Late one morning – Luca Trevisani / Marie Lund

Con Glaucocamaleo di Luca Trevisani e Drums di Marie Lund si apre Late one morning, il nuovo ciclo di mostre, ideate e curate dal direttore artistico Alberto Salvadori.

Comunicato stampa

Con Glaucocamaleo di Luca Trevisani e Drums di Marie Lund si apre sabato 22 marzo 2014 (fino al 10 maggio), Late one morning, il nuovo ciclo di mostre, ideate e curate dal direttore artistico Alberto Salvadori.
Dopo Early one morning, programma espositivo svoltosi nel 2013 - titolo tratto da una delle opere fondamentali di Anthony Caro del 1962 -, Late one morning prosegue in questa linea di ricerca e riflessione sulle possibili esperienze e modalità di interpretare e concepire oggi la scultura. L’attività biennale di mostre e progetti realizzati e prodotti dal Museo Marino Marini sono un vero e proprio percorso di workstudy in progress al quale hanno partecipato artisti italiani e internazionali che con la loro ricerca e il loro lavoro hanno esplorato ciò che un tempo poteva essere definito come limite delle forme.

Luca Trevisani (Verona, 1979) presenta al Museo Marino Marini il progetto inedito, a cura di Alberto Salvadori con Davide Giannella, Glaucocamaleo, una grande installazione video sviluppata su cinque schermi prodotta e realizzata dalla Fondazione Marini di Firenze, OAC Ente Cassa di Risparmio di Firenze, Studio Trevisani con Withstandfilms, 999films e Spazio .
Il progetto Glaucocamaleo è una piattaforma di lavoro che Luca Trevisani ha impostato da due anni e che è stata declinata al momento in tre varianti: un film, presentato al Festival Internazionale del Film di Roma nel 2013, un libro di prossima pubblicazione edito da Humboldt Books, e una grande videoinstallazione museale.

Glaucocamaleo ha come elemento centrale il flusso dell’acqua e i passaggi di stato della materia, visualizzati riprodotti e documentati in condizioni controllate e suscettibili ai cambiamenti. La scultura, come metafora prometeica, è plasmata e lasciata vivere all’interno di un ambiente forgiato dalle immagini in movimento, crescendo fino ad arrendersi alla vitalità della materia che la costituisce. La materia cede così ai suoi limiti e inizia a sciogliersi, andando a costruire un arcipelago di forme, un ecosistema fragile, spettacolare ed effimero.
In tutto questo processo l'uomo è inteso come colui che è in grado di condurre la dinamica delle azioni, rimane protagonista grazie alla sua capacità di plasmare il mondo, di rendere comprensibile la natura o mettersi in relazione con essa. La scultura, invece, è vista come mito prometeico che nasce dalla materia e plasmata dal fuoco in grado di assumere differenti forme ed essere in continua trasformazione.

In contemporanea, l’artista danese Marie Lund (1976, Copenhagen) inaugura Drums, sua prima personale in uno spazio museale in Italia, curata da Cecilia Canziani e Trine Friis Sørensen. A partire da una nuova serie di lavori, la mostra riunisce una costellazione di sculture che abitano gli spazi e i passaggi al piano inferiore del Museo Marino Marini.
La mostra esplora la presenza degli oggetti, attraverso i vuoti e pieni che li definiscono, e prende spunto da una nuova serie di lavori realizzati dall’artista, calchi del retro di copie in gesso di sculture greche e romane, conservate presso la Royal Danish Cast Collection. Collegata a questo lavoro, è una seconda serie di sculture, fusioni in bronzo di imballaggi in polistirolo, forme che esistono unicamente a sostegno di altre.
Queste forme in negativo con cui ci confrontiamo - sculture che rappresentano un vuoto divenuto solido - superano il rapporto tra astrazione e rappresentazione, tra l’assumere e il dare forma. Le forme e le superfici delle sculture sono in debito le une con le altre; oggetti assenti, alcuni dei quali forse riconoscibili, altri che invece restano ignoti.
Drums è sostenuta dalla Danish Arts Foundation.

