I’ll Be There
Forever

The Sense of Classic

curated by Cloe Piccoli

15.05.2015 – 04.06.2015

Palazzo Cusani
via Brera, 15 – Milan


I’ll Be There Forever


“The history of art is a history of prophecies. It can be written only by beginning from the point of view of a completely current present, since every age poses its own new, though non-inheritable, occasion of interpreting exactly those prophecies that the art of past epochs contained within itself.”

Walter Benjamin

I’ll Be There Forever / The Sense of Classic is a exhibition conceived and organized by Acqua di Parma and curated by Cloe Piccoli, art critic and art director of Acqua di Parma Contemporary Art Projects. Under the patronage of the Ministry of Foreign Affairs, the Ministry of Heritage and Cultural Affairs, the Municipality of Milan, and the Academy of Fine Arts of Brera in Milan – the most prestigious and widely acknowledged academy for art in Italy – the exhibition aims to reveal the dialogue between classic and contemporary art in the work of some of the most interesting Italian artists of today.

I’ll Be There Forever / The Sense of Classic is the first contemporary art exhibition produced by Acqua di Parma, representing a further development of the company’s significant commitment to art and culture. The exhibition explores a theme of international relevance – the classic in contemporary art, and how artists approach this concept. The notion of the “Classic” in this instance is not a style or citation but an atmosphere, an inspiration, a fleeting and ephemeral element with a persistent presence.

Gabriella Scarpa
President of Acqua di Parma


“The production of a contemporary art exhibition is a stimulating challenge and a great source of pride for us. Supporting and cooperating with some of the most acclaimed Italian contemporary artists is an opportunity to confirm Acqua di Parma’s longstanding commitment to the promotion of culture, beauty and potentials of our country” 

The curator Cloe Piccoli


“In I’ll Be There Forever, the classic is not intended as a canon. It is not the concept of balance, grace and harmony. Not the idea of the Athenian democracy in the days of Phidias, not even that of man at the centre of the universe, of Piero della Francesca. Not Bramante, Andrea Palladio in Venice or Leon Battista Alberti at Santa Maria Novella. Or, at least, not only this. The idea of the classic in I’ll Be There Forever is that of a process of intricate growth that puts different elements in relation to each other, forming a new dialogue that invents new forms and meanings. But it is also the idea of the classic as memory, belonging, sharing. As Italo Calvino wrote: ‘We use the word Classics for those books that are treasured by those who have read and loved them’. ‘The classics are books that exert a peculiar influence, both when they refuse to be eradicated from the mind and when they conceal themselves in the folds of memory, camouflaging themselves as the collective or individual unconscious’.”

 

Palazzo Cusani


Located in Via Brera in the heart of Milan, Palazzo Cusani is a private residence originally designed by Giovanni Ruggeri in the seventeenth century and renovated between 1775 and 1779 by Giuseppe Piermarini, with a new superb Neoclassical rear façade in the courtyard. Perfectly preserved frescoes and stuccoes in the original Baroque style adorn Palazzo Cusani’s ceilings, cupolas, fixtures, mirrors and fireplaces in the ancient Milanese residence. The symbolic iconography of the palazzo is completed by the wooden flooring with meticulous inlays.

The architectural complex is full of layers, then, with a central connecting feature, the interior staircase that would bear out the thesis that the designer of the Palazzo was connected with the school of Francesco Maria Richini. In this mixed situation, where a neoclassical spatial arrangement establishes a dialogue with later mannerism, the studio designs a sequence of spaces that reflect two architectural models.

Catalogue of the exhibition


Title: I’ll Be There Forever – The Sense of Classic

Catalogue curated by Cloe Piccoli
Editor Electa
Pages 184
Illustrations 160
Bilingual edition in Italian and English
Price 39€

Catalogue of the exhibition I’ll Be There Forever / The Sense of Classic, (Palazzo Cusani, Milan 15.05 – 04.06.2015) first contemporary art exhibition produced by Acqua di Parma

 

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Contents

Contents


Ispirazioni / Inspirations


Storie / Stories
Cloe Piccoli – Un’altra idea di classico / Another Idea of the Classic

Martin Herbert – Il lignaggio infinito. L’arte contemporanea e il classico / The Limitless Lineage: On Contemporary Art and the Classic

Alessandro Rabottini – La memoria e l’immaginazione. Sette variazioni / Memory and Imagination. Seven Variations

Pier Paolo Tamburelli – Bramante: logica del classico / Bramante: the Logic of the Classic

Paola Nicolin – Il classico sfaccettato di Kuehn Malvezzi – The Many-faceted Classical of Kuehn Malvezzi


Opere / Works
Diego Perrone
Rosa Barba
Armin Linke
Alberto Garutti
Paola Pivi
Simone Berti
Massimo Bartolini


Installazione / Installation

Rosa Barba


Rosa Barba constructs environments, sculptures and installations in which devices of audio and moving image transmission, partially obsolete (like modified 16mm projectors) literally set “in motion” meters and meters of celluloid taken in its material essence, prior to its imprinting with narration in images.

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The Hidden Conference (2010–2015), the trilogy of films Rosa Barba presents for the first time in its entirety for “I’ll Be There Forever,” narrates an imagined and imaginary conversation between works from distant periods and places, to create a suspended temporal dimension, seemingly outside of time yet steeped in times, dense with chronological references. It is here that by paradox past, present and future coincide, in the moment in which the artist is there, with a tripod, and enters the dialogue like a new character. They coincide in a dense, “magical” interaction, Barba says, “between works that find themselves side by side and develop a sense of reciprocity, of belonging, an exchange, as in the case of the clouds of William Turner and Francis Bacon in London.” In that moment time is concentrated in a dense, practicable present, also distilled in the environmental dimension of The Hidden Conference. In the former ballroom of Palazzo Cusani, places, works and atmospheres coexist. The dialogue picks up pace as sounds and fragments of speech from Italian films fill the air.

