residence, May > June, Puerto Escondido, Mexico
curated by Alberto Ríos de la Rosa
Fare l’artista: una guida pratica al sistema dell’arte
Seminars at Fondazione Fotografia Modena, 21 May 2017
RADIEUSE, CAPITOLO 98
Cristian CHIRONI, Chiara COLOMBI, Alessandro DI PIETRO, Roberta GIGANTE, Francesca GRILLI, Elena MAZZI & Rosario SORBELLO, Diego Miguel MIRABELLA, VOID
curated Emmanuel Lambion (Bn PROJECTS)
organisation & production: RosAnna Musumeci – Arte Contemporanea, It-Be asbl
For this exhibition, especially conceived for the spaces of the Brussels Istituto Italiano di Cultura, and the second one of a cycle starting in the Fall 2017, we invited nine Italians and one Belgian artists to confront themselves, or their practices, around a mediated and polysemic apprehension of the concept encapsulated by the title.
Whilst one could indeed immediately think of Radieuse as a reference to Le Corbusier’s opus, the concept should not be literally read, or interpreted as an indirect reference to the spirit of our times. Instead, it should be best and more fundamentally apprehended in its etymological derivation, from the Latin radius, i.e. the geometric ray. A word, then, implicitly alluding both to the idea of irradiation and to that of a link between a centre and its periphery, or, conversely, from the periphery to the centre, in a dynamics of exchanges and encounters, of alternating to-and-fros, addressing concepts of space, otherness, diversity, in a porosity of distinctive approaches, practices, idioms and/or disciplines.
The project’s centrifugal irradiation starts with its communication, through works which are not shown as such in the exhibition: For instance, in the visual chosen for the invitation card, a picture whose subject and atmosphere evoke the atelier’s warmth. This photograph shows indeed a greyish portrait, the pictorial essay of a conceptual artist acting in a deliberately anonymous and confidential way.
Add then there is the use for this press release of the Dervona font, syncretised from the most commonly used ones (Tahoma, Verdana, Helvetica, Arial) by the French Marc Buchy (www.marcbuchy.com).
But this irradiation is of course mainly expressed by the purposeful eclecticism of the selection of artists and works, whose confrontations operate at turns through correspondences or dissonances, and are further enhanced by the show’s spatial articulation, whether it be in the main exhibition hall and or in the suggested parcours through different spaces of the Istituto (its theatre, library, employees’ workplaces…).
Exhibition open from 16.03 until 26.04.2017
Istituto Italiano di Cultura, Rue de Livourne 38, B- 1000 Bruxelles
ARTISTS FOR IAN
is an initiative Ilaria Marotta and Andrea Baccin (CURA.) and artist David Balliano, with the generous support of the artists who donated their works: Harold Ancart, Giorgio Andreotta Calò, Salvatore Arancio, Cory Arcangel, Francesco Arena, Jesse Ash, Adam Avikainen, Davide Balliano, Pedro Barateiro, Mark Barrow & Sarah Parke, Anna-Sophie Berger, Luca Bertolo, Charlie Billingham, Carola Bonfili, Marco Bongiorni, Lupo Borgonovo, Thomas Braida, Peter Linde Busk, Chiara Camoni, Paolo Canevari, Hugo Canoilas, Ludovica Carbotta, Cosimo Casoni, Paolo Chiasera, Cristian Chironi, Danilo Correale, Daniel Gustav Cramer, Cynthia Daignault, Tomaso De Luca, Svenja Deininger, Maria Adele Del Vecchio, Gabriele De Santis, Andrea De Stefani, Stanislao Di Giugno, Ra Di Martino, Patrizio Di Massimo, David Douard, Haris Epaminonda, Francesco Fonassi, Anna Franceschini, Luca Francesconi, Oscar Giaconia, Goldschmied & Chiari, Andreas Golinski, Paolo Gonzato, Francesca Grilli, Jason Gringler, Andrea Grotto, Camille Henrot, Benedikt Hipp, Rodrigo Hernández, Hitnes, Helena Hladilova, Yanyan Huang, Graham Hudson, Marguerite Humeau, Invernomuto, Sophie Jung, Avish Khebrehzadeh, Andrea Kvas, Emmanuelle Lainé, Jimmy Limit, Emiliano Maggi, Mahony, Benoît Maire, Domenico Mangano, Diego Marcon, Nicola Martini, Andrea Mastrovito, Eva & Franco Mattes, Dave Mc Dermott, Ryan McGinley, Caroline Mesquita, Jacopo Miliani, Adrien Missika, Laurent Montaron, Justin Mortimer, Margherita Moscardini, Matteo Nasini, Valerio Nicolai, Nick Oberthaler, Claudio Olivieri, B. Ingrid Olson, Marco Palmieri, Athena Papadopoulos, Seb Patane, Dario Pecoraro, Nicola Pecoraro, Luana Perilli, Alessandro Piangiamore, Giuseppe Pietroniro, Anna Plesset, Gianni Politi, Riccardo Previdi, Marco Raparelli, Magali Reus, Pietro Roccasalva, Emanuel Rohss, Andrea Sala, Alessandro Sarra, Arcangelo Sassolino, Sarah Ancelle Schönfeld, Maaike Schoorel, Tina Schwarz, Marinella Senatore, Namsal Siedlecki, Francesco Simeti, Alessandro Simonetti, Alexandre Singh, Sissi, Elisa Strinna, Alberto Tadiello, Gian Maria Tosatti, Panos Tsagaris, Sulltane Tusha, Patrick Tuttofuoco, Aleksander Velišcek, Claudio Verna, Zoe Williams, Andrew Norman Wilson, Viola Yeiltaç, Duane Zaloudek, Driant Zeneli, Raphael Zollinger, Davide Zucco.
