Giancarlo Norese, invited to think a project for microgallery - a portable gallery in miniature - began to build relationships with other spaces in the world whose size is 'micro'. Simultaneously and in the same place the opening of the second event of the program "It's not gallery", organized by TICA, features the artistic research of the albanian artist Olson Lamaj'.
Microgallery è un progetto di studio203 - art and architecture collective.
Microgallery è una galleria in miniatura, portatile che non ha grandi pretese ma pretende grandi idee. Lo spazio e’ costruito e pensato come un white cube (50x50x50cm), uno spazio che per sua stessa definizione non ha un’identita’, ma in questo caso l’identita’ e’ rappresentata dalle sue dimensioni.
Microgallery è un cubo, una vetrina, uno spazio di pensiero offerto agli artisti, per permettere loro di misurarsi con uno spazio con il quale non hanno mai avuto a che fare prima. La sfida è quella di realizzare un’opera d’arte che sia pienamente parte del percorso artistico dell’artista invitato e che allo stesso tempo stupisca anche l’autore.
“Venghino Signore e Signori il Grand Show ha inizio!”
Lo spettacolo è quello dell’arte che lega le persone le une alle altre, l’arte capace di spogliarsi della propria vanità per cer- care di costruire qualcosa che non appaga il piacere estetico dello spettatore - e forse per questo mal digerita dal sistema - ma che tenta di radicarsi nel territorio, un territorio globale nell’idea dell’artista italiano Giancarlo Norese, che invitato a pensare un progetto per microgallery ha iniziato a costruire relazioni con altri spazi nel mondo la cui dimensione fosse “micro”. L’artista ha individuato dunque una caratteristica, quella dello spazio minimo e l’ha elevata al ruolo di protagonista del suo Grand Show. Lo show è infatti grande perché considera lo spazio minimo della galleria come un punto di partenza che leghi altri spazi minimi, altre necessità di parlare del micro non come qualcosa di staccato dal macro ma al contrario come suo punto di partenza, in una relazione imprescindibile l’uno con l’altro. Per dirla con le parole dell’artista:
“... costituire una sorta di network di collaborazioni e confronti con realtà analoghe, sviluppati spesso gli uni all’insaputa degli altri, e specchio di una contemporanea attitudine a fare i conti con un mondo sempre più “consumato” che vorrebbe farci trovare la forza di ripensare il nostro modello di sviluppo.
Mettiamo il mondo in scatola per costruirci un futuro, dopo tutto.”
E non è forse vero che tutti i nostri ricordi più importanti sono in scatole? Allora vediamo se tante scatole legate le une alle altre possono costruire una nuova collezione di oggetti ed emozioni capaci di far vedere il mondo al mondo, da un altro punto di vista, quello di partenza.
Giancarlo Norese (Novi Ligure, 1963), vive a Milano. Diplomato a Brera, è stato uno degli iniziatori del Progetto Oreste (48a Biennale di Venezia) e l’editor delle sue pubblicazioni. Sin da metà degli anni Ottanta è stato partecipe di molti progetti collaborativi, molti dei quali aventi a che fare con la precarietà, le metafore dello spazio pubblico, gli errori del paesaggio, l’estetica della sconfitta, la bellezza autogenerata dal caso. Come artista individuale, si interessa a una forma d’arte senza forma. Dal 2004 insegna Comunicazione Visiva all’Accademia Carrara di Bergamo.
Questa mostra è stata realizzata grazie al contributo dell’Istituto Italiano di Cultura di Tirana
Microgallery is a project by studio203 - art and architecture collective.
Microgallery is a portable gallery in miniature that has no great pretensions, but expects great ideas.
The space is built and designed as a white cube (50x50x50cm), a space which by its own definition does not have an identity, but in this case the identity is symbolized by its size.
Microgallery is a cube, a window, a space for thought offered to artists to enable them to compete with a space with which have never been involved before. The challenge is to create an artwork that is fully part of the artistic research of the artist invited and at the same time surprised him.
“Com’on Ladies and Gentlemen, the Grand Show begins!”
