NOTTURNO PIU'. Biennale di Venezia

NOTTURNO PIU’. Biennale di Venezia

March 27, 2019  |  NEWS  |  No Comments  |  Share

On the occasion of the 58th Venice Biennale, THE POOL NYC presents NOTTURNO PIÚ, a group show curated by Giacinto Di Pietrantonio.

There are the ones who see the nocturne in Giotto’s Comet, in San Pietro’s Liberation by Raffaello, in Tintoretto’s work, or even in the Two Men who contemplate the moon by David Caspar Friedrich. Others, in poetry like To the Moon by Giacomo Leopardi, in Whistler’s golden blue color, in the solar stars by Van Gogh, or in futuristic works by Balla and Boccioni. We could go back and forth from dawn to dusk in drawing up the list of artworks whose subject or setting is the night. Certainly, the night was very much courted by the romantics, an era in which the nocturne (nocturne en français) was born. First as a musical work, a form of free, sweet and moderate music that linked up with the serenade. Chopin wrote 21 Nocturnes, Beethoven cheers us with the Moonlight Sonata, even Satie and Debussy did not escape the enterprise. Even literature did not miss the night and the Nocturne as Theodor Amadeus Hoffmann or even Leopardi with the Night Song of a wandering shepherd from Asia. The invitation to the present Notturno Piùexhibit is borrowed from the first cover of the Notturno book, a collection of intimist pizzini written blindfolded because of wounds by the great poet Gabriele D’Annunzio. It is in this evocative frame that we inscribed information and artists’ names for the Notturno Piùexhibition. They are the ones whose work allows returning with the imagination and the memory in the night, in that space time border in which the imagination expands confidentially with the poetics of Mario Airò, Atelier Biagetti, Laura Baldassari, Bertozzi & Casoni, Michel Courtemanche, Mariella Bettineschi, Tomaso Binga, Stefano Cerio, CTRL ZAK, Eteri Chkadua, Jan Fabre, Patrick Jacobs, Ugo La Pietra, Lorenzo Marini, Maria Teresa Meloni, Alessandro Mendini, Aldo Mondino, Francesca Montinaro, Fabio Novembre, Maurizio Orrico, OVO, Paola Pivi, Sarah Revoltella, Jonathan Rider, Andrea Salvatori, Denis Santachiara, Federico Solmi, Giuseppe Stampone, Patrick Tuttofuoco, Vedovamazzei, Alice Visentin.

Ours is not only nocturne, it’s Notturno Più. As night and nocturne are also understood in the form of Blues and Jazz; not only because of the music of the soul, but because of the possibility of jam sessions that offer above all the second. Therefore, it’s an exhibition that is free and mildly moderate, intended as a musical score and set up in a scene writing mode as Carmelo Bene liked to say. A writing – an exhibition in which each artist enters himself and his different work as a composition of a collectively diversified vision with his own unique and complex poetics. The original ones by Mario Airò, the hospitable luxury by Atelier Biagetti, or portraits from the hidden physiognomy of Laura Baldassari‘s lysergic painting, Bertozzi & Casoni’s ceramic realism, the plastic skill of Michel Courtemanche, Mariella Bettineschi’s double feminine gaze, Tomaso Binga’s feminist alphabet, Stefano Cerio’s non-photographic places, the overturned project of CTRL ZAK, the painting testimony of the myths and everyday life of Georgia by Eteri Chkadua, the metamorphic melancholy now blue by Jan Fabre, the meticulous and silent Lilliputian dioramas of Patrick Jacobs, the critical architectural landscape reflections of Ugo La Pietra, the chromatically and futuristically mobile alphabets by Lorenzo Marini, the detailed and ancient portraits by Maria Teresa Meloni, the abstract-futurist signs-decorum by Alessandro Mendini, the illuminating ironic sculptures by Aldo Mondino, the potted plants that hide sculptures of migrant environments by Francesca Montinaro.Fabio Novembre’s tension towards the useless, the abstract-informal paintings by Maurizio Orrico, the precariously hardcover project by OVO, the expansive sign energy of Paola Pivi, the sculptural portraits of the polarized families by Sarah Revoltella, the discrete and almost invisible environmental sculptures by Jonathan Rider, the cosmic vases by Andrea Salvatori, the animated-figured project by Denis Santachiara, the exuberant, noisy and ironic works of Federico Solmi, the responsibly ethical drawings by Giuseppe Stampone, the re-reading of the daily visual codes in the light of the multidisciplinary nature of Patrick Tuttofuoco, the ironic and arrogant landscapes by Vedovamazzei, the playfully shamanic paintings by Alice Visentin.

With this diversity made of 31 artists, the exhibition is an expressive chorus of poetics, techniques, materials that form Notturno Più, where the Più (Plus)is no longer just for the night, but the day and night together, like our life, they can no longer be solitary. This is a group show, an exhibition practice in which you need to be at least in two, the one and the other. Starting a community that counts 31 others, 31 artists with countless works to us, as to them, necessary both day and night to be found in the Notturno Più.

 

WHERE:

THE POOL NYC at PALAZZO CESARI MARCHESI

Campo Santa Maria del Giglio

Calle Rombiasio 2539 Venezia. Vaporetto Stop: GIGLIO

WHEN:

Opening Reception: Tuesday, May 7th, from 6 to 9 pm

8 May-15 June 2019

Open daily: 11-7

INFO:

info@thepoolnewyorkcity.com

+393356251723

+393337891947

thepoolnewyorkcity.com

@thepoolnyc

THE POOL NYC, Palazzo Cesari Marchesi, Calle Rombiasio 2539, Campo Santa Maria del Giglio, Venezia

Andrea Salvatori + Giulio Turcato. IKEBANA ROCK’N’ROLL

March 17, 2019  |  NEWS  |  No Comments  |  Share

3 April – 31 May 2019

Opening Reception: Tuesday, April 2nd, from 6 to 9 pm

THE POOL NYC presenta Ikebana Rock’n’Roll, la personale del Maestro della Ceramica Contemporanea, Andrea Salvatori, in conversazione con Giulio Turcato, uno dei principali esponenti dell’Astrattismo Informale Italiano.

