The residency project Memories and Encounters, invite groups of artists, thanks to the precious contribution of Fondazione Cariplo, that promotes the entire project, of PARC part of the Ministero per i Beni e le Attività Culturali, as well as other organizations or individuals who decided to sustain the invited artists. Gemmo, Viafarini?s institutional partner, and ACACIA - Associazione Amici Arte Contemporanea, involved in the start-up of the project, both confirm their support for this year, along with the new individual adhesion of Nicoletta Fiorucci. Thanks to the partnership with ANISA, has been activated a didactic program addressed to the high school students.
Xabier Salaberria and Pavel Sterec have been nominated respectively by Chuz Martinez, chief curator at MACBA, Barcellona, and Futura residency in Prague due to an exchange agreement. Thanks to ACACIA brusary Dragana Sapanjoš took part in the residency program, after having been selected through an open call addressed to the artists of the DOCVA archive.
The didactic program continued, in partnership with ANISA Associazione Nazionale Insegnanti di Storia dell’Arte, involving the students of Boccioni and Brera High Schools.
The dialog and the collaboration between the three guest artists, take shape during the open atelier, as an articulated series of projects and souvenirs. A double display, realised by Xabier Salaberria, put on display all the reflections developed during the residency, a similar table, realised for Pavel Sterec, will present the different projects realised during his stay at VIR. Dragana Sapanjoš prefers to camouflage herself between the other artists and the architectural structure. The two interventions will include a performative action, realised in collaboration with the theatrical company Senza Parola (without words), the other intervention will be represented by a misterious noise that will animate the walls of the exhibition space, surrounding the viewer while he walks across the room.
Xabier Salaberria (1969) Salabierra works on the proportional relations between man and architecture, reckoning man as a possible unit of measurement to which every architectonic structure is related and, most importantly, from which every project should start out. In so doing, he reveals also a second relationship, psychological, emotional, with architecture. The habitats he creates search for a communication between spectator and artist and confront themselves with ancient, ancestral fears, linked to darkness, to constraint and to every bond attributable to architectonical signs.
"My artistic research does not focus on a sharply definable topic, and generally it doesn’t develops itself from a predestined point of view. My work usually starts from the contour and the peripheral area which surrounds a space, in order to face a problem or a subject from different points of view which are not hierarchically ordered. During the development of my art projects the several layers of meaning and actions happens in the same time on different plans. I could describe my research as a design act, that turns into a kind of ideology form. I believe that today it doesn’t make any sense for an artist to isolate himself in the studio, rejecting any relationship with the outer context. Nevertheless I don’t want my research to be labeled as “social art”, in fact, regardless of labels, I do not consider art practice as a kind of social work, but instead I think that the artist have to consider himself as an integrated part of the society."
Dragana Sapanjoš (1979) Disturbing sensations are recurring elements in Dragana Sapanjoš works, both in terms of interference with the signal of the instrumentations often included in her artworks, as well as unpleasant sensations provoked in the viewers. For instance considering some of her enviromental and sound installations, a too low or too loud noise dinconcert the viewer, putting him into a hard, uncomfortable condition. In the recent video installation I love you, a too insistent and shouted love declaration provokes in the viewer a sense of aggression, emotional blackmail and abuse. According to Dragana Sapanjoš art is a place for a very close physical and psychological proximity, a narrow contact zone between the artist and the audience, a kind of direct – and often painful – match, a chance for a peripherical relationship within the mass communication context, a too much vehement face to face embrace.
"My research is focused on the relationship between the content and its container, on the perceptive distortion generated in the artwork’s consumer. The artwork consists of a space deprived of its objective connotations, in which whoever enters, by its mere presence, starts to add an “object”: his own sensations, his scent, his own presence; every time rechewing and moulding the artwork-in-itself. I relate myself with the space in the same way I want the viewer to relate with the artrwork, developing every single intervention around its surrounding space."
Pavel Sterec (1985) His research usually starts from a performative approach. The artwork emerges as the result of deliberately contructed situations end episodic events. After having attended the Prague Academy of Performative Arts hi artistic career started as an actor an performer, then he graduated at Prague Academy of Fine Arts and founded the alternative radio Lemurie. In collaboration with Jan Pfeiffer he founded in 2008 Pavillion Gallery and in the same year he attended a course by visiting professor Polish artist Zbigniew Libera.
“My work is often based on performance or, to be more specific, performance-like approach. Art works emerge as results of deliberately constructed situations and episodic events. It is in this manner that I would like to work in Milano. To explain my approach more clearly, I will use my recently exhibited projects as illustration. Basically, I am interested in places that witness how certain situations are being repeated, for instance, tourist groups tours. Interventions into repeated situations are easy to manage since rules and “choreography” of the participants are well observable.”