Andrea Viliani is the winner of Bonaldi Award - 2nd Edition

25 April 2004 - 12:45am to 27 April 2004 - 12:45am

The Premio Lorenzo Bonaldi per l'Arte – EnterPrize, organized by the GAMeC - Galleria d'Arte Moderna e Contemporanea di Bergamo in commemoration of Lorenzo Bonaldi's passion for art and collecting.
 
is awarded for the exhibition project NO MANIFESTO   submitted by  ANDREA VILIANI.

Last April, 27 the jury comprised by:

Francesco Bonami - Manilow Senior Curator, Museum of Contemporary Art of Chicago 
Lóránd Hegyi - Director of Musée d'Art Moderne de Saint-Etienne
Giacinto Di Pietrantonio - Director of GAMeC of Bergamo

Gave the prize to ANDREA VILIANI and his project NO MANIFESTO for the following reason:

In consideration of the theoretical value of the exhibition proposal, the curator's capability to shape it also practically, the conceptual complexity of the project and its formal structure, rooted in a deep dialogue with the artists themselves, the jury recognizes the need that ANDREA VILIANI felt to establish a dialogue between the works of art and exhibition space itself, and his will to commission the catalogue to two artists and an educational project to another artist not represented in the show.

The young curators selected by as many international advisors, in competition for the second annual were::

Thomas Boutoux, Paris  nominated by Hans Ulrich Obrist, Musée d'Art Moderne de la Ville de Paris, Paris
Giovanni Carmine, Zurich  nominated by Bice Curiger, Parkett Magazine, Zurich
Mathieu Copeland, London nominated by Thierry Raspail, Musée d'Art Contemporain, Lyon
Andrea Viliani, Turin nominated by Michelangelo Pistoletto, Cittadellarte 
Fondazione Pistoletto, Biella


The exhibition project NO MANIFESTO is going to be realized in February 2005 at the GAMeC in Bergamo.


THE PROJECTS

THOMAS BOUTOUX
Exhibition project:  ALONE AGAIN OR

In his project Alone Again Or, Thomas Boutoux does not wish to propose a traditionally thematic group show.  There is no common semantic theme or common point of view linking the various works.  Instead, the exhibition examines the reflexive attitude of four young international artists in relation to the transformations of the art system in the 1990's:  the avidity with which the exhibition circuit seeks young, "fresh," and "new" artists, the exhibition space as the focal point of the curator's aspirations, and reflection on the role of the curator that has engaged the art world over the past decade are the principal themes that this project seeks to highlight.  Through their works, the invited artists – Liisa Lounila, Babak Ghazi, João Onofre, and Robin Rhode – testify to the awareness of numerous young artists of how they participate in the world of art, sharing a sort of lucid methodological uncertainty:  they agree to accept the game rules of the art world, but with the hope that it does not become self-celebratory and static.  The works featured in Alone Again Or are simple, small, unspectacular, and contradict what would be expected from young artists in a competitive universe like the present one.  Alone Again Or seeks to create a space of tension between the curator's approach, the artist's attitude, and the public's expectations.

GIOVANNI CARMINE
Exhibition project:  1:20 – REDUCED TO THE FACTS

The project 1:20 – Reduced to the facts, conceived by Giovanni Carmine, calls for the execution of four identical models that reproduce on 1:20 scale (the standard used by architects to reproduce the "details" of projects) the GAMeC space made available to the curator for the Premio Lorenzo Bonaldi per l'Arte - EnterPrize.  All the participants are asked to realize the exhibition project with which they take part in the competition inside the confines of these models.  The content of each one of these four miniature exhibition projects will be documented with shots that, once they are spliced together in a single video, will be projected on the back wall of the exhibition space, in an attempt to restore the 1:1 proportion with the space.  The model for Carmine's project will contain another four models, and the video "projection" shot inside the models.  Thus, 1:20 – Reduced to the facts is not an exhibition in the traditional sense of the word but an exhibition of contemporary art projects, a sort of matrioska that plays on the principle of Chinese boxes and proportionate relationships.  The aim is to compel both the competition participants and the public to reflect on the role and function of curators in the contemporary art system.  Carmine intends to realize the publication completing the exhibition in close collaboration with the other curators.  In the gallery above the exhibition space, a documentation room where materials can be consulted (written, audiovisual, and multimedia materials) on the history, theory, and individuals connected with the curatorial profession will be created. 
MATHIEU COPELAND
Exhibition project:  DIL – DISCORSO INDIRETTO LIBERO (FREE INDIRECT DISCOURSE)