THE POOL NYCpresenta Ikebana Rock’n’Roll, la personale del Maestro della Ceramica Contemporanea, Andrea Salvatori, in conversazione con Giulio Turcato, uno dei principali esponenti dell’Astrattismo Informale Italiano.

Salvatori plasma da sempre la ceramica, materiale inorganico, assai duttile allo stato naturale e rigido dopo la cottura. Se nel 2009, agli esordi con la galleria, l’artista proponeva lavori in cui associava inserzioni in ceramica a pezzi trovati in mercatini d’antiquariato, adesso, per la prima mostra nella sede milanese, esordisce con una serie di vasi spumosi, carichi di materia, formosi, pieni di ritmo e poesia.

 Per Ikebana Rock’n’RollAndrea Salvatori presenta una serie di vasi bianchi con sfere di diversi toni di rosa, inserite come note musicali,a volte più ritmate, altre più calme. Questi lavori sono pensati come Ikebana, dove natura e spirito si fondono nel tentativo di associare la spiritualità orientale con una leggerezza minimale. L’Ikebana utilizza fiori, rami ed altri elementi naturali per realizzare composizioni di grande bellezza.

 “La ricerca dell’equilibrio tra tutti gli elementi passa anche dal contenitore. Ci sono numerose scuole di Ikebana e ognuna opta per un arrangiamento particolare. Alcune usano vasi alti e linee verticali, altre invece contenitori poco profondi”. Infatti i lavori dell’artista faentino hanno dimensioni e forme diverse e il vaso abbraccia così il concetto di scultura con una funzione ben precisa.

 Per ladisposizione pratica dei fiori si punta all’asimmetria, tratto caratteristico del lavoro di Salvatori, il quale crea con la ceramica un’armonia speciale,Allegro, Grave, Vivace, Moderato,proprio come nelle composizioni musicali. Alcuni lavori sono più tormentati, più pieni, rock, altri più poetici, più vuoti. 

Quello tra Andrea Salvatori e la stampa 3D è un confronto inedito, esuberante e al contempo composto, fatto di fugaci imperfezioni e di pause ragionate, che origina da un’innata conflittualità tra creazione umana e artificio tecnico, tra uomo e macchina. La macchina, in questo caso, è la stampante Delta WASP 40100 Clay, progettata da WASP per essere al fianco dei ceramisti durante tutto il processo artistico, ripensando radicalmente l’ideazione dell’opera grazie alle innovative opportunità offerte dalla fabbricazione digitale.
 La stampa 3D è il simbolo di una nuova corrente artistica, frutto di repertori digitali unici e tuttora non sondati dall’arte contemporanea. La collaborazione tra WASP e il Maestro si prefigge di delineare inediti scenari artistici, in cui routine meccaniche e gestualità scultoree coesistono nel dialogo compositivo dell’opera. Salvatori concepisce questo rapporto con un’intuizione estremamente affascinante: manomettere la perfezione della stampa con una miscellanea di inserzioni ceramiche. Il processo di deposizione del materiale e di incastonatura delle sfere è tema centrale nella collezione Ikebana Rock’n’Roll, al punto da convincere Salvatori a denominare le opere “Composizione 40100”, come scaturite da un dialogo musicale dalle tonalità più svariate.
L’artista sconvolge l’algoritmo reiterato pedissequamente dalla macchina con accenti musicali imperfetti, frutto di volta in volta di azioni spontanee e processi ragionati.

Sorge naturale associare le sculture di Salvatori ai dipinti di Turcato: due sperimentatori in fatto di materia.

Giulio Turcato, una presenza costante a La Biennale di Venezia, ha indagato per tutta la vita la materia, usando fluorescenze, pastiglie, sabbie, acrilico e olio. 

Nel 1947 Turcato è tra i firmatari di FORMA 1, dove esprime un interesse per una pittura formalista. Nel 1956, dopo un viaggio in Cina, forti sono i riferimenti agli ideogrammi, da cui la nascita dei cosiddetti Reticoli, un trionfo di forme attraverso il colore, che assume una valenza astratta in relazione proprio con se stesso. Col passare degli anni l’artista tende all’assenza della forma.

Agli inizi degli anni ’60 Giulio Turcato viene colpito dalle nevrosi contemporanee e inserisce nei suoi lavori i Tranquillanti, giocando con la materia pittorica e dando vita a composizioni brillanti, astratte, tutte con un piglio musicale. Negli anni delle conquiste spaziali il Maestro inventa opere con sabbie colorate cangianti affermando “la mia ricerca coloristica è orientata verso un nuovo colore…”. È del 1964 la prima Superficie Lunare, realizzata con una striscia di gommapiuma lavorata e combusta. Sarebbe soddisfatto di vedere oggi i toni che hanno assunto i colori da lui medesimo creati. 

Nei lavori dell’artista nato a Mantova e mancato a Roma c’è un acceso ritmo informale generato dalla diversità dei materiali usati nelle fasi della sua produzione. THE POOL NYC propone una selezione di opere che spazia dai Reticoli, alle Superfici Lunari, ai Tranquillanti,fino agli Arcipelaghi.