Testo della curatrice Cloe Piccoli, estratto dal catalogo della mostra “I’ll be there forever – The sense of classic”, Electa 2015

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Biography

 

Rosa Barba


Rosa Barba was born in Agrigento (Sicily) in 1972; she lives and works in Berlin.

Recent solo shows include: MAXXI – Museo delle Arti del XXI secolo, Rome (2014); Turner Contemporary, Margate, UK (2013); Bergen Kunsthall, Norway (2013); Cornerhouse, Manchester, UK (2013); Jeu de Paume, Paris (2012); Kunsthaus Zürich, Zurich (2012); Marfa Book Co, Marfa, Texas (2012); Contemporary Art Museum St. Louis, USA (2012); Fondazione Galleria Civica, Trento and MART Museum, Rovereto, Italy (2011); Tate Modern, London (2010); Centre international d’art et du paysage de l’île de Vassivière, France (2010).

She has participated in many group shows, amongst others at the Hong Kong Arts Centre; MASS MoCA, USA; Cornerhouse, Manchester; Akademie der Künste, Berlin; Kunstmuseum Liechtenstein, Vaduz; La Cinémathèque Française, Paris; WIELS, Brussels; Museo Nacional Centro de Arte Reina Sofia, Madrid; Swiss Institute, New York.

Rosa Barba’s works have been included in important exhibitions, such as the 8th Berlin Biennale for Contemporary Art, Berlin (2014), the International Triennial of New Media Art Beijing (2014), the 19th Sydney Biennale (2014), the Liverpool Biennial (2010), 52nd and 53rd Venice Biennale (2007 and 2009), the 2nd Thessaloniki Biennale of Contemporary Art (2009), the Biennial of Moving Images, Geneva (2007).

 

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  • Veduta della mostra / Exhibition view "I'll Be There Forever/ The Sense of Classic"
    Da sinistra / From the left:

    Rosa Barba
    The Hidden Conference: A Fractured Play, 2012
    Film 35mm, colore, audio digitale ottico, 5 min. / 35-mm film, colour, optical sound, 5 mins.
    Courtesy of the Artist

    Rosa Barba
    The Hidden Conference: About the Discontinuous History of Things We See and Don’t See, 2010
    Film 35mm, colore, audio digitale ottico, 13:40 min. / 35-mm film, colour, optical sound, 13:40 mins.
    Courtesy of the Artist
    © Photo A.Osio

  • Veduta della mostra / Exhibition view "I'll Be There Forever/ The Sense of Classic"
    Da sinistra / From the left:

    Rosa Barba
    The Hidden Conference: About the Discontinuous History of Things We See and Don’t See, 2010
    Film 35mm, colore, audio digitale ottico, 13:40 min. / 35-mm film, colour, optical sound, 13:40 mins.
    Courtesy of the Artist

    Rosa Barba
    The Hidden Conference: A Fractured Play, 2012
    Film 35mm, colore, audio digitale ottico, 5 min. / 35-mm film, colour, optical sound, 5 mins.
    Courtesy of the Artist

    Rosa Barba
    The Hidden Conference: About the Shelf and Mantel, 2015
    Film 35mm, colore, audio digitale ottico, 14 min. / 35-mm film, colour, optical sound, 14 mins.
    Courtesy of the Artist. Co-Produced by Acqua di Parma
    © Photo A.Osio

  • Veduta della mostra / Exhibition view "I'll Be There Forever/ The Sense of Classic"
    Da sinistra / From the left:

    Rosa Barba
    The Hidden Conference: About the Discontinuous History of Things We See and Don’t See, 2010
    Film 35mm, colore, audio digitale ottico, 13:40 min. / 35-mm film, colour, optical sound, 13:40 mins.
    Courtesy of the Artist

    Rosa Barba
    The Hidden Conference: A Fractured Play, 2012
    Film 35mm, colore, audio digitale ottico, 5 min. / 35-mm film, colour, optical sound, 5 mins.
    Courtesy of the Artist
    © Photo A.Osio

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Massimo Bartolini


In the work of Massimo Bartolini, for example, we see a sort of simultaneous presence of something that seems to be lost and something that is about to sprout, either in segments of nature evoked through the mechanical operation of an automatic device, or in a technology that aspires to lyrical, random functioning.

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For Massimo Bartolini the artist is earth, nature, architecture. His works are landscapes distilled in drawings, sculptures, installations, environments. His references belong to art history: fountains, gardens, landscapes, pipe organs of the classical tradition, sculptures that come to terms with archetypes like the frescos of Giotto. Giacometti Landscape (2014) inserts itself in this classical and dialogic vision of art that draws on antiquity to construct a complex present. In the work realised for “I’ll Be There Forever” Bartolini dialogues with Alberto Giacometti, and with the classical and hieratic character of his sculptures, contradicted by the existential vision of the individual rendered in his full fragility and humanity, in the vibrant, tormented surfaces. Bartolini starts with this existential connotation of the Swiss artist and begins with a not only conceptual but physical approach through an actual-size copy of Woman of Venice VIII (1958), one of Giacometti’s most intense and symbolic human figures. Bartolini personally makes the work, by hand, approaching the practice of the copy almost as a process of meditation. At this point he transforms the original and the female figure becomes earth, landscape, horizon, a mountain chain, while at the same time the landscape takes on an intensely human dimension.