The show is that of the art that brings people together, a kind of art able to undress itself of his vanity to try to build something that does not satisfy the aesthetic pleasure of the viewer - and perhaps for this reason hardly digested by the system - but which try to established in the territory, a global territory in the idea of the Italian artist Giancarlo Norese, who, invited to think a project for microgallery began to build relationships with other spaces in the world whose size was “micro”. The artist has therefore identified a feature, the minimum space elevating it to the role of protagonist of his Grand Show. The show is great because it considers the minimum space of the gallery as a starting point that unify other small spaces, others need to talk about the micro, not as something disconnected from the macro but rather as its starting point, in an unavoidable relationship. To quote the artist’s words:
“... to build a sort of network of collaborations and comparisons with similar realities, often developed without knowing each other, and mirror of a contemporary attitude to deal with an increasingly “consumed” world that would have us find the force to rethink our development model.
We put the world in a box to build our future, after all.”
And is it not true that all of our important memories are in boxes? So let’s see if many boxes linked to each other can build a new collection of objects and emotions able to make the world see the world from another point of view, that of the departure one.
Giancarlo Norese was born 1963 in Novi Ligure, Italy, lives in Milano. Graduated of the Accademia di Brera, he was one of the initiators of the Progetto Oreste and the editor of its publications. Since the mid-Eighties he has been involved in many collaborative art projects, mostly dealing with precariousness, the metaphors of the public space, the mistakes of the landscapes, the aesthetic of the defeat, and the self-generated beauty. As an individual artist, he is interested in formless forms of art. Since 2004 he is a lecturer at the Academy of Fine Arts in Bergamo.
IT’S NOT GALLERY
It’s Not Gallery is a joint production between Industri and T.I.C.A – Tirana Institute of Contemporary Art. The inspiration comes from a desire to start a new “space” where art is not used for decorative purposes – attribute of the usual coffee bar in Tirana – but rather to grasp the attention of the monotone coffee drinker with notable and surprising details. It aims to open a “channel” of thought and reflection into the sleepy minds or lethargic conversations. It’s Not a Gallery not only “assists” the artist with a new platform to exhibit his/her work but transcends into the traditional exhibition boundaries by pulling the art from the gallery borders and placing it into a direct contact with the public. Through It’s Not A Gallery series, Industri will be hosting new art installations and contemporary artistic events on quarterly basis. In coordination with TICA, Industri will be accompanying the events with a sequence of talks, presentations or performances from the artists.
ON THE STREET
This photo series belongs to the book project “on the street.” The book is of photographs taken in the neighbor- hoods and streets of Albania. These images tell an different Albanian not by focusing in the political or social events of the country but at the sim- ple beauty the city has. This is an at- tempt to bring to light landscapes or details of the city through those im- ages that contain a modest and affin- ity for conceptual photography.
This is a triptych made to reinter- pret the icon of San Sebastian. Be- ing surrounded more and more from the world of advertising Olson takes reason to recall this icon of Christian art in the same languageof those ad- vertisements. We have three pictures and we have a pillow created with a human leather. This triptych illustrates the three phases of the history of San Sebastian started by undressing his clothes, than his connection, and fi- nally the arrow hitting that the artist illustrates through the needles.
This is a photo series belonging to a photo book where the artist tries to illustrate the portraits of new ages where they appear melancholy and details of nature in the city. This con- nection between nature and new ages is a parallel of the fragility of nature and how it survives in the urban land- scape so suited to it, and in the same time youth peoples increased as the nature of urban life difficulties.
Born and raised in Albania, Olson Lamaj has studied visual art -- with a focus on photography – in Milano, Italy, where he has worked and lived for several years. His work has spanned dif- ferent mediums, which include painting, installation and video art, but photography holds a prominent place amidst the various ar- tistic “languages” that he has chosen to explore. As a young and emerging artist, Lamaj has already participated in different exhibi- tions throughout Europe as well as his native Albania, contributions which are difficult to characterize except perhaps in their efforts to use the specific and the particular to speak to issues that he considers of universal importance or appeal, including: the human body; everyday life in urban settings; and the urban periphery. His training in the Italian academy has deeply impacted his gaze, not only in his treatment of photography as an art medium, but also in his ability to notice and capture the absurdities, ironies and contra- dictions that have been a result of the unregulated and fast-paced change that seems to have characterized urban Albanian reality in the past two decades. As somebody who lives between two different worlds, Lamaj is sensitive to these transformations and, through his photographs he shares with us the peculiar visions that this liminal positioning affords him.
Inaugurazione: 15 Marzo 2013 ore 20.00
Artist talk: 16 Marzo 2013 ore 19.00
INDUSTRI bar - lounge
Rr. “Nikolla Tupe”, 5 - Blloku (ex Moma) - Tirana