I’ll Be There
The Sense of Classic
curated by Cloe Piccoli
15.05.2015 – 04.06.2015
via Brera, 15 – Milan
“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.”
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.
“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”
“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’.”
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.
Title: I’ll Be There Forever – The Sense of Classic
Catalogue curated by Cloe Piccoli
Bilingual edition in Italian and English
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
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
Installazione / Installation
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.
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).
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.
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).
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.
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).
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.
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.
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.
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).
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).
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.
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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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
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
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