TAX

Marinella Senatore

March 9th, 2021 by

Trained in music, fine arts and film, her practice is characterized by public participation, initiating a dialogue between history, culture and social structures. Rethinking the role of the artist as author and the public as recipient, Senatore’s work merges forms of protest, learning theatre, oral histories, vernacular forms, protest dance and music, public ceremonies, civil rituals and mass events, reflecting on the political nature of collective formations and their impact on the social history of places and communities.

Her work has been exhibited widely throughout Italy and abroad, including:
Bienal of Sao Paulo ; Manifesta 12; Centre Pompidou; Kunsthaus Zurich; MAXXI Museum; Castello di Rivoli; Palais de Tokyo; Schirn Kunsthalle; Museum of Contemporary Art of Chicago; High Line, NY; Berlinische Galerie; Kunsthalle Sankt Gallen; Faena Art Forum; Bozar, BXL; Queens Museum; Petach Tikva Museum; Sandretto Re Rebaudengo Foundation; Serpentine Gallery; CCA Tel Aviv; Madre Museum; Musée d’art contemporain de Montréal; ICA, Richmond; BAK Utrecht; Centro de Arte Dos de Mayo; Palazzo Grassi; Museum Boijmans Van Beuningen; Moderna Museet; UABB Bi Shenzhen; Biennale de Lyon; Thessaloniki Biennale; Liverpool Biennale; Athens Biennale; Havana Biennale; Göteborg Biennial; Bienal de Cuenca; 54th Venice Biennale «ILLUMinations».

Senatore is the winner of the 4th and 7th editions of Italian Council; The Evelyn Award at York Museum, UK and the Art Grant from
The Foundation of Arts and Music for Dresden, Germany in 2017; The MAXXI Prize and AMACI (Association of Italian Museums of Contemporary Art) Prize in 2014; Castello di Rivoli Fellowship in 2013; The American Academy in Rome Fellowship, Gotham Prize and 23rd M.Bellisario Prize in 2012; The New York Prize and Terna Prize in 2010; The Dena Foundation Fellowship in 2009.

In addition to teaching at various universities, the artist regularly lectures at international institutions such as Goldsmiths, London; ICA-Institute of Contemporary Arts, London; Foundation d’Entreprise Ricard, Paris; NYU, Berlin; Guggenheim, NYC;  Academy of Fine Art, Naples ERG, Brussels; University of Madrid; University of Granada; University of Turin; Beursschouwbug, Brussels; Academy of Fine Arts, Mechelen; New Academy of Fine Arts, Milan; IUAV, Venice; Hochschule für Gestaltung, Frankfurt am Main.

Andrea Francolino

December 20th, 2019 by

Andrea Francolino (Bari,1979) is one of the four founders of The Open Box, a non-profit space for contemporary art in Milan, where he lives and works. In 2013 the work Et onne Tempo earned him the San Fedele Prize 2013/2014. This installation, an ephemeral and fragile work, made with concrete powder, reproduces the map of the biggest shopping mall in the world. The work encourages the viewer to reflect upon the aggravation of  contemporary mass consumption and human vanitas.
The relationship between human being/product and nature/creation is the bedrock of Performance di una pianta (2013-2015), a heap of rubble composed of fragments of works destroyed and set aside from which a plant sprouts spontaneously: it’s Nature reaffirming itself and giving new life to what is inert and abandoned.
Commencing from 2015 Francolino dedicates his practice to Percorsi, a series of crack casts made of concrete powder imprinted on paper. Every work has a title that reports the day, hour and satellite coordinates of the place where the work is made and offers the chance to localize his artistic action in space and time. The crack symbolises human fragility, humanity’s creation and culture, and also their deterioration. The dichotomy between absence and presence, void and full is evident in the work 7 inversi(2018), consisting of 7 framed sheets of paper previously ripped down the middle. The chromatic contrast of sections reflects the heterogeneity of materials: soil and concrete. These two elements blend in the central, uniform and rip-free panel, which becomes now the harmonious meeting place of two elements of opposing nature. The reflection upon contemporary society factors (consumerism, materialism, ecologism) put in relation to the human condition, led the artist to realize in 2018 at the MAAM, Museo delle Arti Applicate nel Mobile contemporaneo, Villa Dionisi Cere, the artistic intervention Econcrethic. The title comes from the crasis of the three words ecology, concrete (with the double meaning of the noun and the adjective) and ethic, key elements of reflections carried on during the previous years. The creation of these site-specific works in different locations, such as suburban, derelict areas or new realities, is sensitive to the relationship between Nature and urban landscape. Through the Land Art practice of “Crack Garden”, which involves the ground being cut, the work is visible from a satellite view.
In 2018 his research on cracks continued: the crack becomes the main feature of his work. On a wall of the Spazio Aperto San Fedele, Milan, the artist covered a fissure with 22-carat gold leaf, making the matter shine and the void seemingly to tremble. As Francolino declares, “as an objective expression of an ongoing process, the crack suggests – and sometimes reveals – the connection between the opposites, and generates an infinite reflection and contemplation”. This statement is the starting point of the production of the most recent works that propose again the artistic method of Percorsi, utilising its endless possibilities.
Some of the artist’s major solo shows include Intra materia Natura infinita, Milan, Spazio Aperto San Fedele, 2018 and Caso x Caos x Infinite Variabili, The Open Box, Milan,2018. His works belong to influential collections such as Alain Servais, Brussels; VAF Stiftung – VAF Foundation, Frankfurt; Fondazione Culturale San Fedele, Milan.