Back to the Land
curated by Andrea Lerda
with Andreco, Cristian Chironi, Neha Choksi, Andrea Nacciarriti, Giorgia Severi, Francesco Simeti, Julius von Bismarck.
Studio la Città, Verona 26 November 2016 – 4 February 2017
Saturday, November 26, 2016, at 11:30 am, opens the exhibition Back to the Land curated by Andrea Lerda. On show will be presented several works by Italian and international artists: Andreco, Cristian Chironi, Neha Choksi, Andrea Nacciarriti, Giorgia Severi, Francesco Simeti, Julius Von Bismarck. The Back to the Land project that Studio la Città is presenting in its rooms in Verona, is not simply an exhibition but a further step along a virtual path that for some time, at a global level, has singled out contemporary art as a tool for bringing to the fore ecological questions and for stimulating environmental ideas.
Ibidem. Lo spazio enciclopedico
a cura di Denis Viva
Cristian Chironi, Carlo Guaita, Lorenzo Missoni
Fondazione Ado Furlan, 13 novembre- 23 dicembre, Pordenone
Ibidem è un progetto triennale d’arte contemporanea, avviato e sostenuto dalla Fondazione Furlan. La parola, che in latino significa “in quello stesso luogo”, viene impiegata nella notazione bibliografica come formula abbreviativa. Essa esprime il duplice interesse di questa seconda tappa del progetto: per il libro, in particolare per l’enciclopedia, come vero e proprio luogo praticabile e osservabile; e per un arte che ritorna, che compie un’indagine ricorrente verso determinati luoghi e la loro inesauribile identità. Tre artisti italiani, di differenti generazioni, propongono un lavoro sull’enciclopedia in quanto fonte, sito, repertorio che investe il ruolo delle immagini nella conoscenza, il loro impiego nel pensiero scientifico o nella rappresentazione architettonica, o la loro possibilità di essere trascese e divenire un luogo dell’immaginario.
Lo stato delle cose
a cura di Marta Papini
16a Quadriennale di Roma 13 Ottobre 2016 – 8 gennaio 2017
Adelita Husni-Bey, Giorgio Andreotta Calò, Alberto Tadiello, Cristian Chironi, Margherita Moscardini, Elena Mazzi e Sara Tirelli, Yuri Ancarani: sette voci rilevanti nell’attuale panorama nazionale e internazionale e diversissime tra loro. Nella lontananza tra le loro pratiche, che rende impossibile assimilarle in una lettura univoca, si apre uno spazio dialettico e di confronto tra le singole ricerche e tra queste e il pubblico.
Il progetto consiste in un programma di sette mostre e sette eventi che si estende per l’intero arco temporale della 16a Quadriennale d’arte: gli artisti invitati si alternano nello spazio in una sorta di staffetta, un meccanismo espositivo a incastro che adotta una temporalità differente rispetto alle altre mostre che nel frattempo si svolgono a Palazzo delle Esposizioni.
Lo stato delle cose non è una mostra collettiva, dove le immagini e i significati delle opere si sovrappongono e si intrecciano grazie alla tessitura di una regia curatoriale. È piuttosto un esercizio di attenzione: il pubblico, in rapporto uno a uno con l’opera, ha la possibilità di soffermarsi sulla ricerca di ciascun artista sia nella mostra sia attraverso un public programme, pensato come parte integrante del progetto, che ne approfondisca la complessità.
Da un lato, le opere installate non si confrontano mai in uno spazio visivamente unitario, ma possono essere associate e dialogare solo nella mente del visitatore. Dall’altro, oltre a esporre il proprio lavoro, ogni artista ha l’occasione di invitare relatori a tenere conferenze su ambiti di ricerca che lo interessano, programmare proiezioni cinematografiche, organizzare laboratori aperti al pubblico, tenere studio visit.
Lo stato delle cose offre una chiave per entrare nei mondi degli artisti, un’opportunità per approfondire il loro lavoro in un contesto nuovo, senza relegare la ricerca a un momento ancillare della mostra, ma riportandola al punto fondamentale della condivisione dell’opera, all’interno di un contesto istituzionale che diventa così performativo, dinamico e discorsivo.
24 & 25.09 / CN D – Centre National de la Dance, Pantin Cedex (F)
Audible et visible depuis les berges du canal de l’Ourcq et les abords du CN D
13:30 > 20:30 / durée 7 h Accès libre
Un homme est suspendu sur la plus haute terrasse du Centre national de la danse. Face à la ville, dans un temps distendu, l’artiste performeur italien Cristian Chironi lance un Eco, un écho ? L’Eco de Cristian Chironi personnifie le rapport au son et à l’espace, invente de nouvelles histoires, tissant un lien poétique intense et sensible. En demeurant sept heures durant, un livre sous le bras, les jambes ballantes, sur les hauteurs du bâtiment gris, surplombant Pantin, au loin Paris, Cristian Chironi lance à heures régulières un écho… un cri dans la ville, comme un cri de berger parcourant les vallées, un fil tendu vers l’imaginaire et le poétique. Tourné vers Rabat, l’artiste adresse son cri symbolique au Maroc de Bouchra Ouizguen qui partage ce week-end d’ouverture avec lui. Tel un alpiniste urbain, un défricheur de nouvelles ressources, Cristian Chironi haut perché, si l’on peut dire, embrasse le temps et l’espace, projetant son cri, trouvant écho sur les façades des immeubles environnants, inventant acoustiquement un nouvel être ensemble, un monde éphémère et sonore, ludique et énigmatique.