Ikebana e Rock’n’Roll sono in totale contrasto: il primo legato alla spiritualità, il secondo al ritmo di vita terreno e festaiolo. Tutto quanto esiste in natura può essere trasformato in materiale compositivo, purché interpretato nella sua essenza di elemento naturale, riordinato e riespresso e, da inerte, reso vivente. All’origine è dunque la natura, fonte inesauribile di materia prima, modello perfetto che l’uomo può imitare e che l’artista non deve contraffare. Non dimentichiamo che la natura non ripete mai identica una stessa forma, pur moltiplicandola in una quantità potenzialmente infinita. 

THE POOL NYC presents Ikebana Rock’n’Roll, the solo show by the Master of Contemporary Ceramics, Andrea Salvatori, in conversation with Giulio Turcato, one of the main exponents of Italian Informal Abstractism.

Salvatori has always molded ceramics, an inorganic material that is very ductile in its natural state and rigid after cooking. Since his debut with the gallery in 2009, where the artist proposed works in which he associated ceramic inserts to pieces found in antique markets, till this first exhibition in the Milanese Gallery, he shows a series of foamy vases, full of matter, curvy, loaded with rhythm and poetry.

For Ikebana Rock’n’RollAndrea Salvatori presents a series of white vases with spheres of different shades of pink, inserted as musical notes, sometimes more rhythmic, sometimes more calm. These works are conceived as Ikebana, where nature and spirit merge in an attempt to associate Oriental spirituality with minimal lightness. Ikebana uses flowers, branches and other natural elements to create compositions of great beauty.

“The search for balance between all the elements also passes through the container. There are numerous schools of Ikebana and each one opts for a particular arrangement. Some use tall vases and vertical lines, others use shallow containers.” In fact the works of the artist from Faenza have different dimensions and shapes and the vase thus embraces the concept of sculpture with a very specific function.

For the practical arrangement of the flowers, the aim is asymmetry, a characteristic trait of Salvatori’s work, which creates a special harmony with ceramics: Allegro, Grave, Vivace, Moderato, just like in musical compositions. Some works are more tormented, fuller, rock, others more poetic, empty.

The one between Andrea Salvatori and 3D printing is a new and exuberant confrontation, made of fleeting imperfections and reasoned pauses, which originates from an innate conflict between human creation and technical artifice, between man and machine. The machine, in this case, is the Delta WASP 40100 Clay printer, designed by WASP to be at the side of the ceramists throughout the artistic process, radically rethinking the conception of the work thanks to the innovative opportunities offered by digital fabrication.
 3D printing is the symbol of a new artistic current, the result of unique digital repertoires and still not probed by contemporary art. The collaboration between WASP and the Maestro aims to outline new artistic scenarios, in which mechanical routines and sculptural gestures coexist in the compositional dialogue of the work. Salvatori conceives this relationship with an extremely fascinating intuition: to tamper with the perfection of printing with a miscellany of ceramic insertions. The process of depositing the material and setting the spheres is a central theme in the Ikebana Rock’n’Roll collection, to the point of convincing Salvatori to name the works “Composition 40100”, as if they originated from a musical dialogue of the most varied tones.
The artist alters the repeated algorithm with imperfect musical accents, as a result of spontaneous actions and reasoned processes.The first Lunar Surface dates to 1964 with a strip of processed and burnt foam rubber. He would be pleased to see today that tones have taken on the colors he created himself.

L'Abruzzo in Galleria!

L’Abruzzo in Galleria!

March 16, 2019  |  NEWS  |  No Comments  |  Share

Stefano Cerio, Aquila.

Con Saluti dall’Abruzzo di

Giuseppe Stampone

SABATO 23 MARZO DALLE 17 in galleria

VITEL TONNE'

VITEL TONNE’

April 11, 2017  |  NEWS  |  No Comments  |  Share

An Art Recipe Exhibition in Venice

 

THE POOL NYC at Palazzo Cesari-Marchesi

Calle Rombiasio 2539,

Campo Santa Maria del Giglio, Venezia

 

MAY 9-JUNE 25 2017

 

Vitel Tonné is a Piedmontese dish of cold, sliced veal covered with a creamy, mayonnaise-like sauce that has been flavored with tuna; it is also known as “the main course of an Italian meal or as an exceedingly elegant antipasto for an elaborate dinner”, Marcella Hazan, the famous authority on Italian cuisine, states.

Veal + tuna + mayonnaise, separately strong ingredients, with solid flavour, compose a great dish. According to canonical parameters on cooking, Vitel tonné should not exist, Fish + Meat = Forbidden! And if it did not, Italian cuisine would be sorely lacking.

But, there is always an exception, and it’s the peculiar nature that gives birth to a genius dish.

This culinary introduction, might sound like an odd premise for an art show, but it is only too appropriate for the organic exhibition that THE POOL NYC is presenting for this 2017 Venice Biennale at Palazzo Cesari-Marchesi.

We are proud to serve a selection of junk media and free range artists, very spicy and from various countries, all belonging to the same kitchen of ART. 

Art, as we see it, is the Grande Cucina with many chefs, all with their own unique sense of personality, humor, fantasy, intelligence, sensitivity.

There is a common denominator that let arts stick together, even being from different centuries and origins, as it happens in magical recipes.

THE POOL NYC is happy to marinate, in the rooms of an old Venetian Palace of the XVIII century, a wide selection of Modern and Contemporary artworks for a digestible show.

Walking through the salons of the palazzo will entertain your eyes, will stimulate your spirit, and will nourish your cultural avidity. Every room is filled with a specific medium in order to satiate your need of ceramic, figurative painting, or photography without additives. Your artistic hunger will be satisfied by slicing every single work of art installed within the Palazzo.

The Menu is rich of interesting dishes, made of contemporary dairy free ceramic, organic paintings of the XX and XXI Century served in an old building.

This explosive dressing will regenerate your stomach. It will be a shake of artworks, to savor all together, or each separately. You can start with a vegan antipasto of photography and end with a glazed ceramic dessert.