The title of the project DIL- Discorso Indiretto Libero, submitted by Mathieu Copeland, is inspired by the concept of the same name of Pasolini, used to explain how cinema does not correspond either to direct discourse or indirect discourse, but rather to a Discorso Indiretto Libero ("Free Indirect Discourse").  In a strictly literal sense, it can also be applied to the curator's activity.
The project is conceived in three phases, three spaces, and three exhibitions, all linked by a single soundtrack composed by Susan Stenger and performed by musicians Jim O'Rourke, Robert Poss, Lee Ranaldo, and Stenger herself.  It is to be used in all three phases comprising the project:  the phase preceding installation, the actual exhibition, and the subsequent phase when the exhibition is dismantled. 
The composition varies according to the context to which it refers, in other words, the presence of the works by the participating artists:  Steven Parrino and Philippe Parreno, and it will be audible throughout the gallery and also outside.
Thus, the common theme of the exhibition is the music that, by following the structure of a pop song, transforms and adapts to the situations envisaged by the curator:  a cinematic space without seating and equipped with a coffee bar where visitors can stop, crated by Parreno.  Parrino, instead, will create a series of exploded-paintings tailor fit to the available space.


ANDREA VILIANI
Exhibition project:  NO MANIFESTO

The project title No Manifesto, proposed by Andrea Viliani, is inspired by a quip by the English artist Richard Wright in an attempt to explain to a critic his intention to stop painting pictures on canvas in his studio in order to paint directly on the surface of the exhibition space. 
The project aims to explore the "non assertive" but potential areas of the decision-making sphere by relating them to the artist's constant desire for control and verification of these means.  They represent the possibility of construing artistic practice as an intimately contradictory process, where uncertainty transforms into an occasion for experience.
The exhibition is conceived in the form of a unified and interdependent installation, the space assumes the appearance of an operating archive, of the staging of a place/time for conservation, care, and study of the works by the six invited artists:  Stefano Arienti, Massimo Grimaldi, Mike Nelson, Florian Pumhösl,  Anri Sala, and Richard Wright.  The curatorial and artistic activities are construed here as "potential" in action.  In this sense, No Manifesto unfolds in the age of the virtual, of digital simulation, temporary choices, of the disparity between filing enormous quantities of data and the use of search engines to obtain the necessary information.  The exhibition also proposes an experience of time that contradicts the concepts of novelty and avant-garde, to the advantage of those of rethinking and anticipation in which the work becomes experiment and, with the passage of time, documentation of experiences.
The exhibition catalogue, inspired by the manifestos of historic avant-gardes, will be realized in collaboration with Michelangelo Pistoletto and Jeremy Deller. 
An integral part of the project is a prototype of a table game created by Lara Favaretto, which becomes the basis for learning laboratories for elementary and middle schools.

THE ADVISORS

BICE CURIGER

Curator of the Zurich Kunsthaus, where she has curated various exhibitions, including Zeichen und Wunder (1995), Birth of the cool: Amerikanische Malerei von Georgia O'Keeffe bis Christopher Wool (1997), Freie Sicht aufs Mittelmeer (1998), Hypermental: Wahnhafte Wirklichkeit 1950 - 2000, von Salvador Dalí bis Jeff Koons (2000); Georgia O' Keeffe (2003).
She is the co-founder and editor-in-chief of the art journal Parkett Magazine (Zurich).  Her publications include Meret Oppenheim: Spuren durchstandener Freiheit (reprinted in 2002 also published in Italian with the title: Meret Oppenheim: tracce di una libertà sofferta, Lugano, Fidia Edizioni d'Arte), and Kunst expansiv – Zwischen Gegenkultur und Museum (2002).