TITOLO l’edito inedito Cap.IV Il faro
Villa Romana Firenze 4/09 > 2/10/2016
A project by Francesco Carone. Works by: Stefano Arienti, Emanuele Becheri, Francesco Bernardi, Luca Bertolo, Chiara Camoni, Francesco Carone, Cristian Chironi, T-Yong Chung, Michelangelo Consani, Mario Dellavedova, Elena El Asmar, Carlo Guaita, Andrea Marescalchi, Amedeo Martegani, Maurizio Mercuri, Sabrina Mezzaqui, Concetta Modica, Adriano Nasuti-Wood, Marco Neri, Nero/Alessandro Neretti, Giovanni Oberti, Luca Pancrazzi, Luigi Presicce, Namsal Siedlecki, Eugenia Vanni.
Opening 3/09 at 5pm. Villa Romana Via Senese 68, 50124 Firenze
My house is a Le Corbusier (Curutchet House)
La Plata (Argentina) 1st August > 26th August 2016 House of Doctor Curutchet, designed by Le Corbusier.
Following the residencies that took place in a number of architectural works of Le Corbusier across Italy and in France: Esprit Nouveau (Bologna), Studio-Apartment (Paris), Appartement 50 – Unité d’habitation (Marseille), and the transits through the Cité de Refuges (Paris) and the Pavillon Suisse (Paris), Cristian Chironi takes the project My house is a Le Corbusier to a temporary residency in Argentina, in the home/studio of Doctor Curutchet at La Plata, Buenos Aires province, between the 1st and 26th of August 2016.
Chironi’s point of departure is a real historical episode: in the late 1960s, the Sardinian artist Costantino Nivola, who enjoyed a great friendship and collaboration with Le Corbusier, stopping by his hometown of Orani (also Chironi’s birthplace), entrusted his brother’s family with the construction of “Chischeddu” on a design by the great architect, with the hope that he and his sons, masons all of them, would scrupulously follow the plans. But they failed to understand the importance of this. Some time later, returning from Long Island, Costantino discovered that the house they had built did not correspond at all to the specifications which, as the entire family protested, “had neither doors nor windows and looked more like a shack than a house”. Costantino Nivola reacted by seizing the plans, which have since been lost. The house, which still stands today in Orani, built with a preference for low-brow functionality over the modernist vision of the architect, reflects only the ‘mood’, if that, of the original concept.
Taking inspiration from this real episode, Cristian Chironi identifies the narrative potential for an analysis of a series of relationships in the contemporary, tied to the concepts of communication, reading and interpretation, with the consequent linguistic and socio-political implications. Falling, in this historical period of precarious economic stability, in the impossibility of owning one’s own home, bartering the freedom to live in the houses designed by Le Corbusier around the world.
Chironi turns these houses into “privileged vantage points” to better understand how the legacy of Le Corbusier is perceived today, and in what condition the “home of man” currently finds itself. A reading of architecture through storytelling and the direct experience of its spatio-temporal dimension, where one can discuss and see the artist at work, partake in events, consult the assembled material or simply drink a coffee.
The Curutchet house, designed by Le Corbusier, was commissioned in 1948 by Dr. Pedro Domingo Curutchet, one of the leading innovators of medical surgery. The construction of the house was assigned to architect Amancio Williams, and took place between 1949 and 1955, when it was finally completed. It stands on four levels, and comprises of a courtyard that separates the clinic from the house. The construction acts as an example of the five fundamental principles of Le Corbusiers architecture. It is clearly defined by its division into functional areas: work, life, rest, free time. The house also presents the characteristic relation between fullness and emptiness of space and is one of the only buildings designed by Le Corbusier that is attached to a preexisting construction, acting harmoniously with the historical context surrounding it. The house is a historical national monument in Argentina and currently houses the Colegio de Arquitectos de la Provincia de Buenos Aires. The Curutcher house, together with sixteen other buildings designed by Le Corbusier has been voted to be included in the list of world heritage sites.
The design of Casa Curutcher is contemporary and in continuity with the ideas developed by Le Corbusier with the Unité d’Habitation in Marseille. For the present occasion Chironi will adopt the same approach used in the previous events by focusing on the relationship between house and visitor, on the confrontation between different languages, on the impact of direct experience on the artist’s work acting thus as a measure and thermostat of the present. By repeatedly redefining his lifestyle, challenging the linguistic and cultural codes he is used to, exceeding the distinction of static and mobile living, Chironis research will start from the notions of hospitality of and interaction with the audience, and aim at finding a way to live the world.
The similarity between the real story of the Nivola family, Chironis starting point for the whole project, and the famous film The Man Next Door, directed by Mariano Cohn and Gaston Duprat in 2009 and set in the Curutchet House, is symptomatic. The film tells the story of a brawl between neighbours, during which a wall is the only thing separating their different “worlds of living”. On one side lives Leonard, a successful designer with a passion for architecture, and on the other lives a rustic, second hand cars salesman named Victor.
On settling in his new home Victor decides to build a window, in order to have more light, on the same wall separating him from his neighbour, causing the start of the brawl and for both men to have to acknowledge each others existence.
One of the most interesting aspects of the story about the La Plata house is the relationship between the client, Dr. Curutchet, and the architect, Le Corbusier; particularly the fact that Le Corbusier accepted a commission from a total stranger in a far away place, without a previous meeting or personal conversation. He never even set foot in the house nor in the construction site. These facts present a key of comprehension for this new step of My house is a Le Corbusier.
Chironi will use the clinic as a reception, consultation and examination area. One where the visitor will be free to lie down and listen. This is where the extension of the project, dedicated to sound, takes place. My sound is a Le Corbusier together with other additional elements, will constitute the containing body of this journey. Unlike the previous steps, where the artists focused on the domestic dimension of the homes, this moment will be slightly more clinical, an opportunity to separate a studio from a private space.
