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Giornata del Contemporaneo 2012 a Verona

Ottava Edizione

AMACI ha scelto il 6 ottobre 2012 per il grande evento dedicato all’arte contemporanea  e al suo pubblico: la Giornata del Contemporaneo, quest’anno alla sua Ottava edizione.

Eventi a Verona

“Danze” di Gianni Franceschini

Galleria Massella
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B.O.M.A.R. UNIVERSE

La Giarina Arte Contemporanea
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DENOUEMENT – Tony Oursler

FaMa Gallery
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Giosetta Fioroni “MIRRORING MEMORIES – MEMORIE ALLO SPECCHIO

MarcoRossi artecontemporanea Verona
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Con l’edizione 2012, AMACI si propone di incrementare il numero degli aderenti e di potenziare l’azione locale dell’Associazione e dei Musei associati, al fine di incentivare lo sviluppo del tessuto culturale territoriale.

Porte aperte gratuitamente in ogni angolo del Paese, per presentare artisti e nuove idee attraverso mostre, laboratori, eventi e conferenze. Un programma multiforme che regalerà al grande pubblico un’occasione per vivere da vicino il complesso e vivace mondo dell’arte contemporanea.

Anche quest’anno, la Direzione Generale per il Paesaggio, le Belle Arti, l’Architettura e l’Arte Contemporanee del Ministero dei Beni e delle Attività Culturali, accanto alle più importanti istituzioni italiane, rinnova il suo sostegno ad AMACI, all’Ottava Giornata del Contemporaneo e a tutti i suoi eventi.

Da questa edizione, la possibilità di aderire alla Giornata del Contemporaneo per gli enti interessati è offerta tramite il nuovo sito internet di AMACI, attivo dal mese di giugno 2012: gli aderenti possono caricare autonomamente i propri dati e il programma delle manifestazioni promosse dopo essersi registrati al sito AMACI.

Francesco Vezzoli, Self-portrait as Antinous Loving Emperor Hadrian

Self-portrait as Antinous Loving Emperor Hadrian, l’immagine scelta da Francesco Vezzoli

come simbolo dell’Ottava Giornata del Contemporaneo, racchiude i ritratti dell’imperatore
Adriano – scultura del II sec. d.C – e del giovane Antinoo – autoritratto in marmo bianco di
Carrara dell’artista stesso. Adriano, dai lineamenti spianati e dal volto consumato dall’erosione
dei secoli, guarda fissamente, quasi assorto, il volto ben delineato e dolcemente reclinato del
bellissimo Antinoo. Una linea sottile e potente lega lo sguardo di Antinoo a quello dell’imperatore,
lontano secoli nel tempo, ma vicino e vivo per l’energia con cui la storia, l’amore e l’arte ancora
risuonano. Antinoo morì che non aveva vent’anni, cadendo nel sacro fiume Nilo, immolando
giovinezza e bellezza al suo Adriano e diventando così una divinità. Ed ecco che ancora sono
vivi, quell’amore e quel sacrificio, nell’opera di Francesco Vezzoli, che qui è totalmente
contemporaneo nel gesto dell’accostare il già esistente con la propria opera – unendo con un
ideale filo rosso passato e presente – ed è profondamente classico nel potere evocativo che da
questo gesto sprigiona.
Adriano e Antinoo. Faccia a faccia, quasi guancia a guancia grazie al gesto di un artista di oggi
che si avvicina al lavoro di un artista di ieri, proiettandolo con un nuovo senso nel futuro. Adriano
volle che il mondo conosciuto fosse colmo di ritratti di Antinoo, che le città gli fossero intitolate,
che tutti lo celebrassero, che il suo nome continuasse a risuonare nelle voci, perché lui potesse
continuare a vivere. È questo il messaggio, la supplica quasi, che Francesco Vezzoli raccoglie in
questa immagine. Adriano è vivo e, soprattutto, Antinoo è vivo, vicino al suo mentore, al suo
imperatore.
L’artista è Antinoo, amante e amato, opera d’arte per il solo fatto d’essere vissuto, ma è anche
l’imperatore, che trasforma in dio, e quindi in opera d’arte, il suo amore. Self-portrait as
Antinous Loving Emperor Hadrian è dunque un inno alla memoria, un gioco di specchi e di
rimandi fra lo sguardo dell’artista, quello dei suoi personaggi e il nostro, tutti messi in scena dalla
semplice classicità di un gesto che ravviva la forza dell’antica metafora, spingendola nel futuro.
Prosegue dunque con successo il progetto di affidare a un artista italiano di fama
internazionale la creazione dell’immagine guida della Giornata del Contemporaneo, che
negli anni scorsi ha visto coinvolti Michelangelo Pistoletto nel 2006, Maurizio Cattelan nel
2007, Paola Pivi nel 2008, Luigi Ontani nel 2009, Stefano Arienti nel 2010 e Giulio Paolini nel
2011.