Testo della curatrice Cloe Piccoli, estratto dal catalogo della mostra “I’ll be there forever – The sense of classic”, Electa 2015

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Biography

 

Massimo Bartolini


Massimo Bartolini was born in Cecina (Italy) in 1962, where he lives and works. He is the Visiting Artist and Instructor at Penn University in Philadelphia, USA.

Bartolini took part in prestigious exhibitions all over the world such as dOCUMENTA 13, Kassel (2011), the Venice Biennale (2013, 2009, 2001, 1999), the Yokohama Triennial (2011), the Shanghai Biennale (2006).

Amongst his most recent solo exhibitions are: Massimo Bartolini, Museum Marino Marini, Florence (2015); It’s mine! Paesaggio e appropriazione, MART, Rovereto (2014); Studio Matters + 1, The Fruitmarket Gallery, Edinburgh (2013); Dialoghi con la città, MAXXI – Museo delle Arti del XXI Secolo, Rome (2008); Massimo Bartolini, Museu Serralves – Museu de Arte Contemporanea, Porto (2007); GAM, Turin (2005).

Group shows include: Booster, Marta Herford, Herford (2014); Sotto quale cielo?, Palazzo Riso, Palermo (2011); Terre Vulnerabili, Hangar Bicocca, Milan (2010); Ecstasy: In and About Altered States, The Museum of Contemporary Art, Los Angeles (2005); None of the Above, Swiss Institute Contemporary Art, New York (2004); P.S.1 Contemporary Art Centre, New York (2001).

 

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  • Veduta della mostra / Exhibition view "I'll Be There Forever/ The Sense of Classic"
    Da sinistra / From the left:

    Massimo Bartolini
    Giacometti Landscape, 2014
    Fusione in bronzo / Bronze casting.
    60 x 400 x 35 cm
    Commissionato e prodotto per / Commissioned and Produced for "I’ll Be There Forever / The Sense of Classic"
    Courtesy of the Artist / Galleria Massimo De Carlo Milano-London

    Massimo Bartolini
    Rugiada, 2014
    Smalto su alluminio, rugiada / Enamel on aluminium, dew.
    120 x 80 cm
    Commissionato e prodotto per / Commissioned and Produced for "I’ll Be There Forever / The Sense of Classic"
    Courtesy of the Artist / Galleria Massimo De Carlo Milano-London. Collezione Acqua di Parma
    © Photo A.Osio

  • Veduta della mostra / Exhibition view "I'll Be There Forever/ The Sense of Classic"
    Da sinistra / From the left:

    Massimo Bartolini
    Giacometti Landscape, 2014
    Fusione in bronzo / Bronze casting.
    60 x 400 x 35 cm
    Commissionato e prodotto per / Commissioned and Produced for "I’ll Be There Forever / The Sense of Classic"
    Courtesy of the Artist / Galleria Massimo De Carlo Milano-London

    Massimo Bartolini
    Rugiada, 2014
    Smalto su alluminio, rugiada / Enamel on aluminium, dew.
    120 x 80 cm
    Commissionato e prodotto per / Commissioned and Produced for "I’ll Be There Forever / The Sense of Classic"
    Courtesy of the Artist / Galleria Massimo De Carlo Milano-London. Collezione Acqua di Parma
    © Photo A.Osio

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Simone Berti


Everything in Simone Berti’s work seems to speak of incompleteness: limbs (human or animal) require support and props, bodies hang together thanks to joints and prostheses, machines often function uselessly and only thanks to systems of assembly that seem complicated, rudimentary and precarious.

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For “I’ll Be There Forever” Simone Berti observes art history to create paintings inspired by the ladies in Flemish Renaissance art, where the white bonnets that frame their faces are transformed into imaginary architectures that shift from the two-dimensional nature of the painting to the three-dimensional character of sculpture. Berti’s paintings are set into structures that even embrace the furnishings of the red hall of inlays and create a total environment, multiplied and reflected. We find ourselves inside a disorienting, hard to define context in which art, architecture and environment take on different connotations that are impossible to classify. It is the aesthetic of Simone Berti in which things, seen in the complexity attributed to them by Michel Foucault in The Order of Things (1966), begin to take on a life of their own, and there are not even words to define them, entering the sphere of invention that cannot be traced or reduced to an encoded language. Berti’s works are inventions: gardens suspended on springs; men installed on stilt/pedestals and positioned at the sides of an entrance like classical herms; family groups in steel structures, paintings of gigantic trees; projects for dwellings in the trees that bring to mind another visionary, the Baron in the Trees (1957) of Calvino; parlours raised to the height of age-old plants in the forest at branch level, in broad daylight.

Testo della curatrice Cloe Piccoli, estratto dal catalogo della mostra “I’ll be there forever – The sense of classic”, Electa 2015

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Biography

 

Simone Berti


Simone Berti was born in Adria (Rovigo) in 1966. He lives and works in Milan.

Among his most recent group exhibitions in international public institutions: Italiens, junge Kunst in der Botschaft, Italian Embassy, Berlin (2010); Italics, Palazzo Grassi, Venice (2008) and MOCA Museum of Contemporary Art, Chicago (2009); El tiempo del Arte, Fundación PROA, Buenos Aires (2009); Esposizione Internazionale, GaMEC, Bergamo, Italy (2009); Apocalittici Integrati, MAXXI – Museo delle Arti del XXI secolo, Rome (2007); Domicile: PrivéPublic, Musée d’Art Moderne, Saint-Etienne, France; Polyphonix 40, Centre Georges Pompidou, Paris (2002); Examining Pictures, Whitechapel Art Gallery, London, Museum Of Contemporary Art, Chicago and the Hammer Museum – UCLA, Los Angeles (1999).

He has taken part in prestigious international exhibitions such as: Fare Mondi / Making Worlds, 53rd Venice Biennale (2009); Egofugal – 7^ Istanbul Biennale (2001); Borderline Syndrome: Energies of Defence, Manifesta 3, Ljubljana (2000).