The main salon, garnished with stuccos, hosts a convivial long table, where the whole art family, will peacefully dine, exchanging opinions despite their different nature.

In Italy we experience the Cuisine not just as a survival or Epicurean moment, but as a situation where we get together. We don’t care about nationality, dairy products, color, vegetarianism, taste, Extra Virgin Olive Oil, size, veganism, age, medium, political views, feminism, spacialism, abstract art, pop-art, we can live together and devour it all.

This is a gluttonous experience, and we are pleased to share it with you.

 

Il Vitel Tonné è un piatto tipico piemontese realizzato con il girello di vitello e la salsa tonnata. Si può guarnire con capperi e limone. 

Vitello, tonno e maionese, ognuno con un sapore forte, danno vita a una ricetta favolosa.

Seguendo i canonici parametri della buona Cucina, il Vitel Tonné non dovrebbe esistere perché Carne + Pesce = Divieto Assoluto! Ma ecco l’eccezione che conferma la regola.

Questa introduzione culinaria potrebbe apparire bizzarra per una mostra d’arte, ma è assolutamente adatta per la organic exhibition che THE POOL NYC presenta a Palazzo Cesari-Marchesi in occasione della 57esima edizione de La Biennale di Venezia.

Acquolina in bocca per i più avidi collezionisti. Si tratta di una mostra ghiotta: vetri, ceramica, pittura, astratta e figurativa, video, installazioni, fotografia, disegni, acquerelli, diorami; una visione dell’arte come esperienza golosa, adatta a palati sopraffini.

Siamo orgogliosi di servirvi una selezione di junk media e artisti liberi, assai speziati e di varia provenienza, tutti però appartenenti alla stessa Cucina dell’Arte.

L’arte, per come la intendiamo, è la Grande Cucina con tanti cuochi, ognuno con la propria personalità, humor, fantasia, intelligenza e sensibilità.

Un comune denominatore fa sì che le arti, sebbene di secoli e luoghi diversi, ben convivano, proprio come nelle migliori ricette di cucina.

Nelle stanze di un antico palazzo veneziano del XVIII secolo, THE POOL NYC è felice di marinare un’ampia selezione di lavori di Arte Moderna e Contemporanea per una mostra davvero sfiziosa.

Camminare all’interno dei saloni del palazzo attrarrà i vostri occhi, stimolerà lo spirito e nutrirà la vostra avidità culturale. Ogni stanza è farcita d’arte per saziare il vostro bisogno di installazioni multimediali, di pittura figurativa, o di diorami senza conservanti.

Questo menu esplosivo vi rigenererà. Potrete cominciare con un antipasto di fotografia e finire con una spuma di ceramica invetriata.

La sala principale, guarnita con stucchi, ospita un banchetto dove l’intera famiglia dell’arte mangerà insieme, scambiando convivialmente opinioni.

In Italia siamo abituati a mangiare non tanto per sopravvivere o per il piacere del palato, ma soprattutto per stare insieme, come atto simposiaco. Non importa la nazionalità dei partecipanti, la loro età, il colore, l’appartenenza a una corrente artistica, che siano vegetariani, figurativi, o biodinamici; non discriminiamo nessuno per le visioni politiche o i media utilizzati; siamo aperti al Femminismo, allo Spazialismo, all’Astrattismo, alla Pop-Art; usiamo Olio Extra Vergine d’Oliva e acrilico; ci ritroviamo tutti insieme allegramente e divoriamo tutto quel che ci viene proposto.

Preparatevi a un’esperienza golosa, che noi siamo felici di condividere con voi.

Artists:                                 

Ercole Barovier, Gina Beavers, Bertozzi & Casoni, Giacomo Cappellin, James Case-Leal, Eteri Chkadua, Marcel Dzama, Giorgio Ferro, Stefania Fersini, Piero Fogliati, Luigi Ghirri, Piero Gilardi, Giorgio Griffa, Riccardo Guarneri, Patrick Jacobs, Austin Lee, Sol LeWitt, Aldo Mondino, Niccolò Montesi, MVM, Luigi Ontani, Jonathan Rider, Andrea Salvatori, Antonio Scaccabarozzi, Carlo Scarpa, Peter Schuyff, Archimede Seguso, Bianca Sforni, Federico Solmi, Giuseppe Stampone, Fratelli Toso, Giulio Turcato, Ludwig Wilding.

Address:

Calle Rombiasio, Campo Santa Maria del Giglio, 30124 Venezia.

How to find us:

Once in Campo Santa Maria del Giglio, walk opposite to Canal Grande, pass the church of Santa Maria del Giglio on the left and Tessitura Bevilacqua on the right, following THE POOL NYC stickers.

Vaporetto stop:  S. Maria del Giglio (same stop of the Gritti Palace)

Water access: Rio de l’Alboro (aka Rio de le Ostreghe) 

Hours of Operation: daily 11 am – 7 pm and by appointment

Vernissage and Opening Reception: 9th May 2017 at 6 pm. 