Francesco Vezzoli plans 24-hour museum to vainglorious decadence

Italian artist has charmed Helen Mirren into a toga for art that is sublime and sometimes debauched celebration of celebrity

Franceso Vezzoli Caligula trailer

Franceso Vezzoli persuaded Helen Miren to wear a Versace toga for his trailer for the imaginary remake of Tinto Brass’s Caligula, which she had also starred Photograph: Francesco Vezzoli

If there is one art Francesco Vezzoli excels at, it is persuasion. The Italian video and conceptual artist has the knack of getting famous people to participate in ever more outlandish projects. In 2006, he charmed Helen Mirren, Benicio del Toro and Gore Vidal into Versace-designed togas, in order to make a film trailer for an imaginary remake of Caligula. In 2009 he unveiled Greed, an ad for a fictitious perfume directed by Roman Polanski and featuring the actors Natalie Portman and Michelle Williams grappling on the floor.

His most famous show, at the Museum of Contemporary Art in Los Angeles, saw the singer Lady Gaga don a hat designed by the architect Frank Gehry while playing a piano painted by Damien Hirst, as members of the Bolshoi ballet danced alongside.

Though he is tiring of working with stars – not least because of the epic feats of organisation it takes – Vezzoli says:

“We live in a very baroque and surreal moment, despite the fact that we’re aiming to be correct and moderate.”

This month will see his most extravagant project yet. Funded by the fashion house Prada, Vezzoli will take over the Palais d’Iéna in Paris and create a pop-up 24-hour museum. The venue, designed by AMO, the alter ego of Rem Koolhaas’s architectural practice OMA, will start with a private dinner at 9pm on 24 January, turn into a nightclub and then the following day morph into a museum, complete with school trips and a press conference. The last three hours will be a public party, before the museum closes its doors forever.

Vezzoli is tickled by the fact that, though originally built as a museum, the Palais d’Iéna is now the seat of the Conseil économique, social et environnemental, France’s economic and social and environmental council. “It’s like I’m squatting in the House of Lords.” He plans to fill it with five-metre high, neoclassical figures with the heads of the celebrities he has worked with, from Courtney Love to Cate Blanchett. The statues will light up in the course of the evening and “look like something you might find on the way to a brothel in Las Vegas”.

Ostentatious, ephemeral and kitsch, it promises to be a provocative spectacle. “It could be seen as a tacky show-off or it could be seen as a deep political analysis of the role of institutions as social hubs,” says Vezzoli. “Artists and critics see museums as a jewel case where the mementos of our epoch should be preserved, but if you said ‘MoMA’ to the president of Barclays’ bank, [he would] say, ‘That’s a venue for rent for $50,000 if you want to hold an event.’ These places have gone from being small and protected to being big and less protected. The only institutions that aren’t for rent are the private ones because people like Prada don’t need the money.” Prada opened a gallery at the Venice Biennale last year and are building another in Milan, designed by Koolhaas.

Vezzoli has no problem with the idea of corporate sponsorship: his film director heroes Visconti and Pasolini were funded by rightwingers. He describes Prada’s cash as “the cleanest money on earth – the fruits of a product which is a vehicle of culture”. Rather than spend the money on the party “like any other fashion house would do”, it has chosen to invest it in an art work.

Set up in 1994, the Prada Foundation has funded a number of art projects, including Carsten Höller’s Congolese-style nightclub the Double Club, which ran in London in 2009. It has been followed by other fashion houses, including Louis Vuitton, who in 2010 commissioned a work by immersive theatre company Punchdrunk to open their Bond Street store in London. Such creative collaborations are often regarded as more credit crunch-appropriate than an extravagant party.

So what is Vezzoli trying to achieve? “A smile,” says the artist. “People are very unhappy these days – if they come and laugh at my disco sculptures it will be something.” The project, he continues, is a parody of a retrospective. “If you’re setting up this whole extravaganza and make it completely self-referential, you become the object of the ridiculousness.”

The pop-up project will also involve a Twitter chat between Vezzoli and a celebrity “even bigger” than Lady Gaga (he denies it will be Madonna, but says that Rihanna “may do something”). He is intrigued by the potential of social media, and is contemplating another, science-themed project which uses sites like Twitter and Facebook to harvest answers for a Kinseyesque report into sexuality.Though his work may seem deliberately gaudy and shallow, as with his ultimate inspiration Andy Warhol, hindsight has revealed its depths. Vezzoli’s Caligula trailer , a portrait of decadence, looks prescient in the wake of Silvo Berlusconi and the bunga bunga scandal.

“I put on the screen what happened in my nation five years later,” he says. “Power degenerating into abuse of power: sexual power, legal power.

“I’m so happy that Berlusconi is gone and there was no blood. I know there are a lot of people that are not in a happy place because of the financial moment, but my nation has seen some pretty rough changes of tides, from the Red Brigade to Mussolini hanging upside down. Now we have a decent government who will have an election. I’ll make sculptures from now on because there won’t be any more bunga bunga to talk about.”