 

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  • Veduta della mostra / Exhibition view "I'll Be There Forever/ The Sense of Classic"
    Da sinistra / From the left:

    Simone Berti
    Senza titolo, 2015 / Untitled, 2015
    Tecnica mista su tela / Mixed media on canvas
    150 x 120 cm
    Commissionato e prodotto per / Commissioned and Produced for "I’ll Be There Forever / The Sense of Classic"
    Courtesy of the Artist

    Simone Berti
    Senza titolo, 2015 / Untitled, 2015
    Tecnica mista su tela / Mixed media on canvas
    250 x 100 cm
    Commissionato e prodotto per / Commissioned and Produced for "I’ll Be There Forever / The Sense of Classic"
    Courtesy of the Artist. Collezione Acqua di Parma

    Simone Berti
    Senza titolo, 2015 / Untitled, 2015
    Tecnica mista su tela / Mixed media on canvas
    120 x 150 cm
    Commissionato e prodotto per / Commissioned and Produced for "I’ll Be There Forever / The Sense of Classic"
    Courtesy of the Artist
    © Photo A.Osio

  • Simone Berti
    Senza titolo, 2015 / Untitled, 2015
    Tecnica mista su tela
    150 x 120 cm
    Commissionato e prodotto per / Commissioned and Produced for "I’ll Be There Forever / The Sense of Classic"
    Courtesy of the Artist
    Veduta della mostra / Exhibition view "I'll Be There Forever/ The Sense of Classic"
    © Photo A.Osio

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Alberto Garutti


Alberto Garutti is probably the Italian artist who with the greatest formal clarity and conceptual frankness has worked and works on the idea of a memory that not only reinforces the present, but above all calls for action in the present. In his work the present takes care of the past: it welcomes, redeems, compensates it, brings it closer to everyday life and transforms it into simple, healthful nourishment.

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“In a room in Palazzo Cusani the lights will vibrate when a lightning bolt flashes in Italy during a storm. This work is dedicated to all those who passing by there will think about the sky”, Alberto Garutti writes, with a gesture that arrests the work in a precise, unmistakable present. Garutti has the rare ability to scan the present in all its density, all its historical and cosmic depth. Lightning (2015), the work made for Palazzo Cusani, is conceived for and dedicated to every viewer who will enter the room and will be, in that moment and that place, the first and privileged receiver of a phenomenon that connects sky and earth, manifesting itself before their eyes. In that moment the room in the Palazzo will dematerialize, and as in the Baroque domes that force perspective, the space enclosed by the architecture will become simply the last threshold of a contingent reality that from the room expands out to touch a cosmic dimension. In this piece by Garutti “The Sense of Classic” is that impression that brings to mind concepts and suggestions of art history, like the imagery of the illusionism of the frescoes, the cosmic vision of the Renaissance, the humanist idea of man at the centre of the universe.

Testo della curatrice Cloe Piccoli, estratto dal catalogo della mostra “I’ll be there forever – The sense of classic”, Electa 2015

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Biography

 

Alberto Garutti


Alberto Garutti was born in Galbiate (Lecco) in 1948, and lives and works in Milan. He is a lecturer and professor at the Faculty of Design and the Arts at the IUAV in Venice, and of Architecture at Milan Politecnico. He taught at the Brera Academy in Milan from 1990 to 2013.

He has been invited to major international events, among others the 1990 Venice Biennale, the 2001 Istanbul Biennial, Prague Biennale 6 and Architecture Venice Biennale in 2014.

His most recent solo exhibitions in a public institution are Didascalia/Caption at PAC Padiglione d’Arte Contemporanea, Milan (2012) and Dialoghi con la città, MAXXI – Museo delle Arti del XXI secolo, Rome (2009).

He has taken part in numerous international group exhibitions, such as: Soleil Politique, Museion, Bolzano, Italy (2014); Lightopia, Vitra Design Museum, Weil am Rhein (2014); Incontri at the Schauwerk, Sindelfingen; Italics, Palazzo Grassi, Venice (2008) and MOCA Museum of Contemporary Art, Chicago (2009); the Memory Marathon, Serpentine Gallery, London (2012).

He has been commissioned to create public works for various cities and museums, such as S.M.A.K. Museum, Ghent, Belgium (2000); 21st Century Museum of Modern Art, Kanazawa, Japan (2002); Museion, Bolzano, Italy (2001-2003), Museum of Modern Art, Moscow (2011). In 2011 one of his works was selected by Creative Time, New York, out of 100 public projects for Living as Form: Socially Engaged Art from 1991-2011.

 

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  • Alberto Garutti
    Filo lungo 133 km: la distanza dalla porta della mia casa a Milano alla piazza Garibaldi a Parma, 2015 /
    Line 133 km Long: the distance from the door of my home in Milan to Piazza Garibaldi in Parma, 2015
    Filo di poliestere, cilindro in cartone e teca / Polyester thread, cardboard cylinder and display case.
    29 x 29 x 32 cm
    Commissionato e prodotto per / Commissioned and Produced for "I’ll Be There Forever / The Sense of Classic"
    Courtesy the Artist. Collezione Acqua di Parma
    Veduta della mostra / Exhibition view "I'll Be There Forever/ The Sense of Classic"
    © Photo A.Osio