An encounter will take place on the 26th of August where all the reflections on Chironis experience in the houses of Le Corbusier will be shared amongst the artist, the director of Casa Curutchet Julio Santana, and Equipo Curutchet House, accompanied by the presentations of video materials, various documents and by discussions with the audience.
The experience of Christian Chironi in the Curutchet House will last about a month and will be articulated in moments of solitary work and moments during which the visitor will be able to interact with the artist in the house.
Details and events will be announced on
My house is a Le Corbusier (Curutchet House) is a project developed in collaboration with the Foundation Le Corbusier in Paris, Colegio de Arquitectos de la Provincia de Buenos Aires and Equipo Curutchet House. With the support of Bologna Musei | MAMbo – Museo d’Arte Moderna di Bologna; MAN – Museo d’Arte della provincia di Nuoro, Xing, NERO.
Casa Curutchet – Calle 53 no 320, 1900 La Plata, Buenos Aires, Argentina. T. +54 221 482-2631. Opening times Tuesday to Friday between 10 and 17 o’clock. Saturday and Sunday between 13 and 17 o’clock.
www.capbacs.com www.cristianchironi.it www.fondationlecorbusier.fr
Santarcangelo Festival internazionale del teatro in piazza
8-17 July 2016, Santarcangelo di Romagna
with: Aleppo. A laboratory for experiments in performance and politics, Mara Oscar Cassiani, Cristian Chironi, Luigi Coppola e Christophe Meierhans, Cosmesi, Alessandra Crocco e Alessandro Miele, Luigi de Angelis e Emanuele Wiltsch Barberio, I Detective Selvaggi, Dewey Dell e Massimo Pupillo, DOM-, Riccardo Fazi / Muta Imago, Nicola Galli, Voldemārs Johansons, Kinkaleri, Amir Reza Koohestani / Mehr Theatre Group, Enrico Malatesta, Motus, Ivana Müller, Ninos du Brasil, non-scuola, Zachary Oberzan, Markus Öhrn/Azdora + Stefania ?Alos Pedretti, Bouchra Ouizguen, Palm Wine, Parasite 2.0, Philippe Quesne, Cristina Kristal Rizzo, Michele Rizzo, ronin e gruppo nanou, Scenario Live, Alessandro Sciarroni, The Soft Moon, Mårten Spångberg, Strasse, Teatro delle Briciole, Zapruder filmmakersgroup + ZEUS!, Centrofestival, dopofestival mobile, P.S. Presente Sostenibile
“the Festival invites us to immerse ourselves in art and fiction as though in a possibility that the real might become a turbulent disturbance, to think of art and imagination as an opportunity to extend the real and create a reality that at least momentarily includes the invisible, the impossible, the agency of the non-human, the infinitely small and infinitely large, extinct animals and the most distant galaxies, feelings we cannot name and the so-luminous abysses they inhabit.”
4 – 5 JULY 2016 Laboratorio del Dubbio – Turin
Monday 4 July 18.30 > 21.30 Open studio Cristian Chironi 19.30 Cristian Chironi in conversation with Giangavino Pazzola. Open debate around the project My house is a Le Corbusier, video screenings and presentation of the book Broken English/My House is a Le Corbusier (NERO, 2016).
For the Venice Architecture Biennale he directed, Rem Koolhaas asked the question: “How and in what form have we absorbed modernity?” Invited by Laboratorio del Dubbio to focus on the theme of the Modern (or Modernity, or Modernism), Cristian Chironi begins with a line of research that opens with the project My House is a Le Corbusier, and with recent habitation experiences inside structures created by the Swiss architect, to bear direct witness to the experience of a new way of living in the contemporary world. Through active presence at Laboratorio del Dubbio and in the city, the installation of a sample of works in space and a public encounter, curated by Giangavino Pazzola, Chironi implements a narrative device capable of including and welcoming the viewer into his experience, making an otherwise precluded architectural and cultural legacy accessible.
My House is a Le Corbusier is a work spread across time and space, an experimental work in progress, a construction site of ideas and research, education and inclusion, as well as a diffuse residency inside the works of Le Corbusier.
Tuesday 5 July 18.30 > 21.30 Opening and group installation of CAMPO and special guests 19.30
CAMPO in conversation with Marco Rainò. Round table with guests and video screenings.
Modernity, more than a (concluded?) historical period, is a cultural condition that has a more or less conscious impact on those who live in the contemporary world.
Laboratorio del Dubbio invites CAMPO to directly come to grips with these theme, starting with the “domain” of architecture – theoretical and practical – to explore other disciplinary territories. The dialogue is accompanied by the invention and production of a visual installation that besides presenting the precious path of research and analysis conducted to date by CAMPO in the spaces of its operative headquarters in Rome in an unprecedented “synthetic formula,” also sets out to stimulate the production of ulterior connections and knowledge.
twiner#4 – With or Without Wings
an art and design project by ex elettrofonica + secondome design gallery
8 – 15 maggio, opening: venerdì 6 Maggio 2016, dalle ore 18,30. Lounges del Corporate Hospitality degli Internazionali BNL d’Italia Centrale del Tennis, Viale delle Olimpiadi, Foro italico Roma
La galleria d’Arte Contemporanea Ex Elettrofonica e la galleria di Design Secondome sono liete di presentare la mostra twiner#4 – With or Without Wings, che inaugurerà venerdì 6 Maggio 2016, dalle ore 18,30 nelle lounges del Corporate Hospitality degli Internazionali BNL d’Italia all’interno del Foro Italico.