Vezzoli has never shown work in the UK, though London is close to his heart – he studied at Central Saint Martins, though he says that nightlife was a bigger attraction: “I wanted to meet the Pet Shop Boys, not Gilbert & George – though later I decided I should meet Gilbert & George too.”

Clubs have long provided inspiration. “In everything I’ve done there’s always been a touch of Studio 54,” he says, referring to New York’s legendary disco. “When I was eight years old I asked my grandmother to take me there.”

Vezzoli says the project’s technicolour kitsch is a response to the way we regard the classical world as white, spare and tasteful, when in fact the Parthenon and its statues would have been painted. Hence the 24-hour museum’s enormous light-up sculptures: “I thought, let’s give them back the colour.”

When the 24-hour museum is over, Vezzoli says he is happy if its trappings are burnt or stolen, though what he would really like would be for people to start having sex in it. He says he intends to stay up for the entire 24 hours – but “if there’s no sex, I’ll go home”.

  1. FRANCESCO VEZZOLI: La Nuova Dolce Vita

    FRANCESCO VEZZOLI Trailer for “La Nuova Dolce Vita” 4 June – 2 October 2011 Fondazione Prada, Venice, Italy

    1 anno fa | 4942 visualizzazioni

    di GagosianGallery

  2. “Trailer for the remake of Gore Vidal’s Caligula” by Francesco Vezzoli

    Nel 2005 l’artista Francesco Vezzoli ha presentato alla 51ª Biennale di Venezia (nell’ambito della mostra L’esperienza dell’arte) un filmato di 5 …

  3. teleDO intervista a Francesco Vezzoli

    la redazione di TeleDO ha intervistato Francesco Vezzoli, in occasione del festival dell’arte Contemporanea (Faenza, 23-25 maggio 2008)

  5. 24 Hours Museum – Francesco Vezzoli / AMO

    No copyright infringement intended. Francesco Vezzoli AMO 24 h Museum 24 – 25 January 2012 Prada presents the “24 h Museum”, designed by Francesco …

  6. The Garage Moscow – Lady Gaga and Francesco Vezzoli “Ballets Russes”

    Trailer for the “Francesco Vezzoli Ballets Russes, Italian Style” exhibit at the Garage arts space in Moscow. Edited by Ramon DeSouza

  9. L’Oeil de Judith – Francesco Vezzoli

    L’actualité de l’art et du marché de l’art, petites et grandes histoires, vues par Judith Benhamou-Huet Francesco Vezzoli – 24 Hours Museum Une …

  10. 24hours Museum PRADA by Francesco Vezzoli

    A l’occasion de la Fashion Week de Paris, Prada s’est associée à l’artiste contemporain italien Francesco Vezzoli pour la création d’un musée …

  11. Teatr życia / Theatre of Life

    Bismuth, Jonathan Monk, Vanessa Beecroft, Joao Onofre, Francesco Vezzoli, Gil Kuno, Partick Tuttofuoco, Nezaket Ekici, Pilvi Takala, Marlene …

  12. Francesco Vezzoli “À chacun sa vérité” au Jeu de Paume

    Francesco Vezzoli : “À chacun sa vérité” DU 20 OCTOBRE 2009 AU 17 JANVIER 2010 Francesco Vezzoli a choisi de présenter deux nouvelles pièces qui …

  13. Francesco Vezzoli with Eva Mendes

    La Nuova Dolce Vita: Social Life and the Imperial Age. Frm Poppaea to Anita Ekberg by Francesco Vezzoli, 2011. Courtesy of the artist. Francesco …

  14. 24 Hours Museum by Francesco Vezzoli

    A sample from Prada’s 24 Hours Museum by Francesco Vezzoli

  16. Francesco Vezzoli and his iconic performance

    World renown artist Francesco Vezzoli presents an exhibition of his iconic performance piece with Lady Gaga and the Bolshoi Ballet in 2009. The …

  17. This Week – Francesco Vezzoli

    This week (2/1/11), in ADTICIPATION, I take a look at a “text only” advertisement for Francesco Vezzoli at the Gagosian Gallery on 21st Street …

  20. Francesco Vezzoli

    Francesco Vezzoli, known for his peculiar reinterpretations of artistic and cinematographic classics, and his sometimes satirical yet playful take on celebrity culture. Vezzoli’s Portrait of H.R.H. Princess of Hanover (Before and After Salvador Dali), 2009, shows Princess Caroline as Queen Christina of Sweden played by Greta Garbo in Robert Mamoulian’s film Queen Christina(1933). She is also photographed in the manner of old masters paintings. Both parts of the double portrait, especially the latter, are charged with iconographical elements and art historical references worth expending on. But the interpretative material fails to guide the visitor through these highly symbolical images.

    The exhibition culminates with a video portrait by Robert Wilson (1985) showing the silhouette of the Princess in the dark, until light slowly discloses her back, hands and face profile.

    foto in evidenza:Photo © NMNM / Mauro Magliani & Barbara Piovan, 2011. Exhibition view featuring Francesco Vezzoli, Portrait of H.R.H. Princess of Hanover< (Before and After Salvador Dali) 2009.