  • Alberto Garutti
    Fulmini , 2015 / Lightning , 2015
    Led, alluminio, computer, connessione internet, diametro 217,1 cm, altezza 81,3 cm. Con il supporto di CESI (Centro Elettrotecnico
    Sperimentale Italiano); consulenza Illuminotecnica Alexander Bellman GRUPPO C14; realizzazione ZCUBE /
    LEDs, aluminium, computer, internet connection software, diameter 217.1 cm, height 81.3 cm. With the support of CESI (Centro Elettrotecnico Sperimentale Italiano); lighting Consultant Alexander Bellman GRUPPO C14; realized by ZCUBE
    Commissionato e prodotto per / Commissioned and Produced for "I’ll Be There Forever / The Sense of Classic"
    Courtesy of the Artist
    Veduta della mostra / Exhibition view "I'll Be There Forever/ The Sense of Classic"
    © Photo A.Osio

  • Veduta della mostra / Exhibition view "I'll Be There Forever/ The Sense of Classic"
    Da sinistra / From the left:

    Alberto Garutti
    Filo lungo 133 km: la distanza dalla porta della mia casa a Milano alla piazza Garibaldi a Parma, 2015 /
    Line 133 km Long: the distance from the door of my home in Milan to Piazza Garibaldi in Parma, 2015
    Filo di poliestere, cilindro in cartone e teca / Polyester thread, cardboard cylinder and display case.
    29 x 29 x 32 cm
    Commissionato e prodotto per / Commissioned and Produced for "I’ll Be There Forever / The Sense of Classic"
    Courtesy the Artist. Collezione Acqua di Parma

    Alberto Garutti
    Fulmini , 2015 / Lightning , 2015
    Led, alluminio, computer, connessione internet, diametro 217,1 cm, altezza 81,3 cm. Con il supporto di CESI (Centro Elettrotecnico
    Sperimentale Italiano); consulenza Illuminotecnica Alexander Bellman GRUPPO C14; realizzazione ZCUBE /
    LEDs, aluminium, computer, internet connection software, diameter 217.1 cm, height 81.3 cm. With the support of CESI (Centro Elettrotecnico Sperimentale Italiano); lighting Consultant Alexander Bellman GRUPPO C14; realized by ZCUBE
    Commissionato e prodotto per / Commissioned and Produced for "I’ll Be There Forever / The Sense of Classic"
    Courtesy of the Artist
    © Photo A.Osio

  • Veduta della mostra / Exhibition view "I'll Be There Forever/ The Sense of Classic"
    Da sinistra / From the left:

    Alberto Garutti
    Filo lungo 133 km: la distanza dalla porta della mia casa a Milano alla piazza Garibaldi a Parma, 2015 /
    Line 133 km Long: the distance from the door of my home in Milan to Piazza Garibaldi in Parma, 2015
    Filo di poliestere, cilindro in cartone e teca / Polyester thread, cardboard cylinder and display case.
    29 x 29 x 32 cm
    Commissionato e prodotto per / Commissioned and Produced for "I’ll Be There Forever / The Sense of Classic"
    Courtesy the Artist. Collezione Acqua di Parma

    Alberto Garutti
    Fulmini , 2015 / Lightning , 2015
    Led, alluminio, computer, connessione internet, diametro 217,1 cm, altezza 81,3 cm. Con il supporto di CESI (Centro Elettrotecnico
    Sperimentale Italiano); consulenza Illuminotecnica Alexander Bellman GRUPPO C14; realizzazione ZCUBE /
    LEDs, aluminium, computer, internet connection software, diameter 217.1 cm, height 81.3 cm. With the support of CESI (Centro Elettrotecnico Sperimentale Italiano); lighting Consultant Alexander Bellman GRUPPO C14; realized by ZCUBE
    Commissionato e prodotto per / Commissioned and Produced for "I’ll Be There Forever / The Sense of Classic"
    Courtesy of the Artist
    © Photo A.Osio

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Armin Linke


Whether documenting interiors designed by Carlo Mollino or the urban transformations of huge Asian cities, Linke applies the photographic language and, more in general, the mechanism of the shot as a place of tension inside which past, present and future are equally active.

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For “I’ll Be There Forever” Armin Linke works on the intervention of the Modern architect Carlo Scarpa at Palazzo Abatellis in Palermo. He establishes a dialogue with Scarpa, his interpretation of the collection and the site, lingering with the gaze of an archaeologist, to use the concept of Bruno Latour12 on how places and functions are transformed over time, to seek those clues that reveal the temporal and conceptual junctions of the architect, unconventional non-encoded choices in which Scarpa generates a dialogue, in total freedom, of the architectural features of the place and different eras of art history, in an inimitable contemporary and modernist vision. The result is what we might define, to borrow a term from cinema, as a montage that faces off epochs and concepts that are only apparently dissonant. This is the dialogue that interests Linke, who adds a new level of interpretation, a further conceptual development, as the montage becomes more stratified, rich in suggestions. Linke defines a personal vision of the relationship between the historic Palazzo on Via Alloro – in the Kalsa district, containing the Galleria Regionale della Sicilia – and the architect’s modifications and the collection.

Testo della curatrice Cloe Piccoli, estratto dal catalogo della mostra “I’ll be there forever – The sense of classic”, Electa 2015

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Biography

 

Armin Linke


Armin Linke was born in Milan in 1966 and lives and works in Berlin.

He has taken part in important international exhibitions, among which: the Venice Architecture Biennale (2000, 2004, 2006, 2012, 2014); Sogni e Conflitti, 50th Venice Art Biennale (2003); 6th Gwangju Biennale, Gwangju, South Korea (2004); 28th Bienal de São Paulo (2008) and Berlin Biennale (1998).

Solo shows in international institutions: Armin Linke/Alpi, Voralberger Architektur Institut, Dornbirn (Austria) (2013); Il Corpo dello Stato, MAXXI – Museo delle Arti del XXI secolo, Rome (2010); Armin Linke, Heidelberger Kunstverein, Heidelberg, Germany (2009); Future Archaeologies, Klosterfelde, Berlin (2009); Prospectif Cinéma, Centre Georges Pompidou, Paris (2005).