Con la consueta ironia, propria del linguaggio contemporaneo, With or Without Wings, letteralmente Con o Senza Ali, gioca sul metaforico parallelismo, spesso usato, tra gli atleti e gli uccelli. Gli sportivi sono paragonati a questi animali per la loro velocità, per la perfezione dei gesti, per la proverbiale eleganza di portamento e per l’audacia con cui si lanciano in imprese apparentemente impossibili. A ben vedere gli uomini condividono con gli uccelli anche la natura di bipedi, e in un certo senso anche le ali, non fisiche ma metaforiche. Già Aristofane, nel 414 a.C. nella sua opera teatrale Gli Uccelli aveva immaginato una città ideale, Nubicuculìa edificata nel cielo, dove uomini e volatili convivevano, e Giacomo Leopardi, forse il più noto dei nostri poeti, nelle sue Operette Morali (1824) scrive un Elogio degli uccelli dove queste creature sono paragonate agli uomini.
La mostra ha la qualità di trasformare il Centrale del Tennis in una contemporanea Nubicuculìa, un luogo dove il contrasto, la corruzione, le frustrazioni del quotidiano siano superate a favore di un’utopia impossibile da realizzare, se non per poche ore. Grazie alla nostra immaginazione e al tennis le nostre ali mentali varranno più di quelle reali dei volatili. Pronti a guardare il mondo dall’alto?
Stefano Arienti Atelier Biagetti Karen Benbenisty Bosa ceramiche Silvia Camporesi Edra Guglielmo Castelli Luce di Carrara Cristian Chironi India Mahdavi Iulia Ghita Coralla Maiuri Kaarina Kaikkonen Seletti William Kentridge ·TO·DO Michaela Maria Langenstein Giorgia Zanellato Margherita Moscardini Beatrice Pediconi Max Renkel Emily Sartor Marinella Senatore Kiki Smith
info: firstname.lastname@example.org email@example.com
10 marzo > 17 aprile 2016 Bologna Autostazione
Piazza XX Settembre 6, angolo Via dell’Indipendenza
La mostra Atelier Pozzati, curata da Antonio Grulli, è un omaggio alla figura del Maestro Concetto Pozzati come artista e come docente dell’Accademia di Belle Arti di Bologna (in un arco temporale di circa 30 anni, dal 1976 al 2004) attraverso la selezione di 16 suoi studenti che sono diventati affermati artisti capaci di raggiungere la più importante scena dell’arte internazionale ottenendo grandissimi successi e riconoscimenti, tra i quali: Alessandra Andrini, Sergia Avveduti, Bertozzi & Casoni, Pierpaolo Campanini, Paolo Chiasera, Cristian Chironi, Cuoghi Corsello, Marco Di Giovanni, Maurizio Finotto, Lino Frongia, Omar Galliani, Eva Marisaldi, Andrea Nacciarriti, Alessandro Pessoli, Leonardo Pivi, Sissi.
La figura di Pozzati come artista ha attraversato gli ultimi decenni dell’arte e della storia italiana riuscendo a imporsi nelle principali manifestazioni espositive nazionali e internazionali. Si tratta di una personalità complessa che è riuscita a lasciare un segno forte anche nel panorama politico. È altrettanto nota la sua lunga attività di insegnante all’interno delle Accademie di Belle Arti italiane, ma ad oggi è mancato un momento di riflessione per organizzare e provare a capire quali risultati, e di quale livello, questi anni di insegnamento hanno prodotto.
La mostra Atelier Pozzati cercherà di lavorare in questa direzione proponendo una parziale selezione di studenti che si sono formati con il Maestro durante gli anni di insegnamento all’interno dell’Accademia di Belle Arti di Bologna. Anni in cui dalla sua aula sono transitati artisti capaci di raggiungere la più importante scena dell’arte internazionale, ottenendo grandissimi successi e riconoscimenti. Ma non solo. La sua esperienza risulta un unicum a livello nazionale: per il numero e la qualità degli artisti che con lui hanno studiato, ma soprattutto perché è riuscito a fare in modo che ognuno di questi fosse in grado di trovare una propria voce e indipendenza intellettuale. E’ quasi impossibile infatti trovare somiglianze tra coloro che si sono formati con
￼Pozzati, i quali spaziano attraverso le più disparate poetiche ed hanno abbracciato tutti i linguaggi e i mezzi dell’arte di oggi; dalla pittura al video, dalla performance al disegno, dalla scultura all’utilizzo del testo poetico. La mostra si limita a una piccolissima e parziale selezione di artisti, ma l’analisi andrebbe allargata ai molti critici, curatori e direttori di museo che con lui hanno studiato, ai registi teatrali, agli scrittori, finanche ai politici, mostrando come Pozzati sia stato in grado di trasmettere la sua figura, essendo lui stesso non solo un grande artista, ma una figura di raccordo con il mondo politico, le istituzioni civili, e un intellettuale in grado di ripensare la geografia delle istituzioni culturali di Bologna.
La mostra Atelier Pozzati, organizzata da Caravan SetUp nasce dalla volontà di Simona Gavioli e Alice Zannoni di realizzare il desiderio di Concetto Pozzati che, nel festeggiare i suoi 80 anni a dicembre 2015, espresse queste parole: “Sarei felice di brindare con quelli che sono stati i miei studenti!”. L’esposizione non è solo l’occasione per rinnovare gli auguri a Concetto Pozzati, ma vuole essere un momento di ringraziamento pubblico alla sua carriera, come artista e sopratutto come uomo.
BROKEN ENGLISH / MY HOUSE IS A LE CORBUSIER
A book on Cristian Chironi
31.01.2016 at 11:00 am
Bologna MAMbo – museo d’arte moderna di Bologna and Xing
present Broken English / My house is a Le Corbusier. A book on Cristian Chironi produced by Museum MAN
On the occasion of arte fiera/art city bologna, MAMbo Museum hosts the book launch of ‘My house is a Le Corbusier / Broken English’, published by NERO. A two-sided book containing two different projects by Cristian Chironi: an evolving performance undergone by the artist whilst living in houses designed by Le Corbusier, and Broken English, which began as a performance before developing into a multilayered exhibition. At MAMbo Chironi will be in dialogue with Silvia Fanti, Lorenzo Giusti and Giuliano Gresleri.
