In the context of the first edition of Fo.To Fotografi a Torino (Photographers in Turin) opening on 3 May 2018, the Galleria Peola Arte Contemporanea presents Most Were Silent, by Anush Hamzehian and Vittorio Mortarotti.
Most Were Silent is Anush Hamzehian and Vittorio Mortarotti’s first solo exhibition at the Alberto Peola Gallery. The works of this internationally acclaimed artistic duo stand out for the innovative language of their documental images (photographs and videos) and their commitment to all marginalities – historical, geographic, and social.More information
curated by Luca Beatrice
Before being a job or an art, painting is discipline. A daily need that requires careful thought, exercise, method – a practice that becomes a necessity. In contrast to other languages, painting can also exist without specific planning, as instinct and talent add up to thought and theory. The former cannot work without the latter, and only by putting them together can the artistic mechanism function. This explains the scarcity of genuinely interesting and brave painters.
In my conversations with Paolo Bini about this exhibition, we discussed its title at length. Having dismissed all the options in English, I decided to concentrate on the space the activity of painting has in his life: it’s his job, his passion, his curiosity, the challenge that he constantly poses to himself before anyone else. He discusses it, queries, seeks opinions – he gently and promptly updates you on his works in progress, voices his doubts, engages in conversations, listens, ponders. The result always comes as a surprise. Painting, day after day, is the existential condition of Paolo Bini, the outcome of his haunting investigation and his contagious and overwhelming humanity. The Life of P., we could say, to paraphrase the title of a great film.More information
The title of the exhibition is White Noise, like Don DeLillo’s 1985 novel. It is also the title of the vast artwork that welcomes the visitors in the first room in the Peola Gallery. A Botto&Bruno artwork, no doubt – they have that special touch, that distinctive and unmistakable way of “constructing the image as if [they] were painting it” - which nevertheless looks like none of their previous works. It feels like they have widened their point of view and that what used to be in the foreground has moved away, thus multiplying the images. These latter, however, are to be discovered within this apocalyptic landscape haunted by the literary device of the toxic cloud that disrupts the life of Jack, a university professor, as well as his family and his town, where things seem to run smoothly because, year in year out, the same events repeat themselves unchanged. When Botto&Bruno sent me the picture of this painting, my eyes zoomed in to inspect every corner of this decomposing world. In so doing, I found items belonging to the world of these two artists, items coming from the landscapes of the world’s peripheries – which, as we know, look very much alike. There we find a radio and its speakers, car tyres, dismissed busses, burnt-out cars, tin houses, silos, cranes, rubble, a keyboard, piled up stones, big and small blasts, fragments of bodies of men and women, while their faces are not to be seen (hiding eyes and facial expressions from view is a typical feature of this artistic duo). Then there are the words, black and white signs used to soften or enhance tones and timbres.More information
text by Marco Enrico Giacomelli
The Ghost of Nostalgia
I first met Gabriele Arruzzo in 2003. His work was on view in a group show curated by Luca Beatrice and Guido Curto, entitled At least 16 minutes (slightly longer than the ephemeral celebrity prophesized by Andy Warhol). The exhibition was at the Galleria Art & Arts, an art gallery that was rather short-lived. Arruzzo’s work was inspired by the triptych Three Studies for Figures at the Base of a Crucifixion (c. 1944) and, since Bacon had been the subject of my dissertation a few years before, it captured my attention. We talked about it for a long time, in the street.More information
The exhibition Take Care. Exercises in attention with six lajes and one stele by Matheus Rocha Pitta takes its origin from the research, study and restoration of three artworks by Brazilian artist Matheus Rocha Pitta, who ranks among the outstanding protagonists of the South American art scene. The exhibition unfolds in the rooms of the Galleria Alberto Peola as a discourse in which the artworks function as cornerstones of an meditation on the mutual relationship between poetic models and actual practice in the intersection between creative and curatorial acts, conservation and production.
Co-designed with the artist, the exhibition displays a massive stele and six lajes - recurrent features of the artist’s work - that consist of paving stones made of reinforced concrete of various sizes whose surface incorporates paper clippings showing images taken from newspapers and magazines and stored over the years. Rocha Pitta draws on this personal archive to construct stories, memories and scenarios, both present and past, often connected with Brazil, which denounce various forms of authoritarianism, misinformation, exploitation and injustice, which he complements with a profound, humane sympathy for the vanquished.More information
The Alberto Peola Gallery is pleased to host Reflecție/Repetiție, a solo exhibition of Cornelia Badelita’s work. (Radauti, Romania, 1982. Lives and works in Torino).
Over the last few years, Cornelia Badelita has been collecting reproductions of old paintings with great curiosity and perseverance. Her collection consists mainly of copies of paintings dating back to the 16th, 17th, and 18th centuries, mostly still lifes or portraits by more or less well-known artists. The reproductions were made in the 1990s by anonymous Chinese copyists, the so-called Mao's portrait artists, who reinterpeted the history of western art in accordance with their skills and tastes. Badelita's investigation into these paintings focuses on two aspects: the repetition of the gesture and the condition of simulacrum. These provide a vast array of copies, orphaned of their original, which in turn are transformed by Badelita.More information
The Alberto Peola Gallery is pleased to host Cosimo Veneziano’s second solo exhibition.
Exhibited here for the first time, these works conclude Cosimo Veneziano’s investigation of the role of sculpture in the public space of contemporary society, as well as of the iconographic and symbolic value of images in political propaganda. In particular, the artist addresses the process whereby a community construes its iconography by selecting some facts and personalities and disregarding others, before the symbol is placed in the public space, be this physical or virtual.More information
Alberto Peola Art Gallery is pleased to announce Gioberto Noro’s solo exhibit.
curated by Valeria Ceregini
The only world that exists is the opaque,
the sunny being nothing more than its reverse side.
Italo Calvino, The Opaque, in Novels and Short Stories, vol. III
The artistic duo Gioberto Noro, urged by a cognitive drive in the realization of the work of art, displays an intent to know reality by overcoming the material limits of photography. In this respect, the camera is no longer a mere technical device, but a means to investigate the world and, thus, the Self.
In their work, the ‘split Self’ recombines in a perfect union – en to pan (“one is the all”) – in which female and male polarity (coniunctio oppositorum) is replaced by a complementary relationship, a perfect symmetry of cosmic principles that produces a balanced gender union. In Sergio Gioberto and Marilena Noro’s Rebis, a firm composure
and androgyny transpire from the treatment of images and the ‘individuation’ (individuus, undivided) of the elements that belong to a photographic universe which cannot exist outside reality. The microcosm in the photograph is a replica on a small scale of the macrocosm, a sort of a mise en abyme in which the individual
reiterates the universe.