His work has been included in such group shows as: Hollein, MAK – Austrian Museum of Applied Arts / Contemporary Art, Vienna (2014); Alvar Aalto – Second Nature, Vitra Design Museum, Weil am Rhein (2014); #3 Down to Earth – Third Episode of the Anthropocene Observatory, Haus der Kulturen der Welt, Berlin (2014); Carlo Mollino, Maniera Moderna, Haus der Kunst, Munich (2011).

 

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  • Veduta della mostra / Exhibition view "I'll Be There Forever/ The Sense of Classic"
    Da sinistra / From the left:

    Armin Linke
    Carlo Scarpa, Palazzo Abatellis, Room with Bust of a Gentlewoman, Palermo 2015
    C-print, 150 x 200 cm
    Commissionato e prodotto per / Commissioned and Produced for "I’ll Be There Forever / The Sense of Classic"
    Courtesy of the Artist. Collezione Acqua di Parma

    Armin Linke
    Carlo Scarpa, Palazzo Abatellis, display panel, Palermo 2015
    C-print, 50 x 60 cm
    Commissionato e prodotto per / Commissioned and Produced for "I’ll Be There Forever / The Sense of Classic"
    Courtesy of the Artist

    Armin Linke
    Carlo Scarpa, Palazzo Abatellis, display vetrine for the “Annunciata” by Antonello da Messina, Palermo 2015
    C-print, 50 x 60 cm
    Commissionato e prodotto per / Commissioned and Produced for "I’ll Be There Forever / The Sense of Classic"
    Courtesy of the Artist

    Armin Linke
    Carlo Scarpa, Palazzo Abatellis, pivoting displays, Palermo 2015
    C-print, 50 x 60 cm
    Commissionato e prodotto per / Commissioned and Produced for "I’ll Be There Forever / The Sense of Classic"
    Courtesy of the Artist

    Armin Linke
    Carlo Scarpa, Palazzo Abatellis, display for three sculptures, Palermo 2015
    C-print, 50 x 60 cm
    Commissionato e prodotto per / Commissioned and Produced for "I’ll Be There Forever / The Sense of Classic"
    Courtesy of the Artist. Collezione Acqua di Parma

    Armin Linke
    Carlo Scarpa, Palazzo Abatellis, pivoting displays, Palermo 2015
    C-print, 50 x 60 cm
    Commissionato e prodotto per / Commissioned and Produced for "I’ll Be There Forever / The Sense of Classic"
    Courtesy of the Artist

    Armin Linke
    Carlo Scarpa, Palazzo Abatellis, display panel, Palermo 2015
    C-print, 150 x 200 cm
    Commissionato e prodotto per / Commissioned and Produced for "I’ll Be There Forever / The Sense of Classic"
    Courtesy of the Artist

    Armin Linke
    Carlo Scarpa, Palazzo Abatellis, display for the sculpture of a head, Palermo 2015
    C-print, 50 x 60 cm
    Commissionato e prodotto per / Commissioned and Produced for "I’ll Be There Forever / The Sense of Classic"
    Courtesy of the Artist

    Armin Linke
    Carlo Scarpa, Palazzo Abatellis, display for the sculpture of a head, Palermo 2015
    C-print, 50 x 60 cm
    Commissionato e prodotto per / Commissioned and Produced for "I’ll Be There Forever / The Sense of Classic"
    Courtesy of the Artist
    © Photo A.Osio

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Diego Perrone


For Perrone sculpture does not seem to have to do with the usual operations like carving, shaping or assembly, but instead with actions that are connected with the earth (like sedimentation) or the human body (like excrescence).

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Through a gaze that scans centuries and cultures, reinventing and reconfiguring languages to the point of making them unrecognizable, Perrone comes to grips with a present dense in implications and anachronisms. La fusione della campana (2007), the opening work in “I’ll Be There Forever”, attempts to approach the unfathomable mystery of creation, between alchemy and mysticism, process and labour. Perrone addresses the theme from different viewpoints: the aspect of technique and material, that of art and creation, of ambition and challenge. One of his points of reference is Andrei Rublev (1966), the film by Tarkovsky. In the film, the tension is between Rublev, a well-known painter of Russian icons, “iconic” by definition, who has lost his inspiration but retains knowledge and technique, and a young bellmaker responsible for his first bell, guided by great determination and courage mixed with a vivid fear of failure. The process is a choral one, as the entire community, in the physical and metaphysical sense, today as in the Middle Ages, gathers around the making of the bell. The tension is very high, like the temperature at which the metal is cast. Success and failure, stories, desires, ambitions set the pace of a contemporary epic that redefines the archetypes and myths of the present.

Testo della curatrice Cloe Piccoli, estratto dal catalogo della mostra “I’ll be there forever – The sense of classic”, Electa 2015

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Biography

 

Diego Perrone


Diego Perrone was born in Asti (Italy) in 1970, he lives and works in Milan.

Solo shows include: Il Servo Astuto, Museion, Bolzano, Italy (2013) La mamma di Boccioni in ambulanza e la fusione della campana, CAPC Musée d’Art Contemporain, Bordeaux, France and MAMbo – Museo d’Arte Moderna di Bologna, Bologna (2007); Totò nudo e la fusione della campana, Fondazione Sandretto Re Rebaudengo, Turin (2005).

His work has been shown in prominent institutions in group exhibitions such as: Nathalie Djurberg & Diego Perrone, Whitechapel Gallery, London (2008); After Nature, New Museum, New York (2008); The Shapes of Space, Solomon R. Guggenheim Museum, New York (2007); Perspectif cinema 2003-2004, projections, Centre Georges Pompidou, Paris (2004); Animations, P.S.1 Contemporary Art Center, New York (2001).