Title: Broken English / My House is a Le Corbusier
Author: Cristian Chironi
Copyright: Cristian Chironi, NERO, MAN_Museo d’Arte Provincia di Nuoro
Release: January 2016
Format: 16 x 22 cm – hardcover
My House is a Le Corbusier / Broken English is a two-sided book containing two different projects by Cristian Chironi.
The project called My House is a Le Corbusier is a work in progress that the artist himself defines as “a crucible of ideas, research and exhibition” and a sort of living experience that is intended to grow over time. Indeed, it is an evolving performance, or cacophony of experiences, undergone by the artist whilst living for variable periods in houses designed by Le Corbusier.
On the other hand, Broken English, began in 2012 as a performance, before developing into a multilayered exhibition with performative elements. It superimposes linguistic and socio-economic issues through the transformation of uncertain variants of the English language into images, objects, sounds, videos, texts and installations.
The book itself, divided into two specular sections, has two covers: the reader can choose to begin with either of the projects. Intersecting and diverging, both projects raise questions surrounding communication, reading and interpretation and concomitant linguistic and socio-political implications. At the very center of the book, there is a section with two theoretical essays written by Silvia Fanti and Lorenzo Giusti.
Cagliari’s City Museums present The Cave, a project by artist Cristian Chironi which opens the new exhibition venue Cartec – Cava arte contemporanea – Contemporary Art Cave. This cave was dug in the Middle Ages as a stone quarry; during World War II, it served as an air raid shelter, and at the end of the war it was used for some time as a makeshift dwelling for people whose homes had been bombed. Today, it has been turned into an exhibition space for contemporary art exhibitions and public art projects. The Cave project has turned this space into an underground construction site, a workshop and art studio, a maze of passageways to be crossed in several directions, where several creative languages and media come together: installations, sound, performances and visual art. The idea was to turn both the interior of the cave and the space around it into a temporary living space: to create a new – yet ancient – stopover point, a meeting place for tracing connections, exchanging ideas and musing on some of the most topical issues of our times: protection; reception; integration; housing. A sort of digging process, made day after day. Four months of work in progress, which the artist chose to spend on site. In the first phase of the process, the artist interviewed the older people in the neighbourhood, jotting down their memories as sources of inspiration for creating his works and rewriting the history of the place. This was followed by a workshop with the “young” people of the city, conceived as a process of joint ownership. In parallel, and up to opening of the exhibition, the cave served as the artist’s studio, where one could talk to him and witness the development of his artwork. A long period of construction – at times solitary, at times with people coming in – with scattered public events presenting videos, documents and performances, plus conferences and seminars on several themes: architecture and landscape in wartime; curatorship as a form of reception; the ways in which historical events transform spaces; exchanges of ideas and reflections on the concept of integration; and contemporary housing. Cristian Chironi carved out in the cave his personal research path through his interpretation of witness accounts: every evening he brought back home with him the atmosphere of the cave and some fragments of the anecdotes he had heard from the cave visitors. The Cave experimented with a form of reception: visitors played an active role in the project, by moving freely in this “parallel” space while maintaining free use of their own.
MUSEI CIVICI CAGLIARI Cartec – Cava Arte Contemporanea, from April to 15th of July
Largo Giuseppe Dessì, 09124 Cagliari www.museicivicicagliari.it
La scena contemporanea francese, italiana e svizzera a NEW YORK
13 e 16 Gennaio 2016 2.30 PM – 5.30 PM 10.30 AM – 1.30 PM
Gibney Dance – Agnès Varis Center for the Performing Arts
Presentato dai quattro Festival italiani Short Theatre, Santarcangelo dei Teatri, Terni Festival, Drodesera, l’Office National de Diffusion Artistique (ONDA) e Pro Helvetia Swiss Arts Council
In collaborazione con l’Institut français, e a New York, con i Servizi Culturali dell’Ambasciata Francese, il Consolato Generale della Svizzera e l’Istituto Italiano di Cultura.ARTISTS’ SALON è uno spazio d’incontro che raduna tredici compagnie della scena contemporanea provenienti da tre differenti nazioni – Francia, Italia, Svizzera – con l’obiettivo di incontrare curatori e organizzatori culturali più da vicino. Strutturato in una serie di incontri tra artisti e operatori, il Salon è una piattaforma, uno strumento per scambi proficui e vivaci, al fine di scoprire nuovi lavori e nuove visioni.FILIPPO ANDREATTA (IT) – GAËLLE BOURGES (FR) – CRISTIAN CHIRONI (IT) – YOUNGSOON CHO JAQUET (CH) – MOHAMED EL KHATIB (FR) – MASSIMO FURLAN (CH) – GILLES JOBIN (CH) – THOM LUZ (CH) – CHLOÉ MOGLIA (FR) – MUTA IMAGO (IT) – CRISTINA RIZZO (IT) – NOÉ SOULIER (FR) – STEREOPTIK (FR)Gibney Dance – Agnès Varis Center for the Performing Arts
280 Broadway (Enter at 53A Chambers Street)
New York, NY 10007
Contatti : Nicole Birmann Bloom
VC30 | CHAOTIC PASSION
Museo d’arte contemporanea Villa Croce
December 17, 2015 – March 20, 2016
Opening December 16
Curated by Anna Lovecchio and CHAN
Writing about collecting, Walter Benjamin maintains that “every passion borders on the chaotic” in a continuous tension between the poles of order and disorder. Does the same hold true for a museum’s collection? For the thirtieth anniversary of Villa Croce Museum, the exhibition Chaotic Passion intends to explore this dialectical relation by putting artworks from the collection in dialogue with works produced over the last ten years by a new generation of artists.