#thepoolnyc

#viteltonnevenezia

A special Thanks to Scaramouche NY for their collaboration

PATRICK JACOBS @ VOLTA NY 2012

PATRICK JACOBS @ VOLTA NY 2012

July 11, 2011  |  NEWS  |  No Comments  |  Share

A Solo Show in NYC

Patrick Jacobs intentionally blurs boundaries between the traditional artistic media of painting, sculpture and photography in his works. At the same time, they present the viewer with a spatial and perceptual conundrum; we are drawn into a space at once determinate and infinite, natural and contrived, prosaic and otherworldly.
Jacobs draws inspiration from sources as diverse as historical landscape painting and contemporary chemical companies’ home and garden pest control brochures, such as Chevon’s Ortho Books. Recalling the Claude glass, an optical device popular in the 18th century used to frame the picturesque, the lenses invoke the invisible eye of the wary homeowner searching an otherwise vacant domestic landscape for imagined interlopers. Ortho, Greek for “correct,” further alludes to the unending quest to control any divergence from the norm, as well as the manipulation of our sense of perspective. With such a fusion of influences, these quiet compositions offer a magical view of the mundane. Here, reality has been de-familiarized, and the uncanny has supplanted the commonplace.
Each work consists of a meticulously constructed, three-dimensional diorama installed within the wall and viewed through a circular window of glass lenses. The combination of the negative focal length of the lenses and sculptural foreshortening creates the illusion of seemingly infinite depth within the limitations of a narrow space. The result is a distorted reality corrected only when seen through the lenses. Though artificial, these worlds are nevertheless strangely real and tactile.
Whereas painters using the Claude glass sought highly picturesque moments, Jacobs’ dioramas tend to depict banal and subtle scenes, places often overlooked, such as a field with an anthill or the view out a window over a radiator. This exhibition will include four works from Jacobs’ interior series.  In each, an imaginitive bird’s eye view of the Gowanus Heights from the artist’s apartment in Brooklyn, NY produces a spatial progression from interior to exterior as well as the impossible effect of simultaneous close-up and distance.

OLIO D'ARTISTA

OLIO D’ARTISTA

November 18, 2020  |  NEWS  |  No Comments  |  Share

 

“The entire idea of Creativity affects each individual identity who lives in this planet”.

This is the meaning of making Extra Virgin Olive Oil and Living in Art.

It is a question of the salvation of our Souls. This is our goal when we get to work supporting artists and guarding trees.

OLIO D’ARTISTA is a project conceived by THE POOL NYC Gallery with Giuseppe Stampone, inspired by Joseph Beuys’ Piantagione Paradise.
Always in defense of Nature: defense of Man, Human Values and Creativity.

The label was specially designed by Giuseppe Stampone.

November 2020, Villa Pazzi, Pian de’ Giullari, Firenze

Hand picked Olives; Cold Extraction Extra Virigin Olive Oil.

Olives’ Variety: Moraiolo, Leccino, Frantoio

100% Made In Tuscany

Stampone, an international renowned artist from Abruzzo (his work is in important private collections and museums such as TATE, London, The Museum of Contemporary Art, Houston, MAXXI, Rome, GAMeC, Bergamo) has always been particularly interested in the environment and always admired Beuys’ work. The artist cannot forget the famous abruzzese PARADISE PLANTATION also known as Defence of Nature by German Artist.

Defence of Nature, a project the German Master carried out in Italy in the last 15 years of his life thanks to the solid collaboration of Lucrezia De Domizio and the photographic lens of her husband Buby Durini first took place in the early 1970s when Joseph Beuys began to cultivate a fifteen-hectare plot of land in Bolognano (Abruzzo) destined to the planting of 7,000 bushes and trees that risked extinction: the result was the Piantagione Paradise, oParadise Plantation. On May 13, 1984, Beuys plants the first Italian oak in the Plantation, right in front of his studio: it is the beginning of the discussion “Defence of Nature,” the veritable emblem of this ambitious Abruzzese project. The Defence of Nature should be understood not just in an ecological sense; actually and more importantly it should be read in terms of its anthropological meaning: defence of man, creativity and human values, topics, more than ever before, of great interest today.

Among the planted trees there were of course olive trees, so much loved by the artist, who used them in several projects, such as Olivestone (1984).

Beuys used oil and stones related to the oil process to make artworks.

This Art Process is related to Creativity and Humanity. Humanity is interpreted in its etymology (comes from the Latin word humilitas, a noun related to the adjective humilis, which may be translated as “from the earth”, since it derives from humus (earth). This action is still very inspiring for us, especially in this moment when Nature is an even more important drive and Art is the access key to the world and the Future.

We wanted to create a new special Organic Product/Artwork made of Art and Humus.

Extra Virgin Olive Oil is crucial in Italy as Art is.

This is why we combined them both and we conceived OLIO D’ARTISTA.

 

 

 

OLIO D'ARTISTA

OLIO D’ARTISTA

November 16, 2020  |  NEWS  |  No Comments  |  Share

 

“The entire idea of Creativity affects each individual identity who lives in this planet”.

This is the meaning of making Extra Virgin Olive Oil and Living in Art.

It is a question of the salvation of our Souls. This is our goal when we get to work supporting artists and guarding trees.

OLIO D’ARTISTA is a project conceived by THE POOL NYC Gallery with Giuseppe Stampone, inspired by Joseph Beuys’ Piantagione Paradise.
Always in defense of Nature: defense of Man, Human Values and Creativity.

The label was specially designed by Giuseppe Stampone.

Stampone, an international renowned artist from Abruzzo (his work is in important private collections and museums such as TATE, London, The Museum of Contemporary Art, Houston, MAXXI, Rome, GAMeC, Bergamo) has always been particularly interested in the environment and always admired Beuys’ work. The artist cannot forget the famous abruzzese PARADISE PLANTATION also known as Defence of Nature by German Artist.

Defence of Nature, a project the German Master carried out in Italy in the last 15 years of his life thanks to the solid collaboration of Lucrezia De Domizio and the photographic lens of her husband Buby Durini first took place in the early 1970s when Joseph Beuys began to cultivate a fifteen-hectare plot of land in Bolognano (Abruzzo) destined to the planting of 7,000 bushes and trees that risked extinction: the result was the Piantagione Paradise, oParadise Plantation. On May 13, 1984, Beuys plants the first Italian oak in the Plantation, right in front of his studio: it is the beginning of the discussion “Defence of Nature,” the veritable emblem of this ambitious Abruzzese project. The Defence of Nature should be understood not just in an ecological sense; actually and more importantly it should be read in terms of its anthropological meaning: defence of man, creativity and human values, topics, more than ever before, of great interest today.