Diego Perrone’s works were included in the 55th Venice Biennale – Il Palazzo Enciclopedico, Venice (2013); in the Berlin Biennale for Contemporary Art, Berlin (2006); the Moscow Biennale of Contemporary Art, Moscow (2005).

 

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  • Diego Perrone
    Senza titolo, 2015 / Untitled, 2015
    Pasta di vetro / Glass casting.
    70 x 85 x 16 cm
    Commissionato e prodotto per / Commissioned and Produced for "I’ll Be There Forever / The Sense of Classic"
    Courtesy of the Artist / Galleria Massimo De Carlo Milano-London. Collezione Acqua di Parma
    Veduta della mostra / Exhibition view "I'll Be There Forever/ The Sense of Classic"
    © Photo A.Osio

  • Veduta della mostra / Exhibition view "I'll Be There Forever/ The Sense of Classic"
    Da sinistra / From the left:

    Diego Perrone
    Senza titolo, 2015 / Untitled, 2015
    Pasta di vetro / Glass casting.
    70 x 85 x 16 cm
    Commissionato e prodotto per / Commissioned and Produced for "I’ll Be There Forever / The Sense of Classic"
    Courtesy of the Artist / Galleria Massimo De Carlo Milano-London. Collezione Acqua di Parma

    Diego Perrone
    Senza titolo, 2015 / Untitled, 2015
    Pasta di vetro / Glass casting.
    70 x 85 x 16 cm
    Commissionato e prodotto per / Commissioned and Produced for "I’ll Be There Forever / The Sense of Classic"
    Courtesy of the Artist / Galleria Massimo De Carlo Milano-London
    © Photo A.Osio

  • Diego Perrone
    Senza titolo, 2015 / Untitled, 2015
    Pasta di vetro / Glass casting.
    70 x 85 x 16 cm
    Commissionato e prodotto per / Commissioned and Produced for "I’ll Be There Forever / The Sense of Classic"
    Courtesy of the Artist / Galleria Massimo De Carlo Milano-London. Collezione Acqua di Parma
    Veduta della mostra / Exhibition view "I'll Be There Forever/ The Sense of Classic"
    © Photo A.Osio

  • Diego Perrone
    La fusione della campana, 2007
    Resina epossidica, polistirolo, ferro / Epoxy resin, polystyrene, iron
    500 x 800 x 350 cm
    Courtesy of the Artist / Galleria Massimo De Carlo Milano-London
    Veduta della mostra / Exhibition view "I'll Be There Forever/ The Sense of Classic"
    © Photo A.Osio

  • Diego Perrone
    La fusione della campana, 2007
    Resina epossidica, polistirolo, ferro / Epoxy resin, polystyrene, iron
    500 x 800 x 350 cm
    Courtesy of the Artist / Galleria Massimo De Carlo Milano-London
    Veduta della mostra / Exhibition view "I'll Be There Forever/ The Sense of Classic"
    © Photo A.Osio

  • Diego Perrone
    La fusione della campana, 2007
    Resina epossidica, polistirolo, ferro / Epoxy resin, polystyrene, iron
    500 x 800 x 350 cm
    Courtesy of the Artist / Galleria Massimo De Carlo Milano-London
    Veduta della mostra / Exhibition view "I'll Be There Forever/ The Sense of Classic"
    © Photo A.Osio

  • Diego Perrone
    La fusione della campana, 2007
    Resina epossidica, polistirolo, ferro / Epoxy resin, polystyrene, iron
    500 x 800 x 350 cm
    Courtesy of the Artist / Galleria Massimo De Carlo Milano-London
    Veduta della mostra / Exhibition view "I'll Be There Forever/ The Sense of Classic"
    © Photo A.Osio

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Paola Pivi


In the work of Paola Pivi there is no hint of nostalgia for the past, yet even the present seems absolute, instantaneous, extraneous. In a certain sense it is as if Pivi had transferred, on the perception of our time, that degree of enigma and distance that we notice, upon close examination, in the classical.

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The history of Italian art is a remote but pervasive presence in the work of Paola Pivi. It is there in the overturned truck she installed in Pescara, in the airplane wedged between the columns of the Arsenale in Venice, or in the bears that contradict the monumental nature of classical sculpture with playful postures, relating to the classical by way of contrast. It is there in the works made with pearls, like Call Me Anything You Want (2013), the installation at Palazzo Cusani, in which shadings of colour evoke the atmospheric depths of Renaissance painting. The pearls thus become space and perspective. In the hall of mirrors, the pearls of Paola Pivi trigger an encounter between the optical dimension of Renaissance shading and the physical dimension of the density and weight of matter. There is a tangible tension in these works with natural pearls, between the orderly compression of the pearls tied closely on the canvas, saturating its space, and their powerful liberation in a bursting cascade. The use of pearls reflects the atmosphere of Shanghai, where Pivi lived at the end of the 1990s. Here the viewpoint of the artist changes, and in these works we can perceive – never declared, but sublimated – the density, compression and oppression of that context, and of a larger global context. The pearls are fundamental works in Pivi’s career, and for this exhibition as well, because they interpret the idea of the classical as a term of conceptual comparison with which the artist has to come to grips, more by contrast than by resemblance.