Located in the namesake villa, Villa Croce Museum opened to the public in 1985 as a venue mainly dedicated to contemporary art exhibitions. The permanent collection started with the acquisition of the Cernuschi Ghiringhelli collection by the City of Genova in 1990 and was increased mainly through gifts and donations over the following decades. Therefore, the historical core of the collection reflects Maria Cernuschi Ghiringhelli’s own passion for the developments of Italian abstraction and her personal sentiment that the purchase of an artwork was a means to sustain and support the artists themselves.
Chaotic Passion proceeds on the assumption that the museum’s permanent collection should not be locked up in a fixed aesthetic canon that speaks uniquely of a past more or less distant from our time. Challenging the works of the collection by re-positioning them into the present makes it possible to bring to the fore diverse aspects of their ongoing significance. It may shift the expectations of the public by prompting the renewed appraisal of the works’ valence and the renegotiation of their meaning.
Through a loose cross-reading of the collection, two lines of research were singled out for their relevance with regard to current artistic processes: abstraction and the verbo-visual research. Abstract paintings form the most outstanding part in the collection of Villa Croce Museum. For this occasion, they are related to contemporary practices that engage abstraction from a different angle in order to address economic, geopolitical and emotional issues. In the same way, works from the collection that explore the act of writing as an aesthetic gesture and language as a tool of artistic creation become the starting point for a broader reflection on the destructuring of language beyond its communicative function and on new modes of legibility and representation of the linguistic sign.
Orchestrating aesthetic attitudes from different time periods in unexpected alignments and along outward trajectories, the exhibition cuts loose with historicist narratives to experiment correspondences among artworks that encourage a free-flowing approach to the artistic research. Chaotic Passion invites the public on a nonlinear journey where the past and the recent are constantly shuffled. It creates an ecosystem formed by multiple temporalities, dissonances, and reverberations where the works are asked to engage one another in mysterious relationships and experimental combinations that promp different interpretations of abstraction and language as fields of aesthetic research.
Meris Angioletti/ Chiara Camoni/ Alice Cattaneo/ Cristian Chironi/ Danilo Correale/ Claire Fontaine/ Silvia Giambrone/ Alice Guareschi/ Jacopo Miliani/ Margherita Morgantin/ Rebecca Moccia/ Andrea Nacciarriti/ Pennacchio Argentato/ Serena Porrati/ Maria Domenica Rapicavoli/ The Cool Couple/ Serena Vestrucci/ Void.
Vincenzo Agnetti/ Cesi Amoretti/ Antonio Calderara/ Ettore Colla/ Gianni Colombo/ Pietro Consagra/ Dadamaino/ Corrado D’Ottavi/ Lucio Fontana/ Virginio Ghiringhelli/ Osvaldo Licini/ Piero Manzoni/ Bruno Munari/ Anna Oberto/ Mauro Reggiani/ Regina/ Ben Vautier/ Rodolfo Vitone/ Gianfranco Zappettini/ Alberto Zilocchi.
My house is a Le Corbusier (Appartement 50 – Unité d’habitation)
Marseille 14 november > 13 december 2015
Appartement 50 – Unité d’habitation Le Corbusier
After Espirt Nouveau in Bologna and Studio-Apartment in Paris, Cristian Chironi takes his project My house is a Le Corbusier to a residency in apartment 50, inside of the Unité d’habitation built by Le Corbusier in Marseille.
Simultaneously acting as work in progress, think tank, space of research and collaboration, exhibition and didactic platform in addition to residency, My house is a Le Corbusier has the ambition to grow during a long term period, during which Chironi will spend variable amounts of time within the walls of the many Le Corbusier complexes present around the world. The outcome of this growth means to take the form of all the experiences that Chironi might realise there.
This long term project will develop across 12 nations as a performance extended in time, home after home. They are “Pilgrim Homes” inescapably linked to the movements and intersections of a diversity of geographies and cultures.
Chironi’s point of departure is a true story. In the second half of the sixties the artist Constantino Nivola, who shared a deep friendship and a history of collaboration with architect Le Corbusier, was passing by the town of Orani (both Nivola’s and Chironi’s town of origin). There, in the hands of his brother “Chischeddu”, he left a signed project of the great architect in the hopes that Chischeddu and his sons (who were masons) would scrupulously follow its instructions for a house they were about to start building. However, the token’s importance was not received and some time later, after returning from Long Island, Constantino noticed that the house, which was ready, did not correspond at all to the characteristics of the original project. Constantino reacted by taking the project back. The house, which still stands, was built favouring working class functionality over the modernist idea (the same family declared “it had neither doors or windows and it looked more like a hovel than a home”) and it now bears, perhaps only the “mood” the original plan.
Drawing on this event, Cristian Chironi will detect potential narratives, necessary to the analysis of a series of contemporary relations which, depending on the context they are detected in, will carry with them certain linguistic and socio-political implications. He will immerse himself, during times of economic instability and precariousness, in the impossibility of owning a home and will exchange it with the freedom to live in Le Corbusier homes across the world.
In order to understand how the heredity of Le Corbusier is received today and in what conditions the “home of man” is, Chironi makes these homes into “privileged observation posts”. From this position he can, in return, offer a rendition of the architecture through narration and direct contact with its dimension of time and space; a place where to hold discussions and confrontations, where one can observe the artist at work, attend events, look through available documentation or simply have a coffee together.