Among the planted trees there were of course olive trees, so much loved by the artist, who used them in several projects, such as Olivestone (1984).

Beuys used oil and stones related to the oil process to make artworks.

This Art Process is related to Creativity and Humanity. Humanity is interpreted in its etymology (comes from the Latin word humilitas, a noun related to the adjective humilis, which may be translated as “from the earth”, since it derives from humus (earth). This action is still very inspiring for us, especially in this moment when Nature is an even more important drive and Art is the access key to the world and the Future.

We wanted to create a new special Organic Product/Artwork made of Art and Humus.

Extra Virgin Olive Oil is crucial in Italy as Art is.

This is why we combined them both and we conceived OLIO D’ARTISTA.

 

November 2020, Villa Pazzi, Pian de’ Giullari, Firenze

Hand picked Olives; Cold Extraction Extra Virigin Olive Oil.

Olives’ Variety: Moraiolo, Leccino, Frantoio

100% Made In Tuscany

ARCHILEO by OVO Design Idee Manufatti

ARCHILEO by OVO Design Idee Manufatti

September 24, 2020  |  NEWS  |  No Comments  |  Share

ARCHILEO, La Carriola-Poltrona by OVO Design Idee Manufatti

ARCHILEO, La Carriola-Poltrona by OVO Design Idee Manufatti

September 24, 2020  |  NEWS  |  No Comments  |  Share

ARCHILEO

a cura di Giacinto Di Pietrantonio

SPECIAL PREVIEW: 28 Settembre dalle 12 alle 21

29 Settembre-10 Ottobre

In Occasione di Milano Design City 2020, THE POOL NYC è entusiasta di presentare fisicamente e virtualmente ARCHILEO, l’unica carriola che è anche una poltrona e che vi farà essere felici.

“Datemi un punto d’appoggio e vi solleverò il mondo” diceva il filosofo fisico matematico ARCHImede (288 – 212 a.C.), intendendo per mondo la Terra tutta sollevabile attraverso lo strumento della leva, mentre circa 1700 anni dopo guardando al cielo GaliLEO (1564 – 1642), pur esso filosofo, astronomo e matematico, aggiungeva: “Eppur si muove!”, parlando della Terra non più ferma, ma in movimento intorno al sole. Un secolo prima LEOnardo ideava e progettava meccanismi di mobilità di ogni genere, utilizzati allora e nei secoli successivi.

Il duo designer OVO (Maurizio Orrico – Enrica Vulcano) ha unito queste tre verità filosofico-scientifico-artistiche per realizzare una paradossale seduta mobile chiamata ARCHILEO.
Partendo dalla carriola, uno dei primi, se non addirittura il primo veicolo meccanico, OVO alla Marcel Duchamp o alla Achille Castiglioni, o alla Bruno Munari, ha progettato una seduta che può anche essere agevolmente mossa.
Con un semplice gesto di rifunzionalizzazione OVO ha trasformato un mezzo di trasporto di cose in una poltrona che all’occorrenza può essere spostata anche con la persona seduta.

 
 Così, “se da Cosa nasce Cosa” come diceva Bruno Munari, qui la cosa carriola diventa cosa poltrona ARCHILEO, che promette una seduta come viaggio dell’abitare. Lo stare seduto può qui diventare anche un gioco che mette insieme infanzia e vita adulta: movimento e stasi. Allora la poltrona carriola ARCHILEO diviene anche madeleine proustiana che ci riporta alla nostra infanzia, l’età in cui tutto è gioco e dove anche uno strumento di lavoro viene usato dai bambini come mezzo ludico.
A questo punto diventa evidente che stare seduti in ARCHILEO ci rilassa e diverte allo stesso tempo, rendendoci felici di riposare e consapevoli di poterci spostare.
Dulcis in fundo ci piace sottolineare come questa poltrona rappresenti una gioiosa novità ispirata anche dal logo OVO, dove la O è la ruota, la V il braccio-leva e l’altra O la cassa: O<O.
Orsù, se anche la poltrona si solleva e muove, sentitevi anche voi sollevati e correte a provarla.

I rivestimenti di ARCHILEO sono stati forniti dalla Maison ZILLI-France.

Tuesday and Friday at 5 pm Instagram Live on Radio @thepoolnyc

April 1, 2020  |  NEWS  |  No Comments  |  Share

 

 

 

 

 

 

 

                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                    During this 2020 forced Spiritual Retreat, we want to entertain our supporters with thoughts, jokes and Art. We also want to meet artists, and people who can contribute with their vision and art to enjoy the confinement and to turn this moment into something important and enriching for everybody.

This is why Luigi and Viola will go Live on Instagram every Tuesday and Friday at 5 pm (CET).

Follow us @thepoolnyc Cultivate your spirit and stay home!

GIUSEPPE STAMPONE @ LA BIENNALE DI VENEZIA

March 3, 2020  |  NEWS  |  No Comments  |  Share

Venezia, 3 March 2020

We are very proud to share with you the great news regarding Giuseppe Stampone’s participation in the upcoming Venice Biennial.

The artist has been selected to participate in the Korean Pavilion at the upcoming Biennale di Architettura in Venice.

The Exhibition, titled FUTURE SCHOOL 
is curated by Hae-Won Shin.