Salvatore Astore

September 19th, 2019 by

Salvatore Astore was born on April 20, 1957 in San Pancrazio Salentino (BR). He moved very young with his family to Turin, where he still lives and works, and he graduates from the Art School of the city and then at the Accademia Albertina of Fine Arts.
Active since the eighties on the Italian and international scene, Astore has privileged the languages ​​of sculpture, painting and drawing, giving life to cycles of works that correspond to historical periods and different existential phases, united however by a profound desire to experiment with techniques and materials related to the urban industrial context, and a specific interest in the condition and destiny of the human being.
After a series of pictorial works Anatomie (anatomies), dedicated to human and animal, in 1984 Astore began to produce a cycle of medium and large sculptures, first made in welded and painted iron and then in stainless steel, strongly anchored to the desire to create a vocabulary of new and authentic forms inscribed in the logic of organic structures. The Calotte, the Containers, the Sutura e Forma (Sutures and Form), accompanied by the paintings entitled Cervelli (Brain) inaugurate an extraordinary exhibition season linked to the investigation of the plasticity of form, free from the usual self-reference to figurative art and focused on idea of ​​a renewed interest in the individual and his time. In 1987, an exhibition entitled Immagine Eretta, set up at the Gondrand warehouses in Turin, clarifies the terms within which this new “organic minimalism” and this “modern anthropocentrism” are inscribed.
Astore begins to exhibit his works in Franz Paludetto’s gallery; in 1989 in Milan, in the spaces of Valeria Belvedere. In 1992 he took part in the exhibition Avanguardie in Piemonte 1960-90; in 1996 at the 12th Rome Quadriennale, Generazione ’80and 1990sexhibitions, the latter curated by Renato Barilli.
In the mid-1990s, the encounter with the American artist Sol Lewitt, to whom Astore has always looked with great interest, affects and reinforces the spirit of his artistic research. In more recent years, after a cycle of pictorial works, the sculpture has become a protagonist again in 2008, the year in which it participates in the XIII Biennial of Sculpturein Carrara and then in 2010 with a great personal exhibition entitled C’era una volta e una stanza, set up at the 107 Foundation, in Turin. In 2018 the Anatomico Organico Industrialeexhibition, at the Fondazione 107, links the creative climate of Turin in the 1980s with the artistic research of Astore, Ragalzi and Stoisa.
The artist’s works are present in numerous public and private collections.
Currently some sculptures of the Speciazioneseries are exhibited in the Gardens of the Reggia di Venaria, Turin.

Melissa McGill

May 7th, 2019 by

McGill is an interdisciplinary artist based in New York who creates ambitious, large-scale, site-specific art projects, and works in a variety of media, including photography, painting, drawing, sculpture, sound, light, and immersive installation. Her work connects viewers to overlooked histories and traditions, explores the conversation between the visible and the invisible, and heightens awareness of our surroundings.
Melissa McGill lived in Venice from 1991-93, and returns regularly for inspiration, for work, and for friendship. Her recent project Red Regatta was inspired by her observations over more than two decades of the challenges Venice is facing given the impact of climate change and intense tourism. Melissa’s intimate knowledge of Venice and her deep personal and professional relationships in the city have made it possible for her to develop this ambitious project. She is particularly passionate about the collaborative aspect and the fact that Red Regatta involved many members of the local community. The project was intentionally designed to welcome the participation and enjoyment of local citizens and to honour their abiding love for their city. Her previous sculptural sound work, The Campi, May 2017, invoked daily life in the Venetian Campo and was presented at Carlo Scarpa’s Casa/Studio Scatturin, Università Iuav di Venezia and Giorgio Mastinu Fine Art in Venice, Italy. Constellation, 2015-2017, installed on an island in the Hudson River, New York, lit each night creating a new constellation transforming Bannerman castle ruin. McGill has exhibited her artwork nationally and internationally since 1991, including solo exhibitions at The Permanent Mission of Italy at the United Nations, New York; TOTAH, New York; White Cube, London; Power House, Memphis; Palazzo Capello, Venice; and CRG Gallery, New York. Mazzoleni London will host McGill’s first solo exhibition in the Spring/Summer 2021.

Video by Giovanni Pellegrini/Ginko Films – redregatta.org

Massimo Vitali

April 3rd, 2019 by

Massimo Vitali was born in Como, Italy, in 1944. He moved to London after high-school, where he studied Photography at the London College of Printing.
In the early Sixties he started working as a photojournalist, collaborating with many magazines and agencies in Italy and Europe.  It was during this time that he met Simon Guttman, the founder of the agency Report, who was to become fundamental in Massimo’s growth as a “Concerned Photographer”.
At the beginning of the Eighties, a growing mistrust in the belief that photography had an absolute capacity to reproduce the subtleties of reality led to a change in his career path.  He began working as a cinematographer for television and cinema.  However, his relationship with the still camera never ceased, and he eventually turned his attention back to “photography as a means for artistic research”.
His series of Italian beach panoramas, starting in 1995, began in the light of drastic political changes in Italy.  Massimo started to observe his fellow countrymen very carefully.  He depicted a “sanitized, complacent view of Italian normalities,” at the same time revealing “the inner conditions and disturbances of normality: its cosmetic fakery, sexual innuendo, commodified leisure, deluded sense of affluence, and rigid conformism.” (October Magazine 2006, no. 117, p. 90, How to Make Analogies in a Digital Ageby Whitney Davis).
Over the past 22 years he has developed a new approach to portraying the world, illuminating the apotheosis of the Herd, expressing and commenting through one of the most intriguing, palpable forms of contemporary art – Photography.
He lives and works in Lucca, Italy.

Cover: photo by Alberto Zanetti