HANS ULRICH OBRIST
Born in Switzerland in 1968, he lives and works in Paris.  Since 1993 he has directed the Migrateurs program at the Musée d'Art Moderne de la Ville de Paris, where he is Curator for contemporary art, and Curator of the Museum in Progress of Vienna.  Since 2001 he has been Visiting Professor at the School of Art at the IUAV of Venice.  He has curated numerous exhibitions, including Cities on the Move (with Hou Hanru), 1997; Sogni/Dreams (with Francesco Bonami), 1999; Évènement culturel sur la ville contemporaine (with Rem Koolhaas, Sanford Kwinter, and Stefano Boeri), 2000; Bridge the Gap? (with A. Miyake); Utopia Station as part of Sogni e conflitti – 50th Venice Biennale, 2003.  He has edited for publication the writings of such artists  as Gerhard Richter, Louise Bourgeois, Gilbert and George, Maria Lassnig, and Leon Golub.  The book Interviews – Volume 1 (Charta 2003) is a collection of interviews conducted between the early 1990's and today of architects, artists, directors, philosophers, musicians, sociologists, and city planners.  The total project envisages approximately 400 interviews, with this first anthology containing just 66.


MICHELANGELO PISTOLETTO
A leading exponent of the Arte Povera movement, he was born in Biella in 1933.  Starting in the mid-1950's, he began investigating the relationship of the figure with space and continued examining the role of art in society and the relationship between work and observer over the following two decades,.  By combining art, music, and theater, his work touches on the theme of collective and individual memory.  He has exhibited repeatedly at the most important contemporary art events like the Venice Biennale, Documenta in Kassel, and the São Paulo Biennial.  He has held personal shows at the most important museums in the world, including the Museum of Modern Art in San Francisco, P.S.1 in New York, the National Museum of Contemporary Art in Seoul, and the Galleria d'Arte Moderna in Rome in 1990.  Starting in 1994 he launched Progetto Arte, institutionalized in the form of the Fondazione Pistoletto Cittadellarte in Biella, where the principle of collective creativity and social duty of art takes material form.

THIERRY RASPAIL
Born in France in 1951, he lives and works in Lyon, where he has been director of the Musée d'Art Contemporain de Lyon since 1984.  Upon graduating from university in 1979 with a degree in art history from the University of Grenoble, he was Curator of that city's museum from 1978 to 1983.  Since 1991 he has been Artistic Director, together with Thierry Prat, of the Biennale d'Art Contemporain de Lyon.  The numerous exhibitions he has curated include – in addition to the first three editions of the Biennale d'Art Contemporain de Lyon entitled:  L'amour de l'art (1991); Et tous ils changent le monde (1993);  Interactivité... (1995) – personal and group shows of international artists like Mario Merz, Sol Lewitt, Dan Flavin, James Turrell, including the latest ones on Jan Fabre (Ghent, Bergamo, Lyon, and Barcelona 2002-2004), curated with Jan Hoet, Giacinto Di Pietrantonio, and Rosa-Maria Malet, and Laurie Anderson. The record of time, curated with Jean-Hubert Martin (Lyon, Milan, 2003).