Dates: August 27-November 29, 2020

 

 

GIUSEPPE STAMPONE IS NOW IN THE PERMANENT COLLECTION OF MFA,HOUSTON

GIUSEPPE STAMPONE IS NOW IN THE PERMANENT COLLECTION OF MFA,HOUSTON

December 13, 2019  |  NEWS  |  No Comments  |  Share
THE POOL NYC ANNOUNCES 

THE RECENT ACQUISITION OF

GIUSEPPE STAMPONE’S WORK  by
THE MUSEUM OF FINE ARTS, HOUSTON

Houston, December 11th 2019

We are very proud to announce the recent acquisition of Giuseppe Stampone’s work Architecture of Intelligence by THE MUSEUM OF FINE ARTS, HOUSTON.
Stampone’s main themes research are pedagogical activities as a way to formalize artworks, the connection with art history, and the relationship with other artists. Stampone explores these three subject matters, overlapping them and always posing new questions about the role of the artist in the contemporary world.

The artist’s recent production focuses on the reinterpretation of masterpieces from European Art History: just like altar pieces, within a secular universe and painfully yet clearly sensitive to the humanitarian emergencies of our times, the works reinterpret famous paintings such as Mocking of Christ by Fra’ Angelico, Abduction of Europa by Rembrandt, or The Painter’s Studio by Gustave Courbet. In this mighty agony, Stampone measures himself with the need to reconnect the so-called Western civility to his responsibilities, and opens to a critical reaction on the position of art compared to the spheres of power, both in the present and in the past.

In his interpretation of Goya’s Colossus, Stampone maintains the geometry of the 19th century composition.
Colossus is a painting dated 1808 which was a prelude to the catastrophe that would have occurred in Spain for the War of Independence.
Stampone wants to highlight the environmental crisis using the monster (the Colossus) that interprets the force of nature, with its bursting energy.
The city is considered as the contemporary nest to reunite as well as the place in which globalization determines this naturalistic crisis, the environmental malaise.

The use of the Bic pen refers to time dilation  and in this work on wooden board the artist adopts the technique of veiling: layer after layer the drawing that we see comes out.
 
This artwork is a proper homage to the City of  Houston, specifically made to integrate the collection of The Museum of Fine Arts.

Houston is one of the most exciting and globalized cities of the US, with an overload of electricity, lights, pollution, and smog.
Famous for its important oil and gas resources, Houston is a cosmopolitan city that makes us doubt of its capacity to survive in the near future, a common problem in our time.
 
Architecture of Intelligence is the definition of a process rather than the title of a work, and this process is the encounter with other authors. The narration stemming from Architecture of Intelligence distances itself from hegemonic narratives, which, by definition, tend to simplify, assimilate pre-existing models and schematize relationships. 

Siamo molto orgogliosi di annunciare la recente acquisizione di Architecture of Intelligence di Giuseppe Stampone da parte di THE MUSEUM OF FINE ARTS di Houston.

Giuseppe Stampone da sempre opera una reinterpretazione di dipinti storici in chiave contemporanea perché c’è una connessione con l’attualità e col periodo storico in cui sono stati prodotti: nel passato lo ha fatto con Manet, Gericault, Giorgione, Piero della Francesca, Tiziano.
 
In Architecture of Intelligence si tratta de il Colosso di Goya, un quadro del  1808 che preludeva alla catastrofe che ci sarebbe stata in Spagna per la guerra d’Indipendenza.

Stampone vuole evidenziare la crisi ambientale usando il mostro (Il Colosso) che interpreta la forza della natura, con la sua energia prorompente.
La città è il luogo di aggregazione della contemporaneità e anche il luogo dove la globalizzazione determina questa crisi naturalistica, il malessere ambientale.
 
L’uso della penna Bic è riferito alla dilatazione del tempo e in questo lavoro su tavola l’artista adotta la tecnica della velatura: strato dopo strato ne esce il disegno che vediamo.
Giuseppe Stampone riflette molto sul tempo del fare il dipinto e sostiene che Oggi bisogna tornare a fare nell’accezione più concettuale del verbo, un fare non più meccanico-manieristico.
L’artista si riappropria del proprio tempo. La velatura è una sovrapposizione di spazio e tempo, il tempo che scorre. L’artista decide ogni giorno di disegnare come atto concettuale e nel farlo si riappropria del proprio tempo intimo. 
 
La globalizzazione dell’arte pretende che si producano velocemente tante opere e Giuseppe Stampone reagisce invece impiegando molto tempo contro un sistema dell’arte bulimico e velocissimo. 
 
Il lavoro che entra a far parte della collezione permanente del Museum of Fine Arts,  è un omaggio a Houston, una delle città più interessanti degli Stati Uniti, che vive la frenesia del mondo globalizzato, del sovraccarico di elettricità, di inquinamento e smog. 

Houston, famosa per l’energia, il petrolio e il gas naturale, 
è una città cosmopolita che ci chiediamo come si alimenterà nel futuro.

 
Giuseppe Stampone, 1974

Italian, Lives and works in Rome

Since 2017 Giuseppe Stampone is an associated member of Civitella Ranieri Foundation in New York, since 2013 he is associated member of The American Academy of Roma, and in the same year he was invited to a residency in the Young Eun Museum of Contemporary Art (YMCA) of Gwangju in South Korea. 
His works Have been exhibited in international art shows, museums and foundations including: Biennial of Architecture in Seoul, South Korea (2017); Triennial of Ostenda, Belgium (2017); 
56th International Art Biennial of Venice, Italy (2015); Biennial of Kochi-Muziris, Kerala, India (2012); 11th Biennial of Havana, Cuba (2012); Biennial of Liverpool, UK (2010); 14th and 15th Quadriennial of Rome, Italy (2004 – 2008); Museum of Massachusetts Institute of Technology in Boston, U.S.A (2016); The American Academy of Roma, Italy (2008 – 2013 – 2014 – 2015); Art Kunsthalle of Gwangju, South Korea; Wilfredo Lam Contemporary Art Center of L’Avana, Cuba; MAXXI – National Art Museum of XXI Century of Rome, Italy; MACRO – Contemporary Art Museum in Rome, Italy; Foundation Sandretto Re Rebaudengo, Turin, Italy; Palazzo Reale, Milan, Italy; Triennial Bovisa, Milan, Italy; Cabaret Voltaire, Zurich, Switzerland; GAMeC – Modern and Contemporary Museum of Art, Bergamo, Italy; The Invisible Dog Art Center, Brooklyn – NYC, U.S.A.. 
His works have been included in several museum, such as: MAXXI Museum, Rome, Italy; Foundation of Biennial of Kochi-Muziris, Kerala, India; 
Foundation of Biennial of Sidney, Australia; Foundation of Quadriennial of Rome, Italy; MACRO Museum of Contemporary Art, Rome, Italy; Phelan Foundation, New York, U.S.A.; GAMeC Museum of Bergamo, Italy; Wilfredo LAM Contemporary Art Museum, L’Avana, Cuba; Birbragher Foundation, Bogotà, Colombia;
La Farnesina Collection, Rome, Italy; La Gaia Foundation, Busca, Italy; Pecci Contemporary Art Museum, Prato, Italy. 

