by Marìa Rosa Jijon and coordinated by Paulina Leon.

LINK: www.arteactual.ec

Email: projectroomaa@gmail.com

BLOG: www.cadaverexquisitovideo.blogspot.com

Do you think THE BAY WINDOW PROJECT has the potential to become something bigger? Please recommend it for the FutureEverything Awards! 

Will come next: SILVIA IORIO plus Special Events, in October.