Appartement 50 is the third stage of Chironi’s geogreaphy of inhabitation. This national historical mounument, which usually welcomes exhibition projects and designers, will, on this exceptional occasion, open its doors to a project touching, in addition to design, several planes of expression. The apartment stands on two levels, its main characteristics are a sense of familial comfort and light coming through a large window on the south side of the building. L’Unité d’habitation was commissioned by the french government in 1945 as part of a plan to provide council homes to combat the housing crisis. Le Corbusier, whose ideas were equally invested in social research as they were in design, took this opportunity to redefine the importance of the domestic and collective space.
Looked at through the present time, the Unité d’habitation acquires further significance for Chironi. Today there is a sense of detachment between architecture and civil society, the tendency is to invest in spectacle rather than essential living necessities. Le Corbusier had anticipated some current problematics, for example the excessive growth of cities, the use of cheap construction solutions, the lack of habitable space and the changing relationship between neighbours. The third stage of this project will also be a chance to assert Le Corbusier’s ability to foresee the development of such issues.
Living in the Unite d’habitation in a time of forced migrations and asylum seeking, becomes even more valuable to Chironi. In the role of artist he calls for architecture and politics of construction to take an active role and think about new and affordable housing solutions. In the Cité Radieuse it is exactly the unity of personal and social needs that gives it its strength, by considering the living units as cells of a shared organism.
The construction Unité d’habitation was inspired by ideas of functionality and practicality that can be found on an ocean liner. Starting from this similarity Chironi embarks on a journey of homes, reestablishing connections, occasions of hospitality and giving particular attention to issues of the present time. The Unité d’habitation is thus steered as a ship across the mediterranean, along a journey of living.
During this course Chironi will try to get in contact with the living conditions and individual stories of his neighbours, near and far, by interacting with the communal areas of the complex (including the kindergarden, the roof terrace, the library and the other spaces of the shopping area) and at the same time with the cities of the mediterranean, in order to develop a vision of an open and united society. Rethinking the mediterranean, not as someone else’s problem, but as a place of belonging, reunification and rediscovery, for a new journey into research and form.
Over the years I have felt myself become more and more a man of everywhere but always with this firm attachment to the mediterranean : queen of forms under the play of light. (Le Corbusier)
Cristian Chironi’s experience at the Unite’ d’habitation will last one month and will be punctuated by a time of solitary work and one in which the visitor is welcomed to the apartment to interact and get to know the artist.
Running alongside My house is a Le Corbusier, a project dedicated to sound, My sound is a Le Corbusier, will carry on with three appointments: a “mise en abyme” recorded in the Appartement 50: a conversation between Cristian Chironi, the sound artist Alessandro Bosetti and the ghost of composer-architect Iannis Xenakis, who collaborated with Le Corbusier by applying musical elements onto architectural concepts and developing them together. The sound composition of Alessandro Bosetti will be printed on vinyl. A work by Cristian Chironi and musician Francesco Brasini will see as its subject the Mistral, a wind blowing from North West onto the architectural parts of the house as if blowing into a sail, and finally a field recording from the crypt of the basilica of Notre-Dame-de-la-Garde (the city’s symbol and protector of sailors and fishermen), will be offered as ex-voto.
The fiction writer Marcello Fois will contribute to the project My house is a Le Corbusier (Appartment 50 – Unite’ d’habitation) with a piece of text.
The live events will continue on the 29 of November, with a new version of the performance ECO, for which Chironi will sit for the whole day on the edge of the roof terrace. Looking at the horizon and carrying a book on the mediterranean under his arm, he will establish a personal and empathic relationship with the territory surrounding him, the unite d’habitation and with the city itself. A long lasting action, from dawn till sunset, during which time Chironi will remain in complete silence, listening to the calling of the sea and introducing an ideal bridge between North, South, East and West.
On the 10th and 11th of December, in Florence, two days of reflections on the theme of habitation in the XXI century will take place, created by Patrizia Mello (Department of Architecture, University of Florence) and Valentina Genuine (Le Murate. Progetti Arte Contemporanea), starting from Chironi’s experience as inhabiter of Le Corbusier’s houses. The meetings will make use of video projections, phone connections with Appartement 50 and discussions with students, researchers and a representative of Fonadation Le Corbusier, with the support of the Institute Français of Florence).
My house is a Le Corbusier (Appartement 50 – Unité d’habitation) is a project in collaboration with the Foundation Le Corbusier of Paris and the Appartement 50. With the support in the communication office of the institution Bologna Bologna Musei | MAMbo – Museo d’Arte Moderna di Bologna, MAN – Museo della Provincia di Nuoro, Xing Bologna and NERO.
A special thanks to Jean-Marc Drut e Patrick Blauwart. Alice Santiago for collaboration.
The inhabitants of Cité Radieuse Unité d’habitation Le Corbusier – Appartement 50, 5e rue, 280 boulevard Michelet, Marseille.
14 november > 13 december – period of residence / 23 november > 13 december – individual visits by appointment: send an email to firstname.lastname@example.org
2 October 2015 – 13 January 2016
Ex Elettrofonica is pleased to announce Godless, Cristian Chironi’s first solo exhibition in Rome. Moving instinctively throughout the fluid spatiality of the gallery, Chironi creates a panorama with its origin sin error and in the combination of opposites, forcing works created with different media to coexist, as is common in his artistic practice: sculpture, photography, video, performance, engraving, graphics and collage.
For this occasion, the artist has designed an installation apparently free fromall narration, in which the works, belonging to his past and present journey, are arranged informally. The inspiration for Godless came from the history of Elettrofonica, a company that had its warehouses in Vicolo Sant’Onofrio in the 1970s, whose origin was preceded by a dramatic family event. The result is a virtual journey, consisting of invisible connections, powered by unexpected correspondences of events that are related, though distant, referring to an imaginary other. Cristian Chironi writes: “The fact is that I could easily describe that story in images, by simply using my story. The events are different but parallel.”