Giuseppe Stampone is represented by THE POOL NYC.

Patrick Jacobs per il Corriere della Sera

November 26, 2019  |  NEWS  |  No Comments  |  Share

 

 

 

 

 

 

 

 

 

 

 

 

                                                                                                                                                                     

 

 

 

 

 

 

 

 

 

 

Da CORRIERE DELLA SERA

La Lettura #416

Domenica 17 Novembre 2019

E’ il dettaglio di un campo fiorito, ma è solo la rappresentazione di un mondo irreale e incantato: Patrick Jacobs (Merced, California, 1971, ma vive a New York) è un artista che lavora sulla finzione e sul concetto di percezione.

L’opera della nostra copertina è il frutto di uno dei suoi diorami, ovvero ambienti in miniatura che l’artista realizza minuziosamente in ogni dettaglio e che solitamente rende visibili attraverso piccoli oblò collocati in una parete. 

Patrick Jacobs per le sue opere impiega lenti convesse circolari che amplificano l’effetto di profondità, alterando la percezione visiva degli osservatori.

Il suo lavoro si snoda tra disegni, installazioni dal sapore surrealista e piccole sculture, ma soprattutto crea mondi artificiali, spesso legati alla natura, altre volte aderenti alla vita quotidiana ponendosi al confine tra ricostruzione scientifica e un nuovo immaginario estetico.

I suoi ultimi lavori (visibili alla Galleria The Pool NYC, a Milano) raccontano una natura sognata, talvolta con evocazioni erotiche, spazi come luoghi del desiderio. Jacobs assume il ruolo di creatore di mondi ideali e inviolabili, che si rivolgono soprattutto al nostro inconscio. 

(Gianluigi Colin)

11 November, CHARITY EVENT for Istituto Europeo Oncologico IEO

11 November, CHARITY EVENT for Istituto Europeo Oncologico IEO

October 30, 2019  |  NEWS  |  No Comments  |  Share

Lunedí 11 Novembre 2019 dalle 18.30 alle 20.30 ospiteremo un Behind the Scenes della mostra Nocturnes di Patrick Jacobs, che aprirà ufficialmente al pubblico il 14 Novembre.

THE POOL NYC vuole contribuire alla Ricerca per il Cancro con una serata speciale all’insegna della Beneficenza.

Gli ospiti, guidati dall’artista e dai galleristi, potranno cogliere tutte le fasi più salienti dietro alla realizzazione di una mostra d’arte contemporanea.

Sarà entusiasmante capire come funzionano i magici mondi creati da Patrick Jacobs cogliendone ispirazione, realizzazione e allestimento.

Nella prima sala sarà anche possibile scoprire una serie di lavori di altri artisti selezionati.

Per l’occasione il ricavato totale degli ingressi e una parte degli incassi della vendita delle opere d’arte della serata andranno in beneficenza all’Istituto Europeo Oncologico e Marco Dell’Omo regalerà a tutti i partecipanti l’iconico braccialetto Ocean Drop Pink Ribbon.

https://www.ieo.it/en/

PATRICK JACOBS Solo Exhibition

PATRICK JACOBS Solo Exhibition

October 19, 2019  |  NEWS  |  No Comments  |  Share

15 NOVEMBER 2019 – 14 MARCH 2020

THE POOL NYC is very proud to present Nocturnes, which showcases the work of the American artist Patrick Jacobs.  We have followed Jacobs’ career with great enthusiasm over the past ten years, from our first studio visit with him in his apartment overlooking Prospect Park in Brooklyn, NYC (a source of inspiration for many of his micro worlds) to his monochromatic landscapes and large-scale installations of more recent years. We have now arrived at the Nocturnes.  We are very excited to present his first solo exhibition in Italy.

Nature has always figured prominently in Jacobs’ work. In his earliest dioramas, he explored the ambiguous relationship humans have with the environment – a sense of wonder and astonishment, but also an underlying unease.  His depictions of weeds and funguses, for example, reveal much about our cultural attitudes towards the natural world. His series of works of fairy rings draw on ancient legends in which spirits danced in circles causing mushrooms to spring up.  Here, he conjures up the supernatural and, with it, a sense of fear and magic.

In Nocturnes, sensuality takes center stage as never before.  Lush, fertile, and luxuriant flora allude to surreal and dreamy places.  In the words of Shakespeare, Jacobs “uses the night as a cloak” through which he can enjoy the pleasures of a conspiratorial nature.  And, like Dorian Gray, he escapes into the night to indulge his innermost desires, sometimes frightened by what he sees and simultaneously overwhelmed by irrepressible desires. We are faced with perturbing, poetic and seductive landscapes. 

Opening Reception: November 14th 2019 from 6 to 8 pm.