This exhibition will inaugurate the thirtieth season of the Alberto Peola Gallery, which opened in Turin in 1989. It is a multi-voiced tale - one out of many possible - rather than the celebration of an anniversary, which takes place in September, when, after the summer break, the ritual of new beginnings is performed and a new fresh impetus attends new enterprises, as in the tradition of this gallery. In the rapid progress of art trends and expressive languages - from the medial painting of the early years to the recent interest in research-based art practice – this gallery has constantly been keen on and supportive of young artists, long before the artworks of the new generations became cult objects, like in the late 1990s, or, even worse, commodities ruled by an exploitative market-driven logic.More information
The Alberto Peola gallery is pleased to host and present The invisibility of winter, Laura Pugno’s solo exhibition.
by Manuela Pacella
For the final truth about snowflakes is that they become more individual as they fall—that, buffeted by wind and time, they are translated, as if by magic, into ever more strange and complex patterns, until, at last, like us, they touch earth. Then, like us, they melt.
The familiar, iconic image of a snowflake was born at the end of the nineteenth century thanks to the photographic repertoire of over 5000 snow crystals captured by American photographer Wilson "Snowflake" Bentley. Just as the English photographer Eadweard Muybridge, captured the real motion of a running horse in 1878, the discovery of "reality" thanks to photography no longer allowed false steps in the representation of the world. But if Muybridge corrected errors in representation – horses no longer appear to have all four legs raised in unison except, perhaps, in children’s rocking horses – Bentley contributed, instead, to a further imaginative projection towards that natural phenomenon thanks to which the world silences itself to preserve intact the bud of future genesis. Bentley selected only the most complex and perfect snow crystals and established not only a specific narrative of snow – whether associated with Christmas or not – he also fostered the idea that the exclusivity of snowflakes was a reflection of the human soul. A century later, experiential uniqueness was added to genetic uniqueness when, in 1988, cloud scientist Nancy Knight discovered that «while it’s true that snowflakes often start out alike, it is their descent from the clouds into the world that makes them alter»2.More information
Alberto Peola Gallery presents Private Memories, the second solo exhibition of Simone Mussat Sartor (Torino, 1972).
A cycle of photographs entitled Private Memories, comprising twenty different assemblages of three snapshots – plus one consisting of four snapshots, showing three subjects in a setting and one scenery without a figure – taken with a Kodak Instamatic, a Polaroid 600 or a Polaroid Spectra, as appropriate.
The photographs, taken in the course of two years, are unique samples selected from among a series of similar photographs, all invariably showing the author’s daughters Nina, Zoe and Phoebe – today aged 17, 10 and 7.
The Alberto Peola Gallery presents the third solo exhibition of Lala Meredith-Vula, with a selection of works from the series Haystacks (1989-ongoing) exhibited during dOCUMENTA 14.
«The opportunity to choose a handful of images from Lala Meredith-Vula’s series Haystacks (1989-ongoing) comes as the artist reassesses her growing body of work. She has amassed a vast stack of photographs: both celluloid slides and digital files, some waiting to be scanned, many never printed.
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?More information
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.