THE JURY

FRANCESCO BONAMI

Manilow Senior Curator of the Museum of Contemporary Art of Chicago, member of the Advisory Board of Carnegie International in 2004 and the Permanent Board of Manifesta, Director of the 50th Venice Biennale in 2003.  He was a member of the scientific committee for the first Yokohama Triennial in 2001 and one of the curators of Aperto 93 at the Venice Biennale. 
The exhibitions that he has curated include the European Biennial Manifesta 3, Unfinished History (Walker Art Center, Minneapolis); Examining Pictures (Whitechapel Gallery, London and Museum of Contemporary Art, Chicago), Uniform: Order and Disorder  (Pitti Immagine, Florence, and MOMA/PS1, New York), Campo 6 (Fondazione Sandretto Re Rebaudengo, Turin).  He was curatorial consultant for the exhibition on Arte Povera Zero to Infinity (Walker Art Center, Minneapolis and Tate Modern, London).  His writings have appeared in the journals:  Echoes: Contemporary Art at the Age of Endless Conclusion; Cream.  He also edited the monograph on Maurizio Cattelan and Gabriele Basilico and Sogni/Dreams in collaboration with Hans Ulrich Obrist.


GIACINTO DI PIETRANTONIO

Director of GAMeC – Galleria d'Arte Moderna e Contemporanea di Bergamo.  Professor of Art History at the Accademia di Brera.  He was Editor-in-Chief and then Vice Director of Flash Art Italia from 1986 to 1992.  He has curated numerous exhibitions, including that on Russian artists in the review Passaggi ad oriente at the Venice Biennale in 1993, Fuori Uso (Pescara 1995, 1997, 1998, and 1999); Over the Edges with Jan Hoet at Ghent, Belgium.  In 2002 he was one of the curators of Big 2002, the international biennial of young art in Turin.  In 2003 he was curator of the second edition of the Tirana Biennial.  He is in charge of the Corso Superiore di Arti Visive at the Fondazione Antonio Ratti and Director of the journal of free discussions on contemporary art Perché/?, and I Love Museums, the journal of AMACI (Associazione Musei d'Arte Contemporanea Italiani).


LORAND HEGYI

Director of the Musée d'Art Moderne of Saint-Etienne.  From 1990 to 2001 he was director of the Museum Moderner Kunst Stiftung Ludwig in Vienna.  Since 1999 he has been a member of the Scientific Committee of the Contemporary Art Museum of Sarajevo.  In 2003 he was art commissioner of the Valencia Biennial.  He has curated numerous exhibitions:  Reductivism – Abstract Art in Czechoslovakia, Hungary, and Poland (Museum Moderner Kunst Stiftung Ludwig, Vienna 1992); Radical Surface (Paris and Los Angeles, 1993); La coesistenza dell'arte – Venice Biennale (Venice 1993); ABSTRACT/REAL - References: Malevich-Duchamp-Beuys (Vienna 1996); Central European Sensitivities (London 1998); The House, the Body, the Heart - Konstruktion der Identitäten (Vienna and Prague 1999); Aspects - Positions: 50 Years of Central Europe Art 1949-1999 (Vienna, Budapest, Barcelona, Southampton 2000); Concept of Space (Barcelona 2002); Solares or on Optimism – Valencia Biennial (2003).

 

THE CURATORS

THOMAS BOUTOUX

Born in Paris on March 22, 1975.  Independent critic and curator.  Doctoral candidate in Social Anthropology at the École des Hautes Études en Sciences Sociales (EHESS), Paris.  Member of the research group "Genesis and Transformation of the Social Worlds" (CNRS-EHESS, UMR 8128) headed by Alban Bensa and Jonathan Friedman.  Co-curator of Dak'art 04, Dakar Biennial of Contemporary Art (May-June 2004).
Curatorial assistant for various exhibitions, including Philippe Parreno – Alien Seasons (ARC – Musée d'Art Moderne de la Ville de Paris, Paris, 2002), Survivre à l'Apartheid (Maison Européenne de la Photographie, Paris, 2002), Utopia Station (Venice Biennale, 2003), and Ici, Ailleurs (Couvent des Cordeliers, Paris, 2004). He has published various articles in international art journals, such as Flash Art (Milan), Flash Art International (Milan/New York), Coartnews (Brussels), Trouble (Paris), Mots-Ecrans Photos (Paris), Domus (Milan), Paletten (Stockholm), and Pacemaker (Paris).