Testo della curatrice Cloe Piccoli, estratto dal catalogo della mostra “I’ll be there forever – The sense of classic”, Electa 2015

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Biography

 

  • Paola Pivi
    Untitled (Pearls), 2015
    Perle naturali infilate su tela/ Natural pearls threaded on canvas.
    19.2 x 18.6 cm
    Commissionato e prodotto per / Commissioned and Produced for "I’ll Be There Forever / The Sense of Classic"
    Courtesy of the Artist and Massimo De Carlo, Milan/London. Acqua di Parma Collection
    Veduta della mostra / Exhibition view "I'll Be There Forever/ The Sense of Classic"
    © Photo A.Osio

  • Paola Pivi
    Call Me Anything You Want, 2013
    Perle naturali infilate su tela, 20 tele / Natural pearls threaded on canvas, 20 canvases.
    19,2 x 18,6 cm ciascuna / 19.2 x 18.6 cm each
    Commissionato e prodotto per / Commissioned and Produced for "I’ll Be There Forever / The Sense of Classic"
    Courtesy of the Artist / Galleria Massimo De Carlo Milano-London
    Veduta della mostra / Exhibition view "I'll Be There Forever/ The Sense of Classic"
    © Photo A.Osio

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Paola Pivi


Paola Pivi was born in Milan in 1971, she lives and works between Anchorage, Alaska and New Delhi, India. The artist has received the Golden Lion (Leone d’Oro) at the Venice Biennale in 1999.

Paola Pivi’s work has been shown in prominent international institutions such as: Musée d’Art Moderne de la Ville de Paris (1999); P.S.1 MoMA, New York (in 2000, 2001, 2003, 2007); MACRO, Rome (2003, 2010); MCA – Museum of Contemporary Art of Chicago (2005); CCA Wattis Institute for Contemporary Arts, San Francisco (2005); White Columns, New York (2005); MassArt – Massachusetts College of Art College of Art, Boston (2006); Hayward Gallery, London (2005); Kunsthalle Basel, Basel (2007); Portikus, Frankfurt (2008); Palazzo Grassi, Venice (2008); Tate Modern, London (2009).

Solo shows include: Tulkus 1880 to 2018, FRAC Bourgogne, Dijon (2014), Witte De With, Amsterdam (2013) and Castello di Rivoli, Turin (2012); You Started It…I Finish It, National Gallery of Victoria, Melbourne (2014); How I Roll, Public Art Fund – Doris C. Freedman Plaza, Central Park, New York (2012); Share, But It’s Not Fair, Rockbund Art Museum, Shanghai (2012); Grrr Jamming Squeak, commissioned by Sculpture International, Rotterdam (2010).

Paola Pivi took part in the 5th Berlin Biennale for Contemporary Art, Venice Biennale (1999 and 2003) and in MANIFESTA 10, Saint Petersburg (2014).

 

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Palazzo Cusani

Via Brera, 15 – Milan

 

Monday – Sunday
11am – 8pm
Free entrance

 

info@illbethereforever.com

#illbethereforever

Colophon exhibition

 

Introduction / Artists


Rosa Barba, The Hidden Conference: About the Shelf and Mantel (2015), 35-mm film, colour, optical sound. Co-produced by Acqua di Parma. © Rosa Barba

Massimo Bartolini, Giacometti Landscape (2014), produced for “I’ll Be There Forever”. Making of at Fondation Beyeler. Courtesy of the Artist and Massimo De Carlo, Milan/London

Simone Berti, Untitled (2015), mixed media on paper, produced for “I’ll Be There Forever”. Courtesy of the Artist

Alberto Garutti, Lightning (2015), led, steel, miscellaneous electrical equipment, computer, internet connection; render of the project, produced for “I’ll Be There Forever”. © Archivio Studio Alberto Garutti

Armin Linke, Carlo Scarpa, Palazzo Abatellis, Room with Bust of a Gentlewoman, Palermo Italy 2015, produced for “I’ll Be There Forever”. © Armin Linke, 2015

Diego Perrone, Untitled (2015), glass casting, produced for “I’ll Be There Forever”. Courtesy of the Artist and Massimo De Carlo, Milan/London. Acqua di Parma Collection. Photo © A.Osio

Paola Pivi, Untitled (Pearls) (2015), produced for “I’ll Be There Forever”. Courtesy of the Artist and Massimo De Carlo, Milan/London. Acqua di Parma Collection

 

 

Artist’s biographies


Rosa Barba, The Long Road, 2010. 35-mm film, color, optical sound, 6:14 min.; Installation view at Kunstverein Braunschweig, Germany, 2011.; © Rosa Barba

Massimo Bartolini; La strada di sotto, 2011; Videoproiezione, luminarie, mixer luci / Video projection, lights, light mixer; 20′ 30”, dimensioni ambientali / environmental dimensions; Ph. Credits Matteo Piazza; Courtesy Massimo De Carlo Milan/London

Armin Linke, CNR, National Research Council, Fermi conference hall, reproduction of the map made by Fra’ Mauro in 1460, Rome Italy; ©Armin Linke, 2007

Simone Berti; Senza titolo (Cavaliere), 2002; Alchidico su tela, 160 x 190; Courtesy Collezione Giulio di Gropello, Roma

Alberto Garutti, Piccolo Museion, 2001-2003

Diego Perrone, La fusione della campana, 2007

Paola Pivi, Alicudi Project, 2001, Work in progress, Digital print on PVC, A section of the 1:1 photographic representation of the island Alicudi (Sicily, Italy), Printed on 4 PVC rolls, 50 x 5 m each / 164 x 16,4 feet each, The complete photograph will consist of 3750 rolls, measuring 500 x 1822,5 meters, Photograph by Hugo Glendinning, Exhibition “It just keeps getting better” 2007 at Kunsthalle Basel, Switzerland, Courtesy of the artist and Massimo De Carlo, Milan/London

 

 

Gabriella Scarpa
President of Acqua di Parma


Palazzo Cusani; Photo ©A.Osio

 

 

Palazzo Cusani


Palazzo Cusani; Photo ©A.Osio