The Alberto Peola Gallery presents Nistru-Confines, the second solo exhibition of the Moldavian artist Victoria Stoian (Chișinău - Moldavia, 1987).
Imagine for a moment being far away from your country and your most intimate memories. Which and how many colours would you choose to paint the internalized image of that place, that memory? With how much passion, delicacy or instinct would your brush approach the canvas?
Victoria Stoian uses all the colours, in their changeable and multiple nuances. Only rarely does she use black, which for her stands for tranquillity, night, silence, as well as lifelessness. Even the smallest speck of pigment on her canvases seems to possess a sound-like quality that appeals to the eye as well as to the mind. A veritable pictorial symphony – this is how Victoria Stoian describes her country, Moldavia.
Similarly to Tancredi’s The Hometown Diaries, Stoian makes use of a multi-layered, highly textured sign to narrate an abstract landscape deprived of a perspective construction. What gives depth to the canvas is the intensity with which the paint is applied. Delicate, tenuous lilac and sage-green crosshatches suddenly give way to a whirl of colour and matter. At first soft and delicate, the brush strokes become increasingly more abrupt and instinctive, thus revealing the artist’s emotional style.
Within the first edition of Fo.To. Photographers in Turin Alberto Peola Gallery presents the collective show E il giardino creò l'uomo.
E IL GIARDINO CREÒ L’UOMO
text by Francesca Simondi
The title of the exhibition recalls the title of the essay E il giardino creò l'uomo by fictional philosopher and gardener Jorn de Précy, a character created by garden historian Marco Martella. De Précy lived between the 19th and the 20th century, a period marked by a great industrial, urban, as well as social transformations in England. His work The Lost Garden (1912) described the beauty and the spirituality of gardens as sacred places where unspoiled nature can grow freely, a veritable shelter for the soul.
However, he does not fail to express his strong concern about the changing world and to question himself about our destiny: "[...] wondering about the fate of gardens means wondering about the evolution of humanity, so intimate is the link between the garden and man [...] ».
The photographic works chosen for this collective exhibition provide a visual representation of Jorn de Précy’s ideas. It is a selection of images that show the precarious and often ephemeral relationship between the human being and nature and bear witness to the ensuing sense of abandonment.More information
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.
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.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.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