 

GIOVANNI CARMINE

Born in Locarno, Switzerland on April 14, 1975.  He studied art history, Italian literature, and the history of cinema at the University of Lausanne and then Zurich.  From 1998 to 1999 he worked as curator at the Centro d'Arte Contemporanea Ticino (Bellinzona).  He has curated several exhibitions including Dalla Strada: viaggio nel mondo dei Graffiti e 999 (with Mario Casanova Salvioni, Bellinzona 1999),  UNLOADED – Coming Up For Air (Oberschan-Wartau, 2002), and Updating Landscapes (Centro d'Arte Contemporanea Ticino, Bellinzona 2003). In 2001 he received the Federal Prize for Art Intermediators, awarded by the Federal Office of Culture, Bern.
He has published articles in various journals and newspapers:  Kunst-Bulletin (Zurich), Juliet (Trieste), Parkett (Zurich), La Regione Ticino (Bellinzona), Saiten (Sankt Gallen), Trans (New York), and Flash Art International (Milan/New York).

 


MATHIEU COPELAND

Born in Lagny Sur Marne, France on March 3, 1977.  He lives and works in London.  He studied art history first in Paris and then at Newcastle upon Tyne.  In 2003 he received the Master in Creative Curating at Goldsmith University in London.
His most recent works include Perfect Magazine (2003), a newspaper realized completely with white ink on white paper.  For this project, he contacted 50 artists, including Gilbert & George, Yoko Ono, Cerith Wyn Evans, Liam Gillick, Martin Creed, Martin Craig Martin, Lawrence Weiner, Sam Samore, and Steven Parrino.  Other projects that he has curated include:  Anna Sanders Films (London 2003), with the participation of Dominique Gonzalez-Foerster, Charles de Meaux, and Philippe Parreno; Meanwhile… across town (London 2004), in collaboration with Cerith Wyn Evans, of which he was also one of the authors and chief editor.  He worked on the project Expat-Art Centre (currently on exhibit), at the Institute of Contemporary of London last March;  the exhibition will then be held at other museums, including the Musée d'Art Contemporain in Lyon (May 2004), the Contemporary Art Centre in Vilnius (summer 2004), with the participation of artists like Brian Eno, Pierre Huyghe, Ben Kinmont, Claude Leveque, Didier Marcel, Olivier Mosset, Shimabuku, Dan Walsh, and Ian Wilson.

 

ANDREA VILIANI

Born in Casale Monferrato (Province of Alessandria) on May 15, 1973.  Holder of a degree in art history from the University of Turin.  He received the Master in Project Management and Cultural Planning, Fondazione Fabbrica Europa (Florence), Fondazione Toscana di Comunicazione e Media Università di Firenze (Florence), Cliomedia Officina (Turin), Noema Research and Planning (London).
Since 2000 he has been Assistant Curator at the Castello di Rivoli Museo d'Arte Contemporanea Rivoli -Turin.  He has been editorial and organizational coordinator of different exhibitions and their respective catalogues, including Arte Povera. Art From Italy 1967-2002 (Museum of Contemporary Art, Sidney, 2002); Wolfgang Tillmans (Deichtorhallen, Hamburg; Palais de Tokyo, Paris; Louisiana Museum, Copenhagen, 2002); Shirin Neshat (2002); Form Follows Fiction (2001); Pierre Huyghe. Float (2004); William Kentridge (2004; K20 K21, Düsseldorf; Museum of Contemporary Art, Sidney; Musée d'Art Contemporain, Montréal; Art Gallery, Johannesburg); Nan Goldin-Devil's Playground (2002).
He has published articles in art journals like Flash Art (Milano), Flash Art International (Milan/New York), and Boiler (Milan).