Luca Trevisani nato a Verona nel 1979, vive e lavora tra l’Italia a Berlino. Ha esposto in spazi pubblici e privati, in Italia e all’estero, tra i quali: Macro e MAXXI Roma, Magasin Grenoble, Mart Rovereto, Biennale d’Architettura Venezia, Museion Bolzano, MOT Tokyo, Daimler Kunstsammlung Berlino, CCA Antratx Mallorca, Giò Marconi Milano, Pinksummer Genova, MAMbo Bologna, Mehdi Chouakri Berlino, Fondazione Sandretto Re Rebaudengo Torino.
Ha ricevuto diversi premi come il Premio Ettore Fico 2011, l’ISCP – New York e il Premio Furla per l’arte. Ha pubblicato The effort took ist tools (Argobooks, Berlino 2008) e Luca Trevisani (Silvana editoriale, Milano 2009). Dal 2010 gestisce la piattaforma editoriale latecomerforerunner.blogspot.com.

Marie Lund nata nel 1976 a Copenhagen in Danimarca, si è diplomata presso il Royal College of Art nel 2004. Vive e lavora a Londra. Tra le sue personali recenti, ricordiamo: Back Pack at Proyectos Monclova, Mexico City, Handstand, IMO, Copenhagen, Clickety Click, Croy Nielsen, Berlin, and Turtles at Laura Bartlett Gallery, London and The Object Lessons at Mudam, Luxembourg. I suoi lavori sono stati esposti, tra gli altri, presso: Museum of Contemporary Art Detroit, Sorø Kunstmuseum, Denmark, Cologne Kunstverein, Kunsthalle Mulhousse, De Vleeshal, Middelburg, Contemporary Art Museum, St. Louis, Nomas Foundation, Rome, David Roberts Foundation, London, Braunschweig Kunstverein, The Swiss Institute, New York, CCA Wattis, San Francisco.

late one morning, the new series of exhibitions conceived and curated by artistic director alberto salvadori, is opening on saturday 22 march 2014 (until 10 may) with glaucocamaleo by luca trevisani.

after early one morning, the exhibition programme run in 2013 – the title is taken from one of anthony caro’s key works, dating to 1962 – , late one morning continues this line of inquiry and reflection on the possible experiences and ways of interpreting and conceiving sculpture today. the two-year programme of exhibitions and projects realized and produced by the museo marino marini should be seen as full-blown work and study in progress, to which both italian and international artists have contributed, exploring, in their work, what might once have been defined as the limit of forms.

at the museo marino marini luca trevisani (verona, 1979) is presenting a new project entitled glaucocamaleo. curated by alberto salvadori with davide giannella, this is a large, five-screen video installation produced and realized by the fondazione marini di firenze, oac ente cassa di risparmio di firenze, studio trevisani with withstandfilms, 999films and spazio.

the project is a work platform that trevisani set up two years ago, and which has currently been articulated in three different forms: a film, presented at the international film festival of rome in 2013; a forthcoming book, to be published by humboldt books; and a large museum video installation.
the central element of glaucocamaleo is the flow of water and transformations in the state of matter, visualized, reproduced and documented in controlled conditions and susceptible to change. sculpture, as a promethean metaphor, is moulded and left to live within an environment forged by moving images, growing until it surrenders to the vitality of the matter constituting it. the matter thus yields to its limits and begins to break up, creating an archipelago of forms, a fragile, spectacular and ephemeral ecosystem.
in this whole process humans are seen as being capable of conducting the dynamics of actions, and remain protagonists thanks to their capacity to shape the world, to make nature understandable or to relate to it. sculpture, on the other hand, is seen as promethean myth arising from matter and shaped by fire, capable of assuming different forms and of changing continually.

luca trevisani was born in verona in 1979, and divides his time between italy and berlin. he has exhibited in public and private venues in italy and abroad, including: macro and maxxi, rome; magasin, grenoble; mart, rovereto; the venice biennale of architecture; museion, bolzano; mot, tokyo; daimler kunstsammlung, berlin; cca antratx, mallorca; giò marconi, milan; pinksummer, genoa; mambo, bologna; mehdi chouakri, berlin; fondazione sandretto re rebaudengo, turin.
he has received various awards, such as the premio ettore fico 2011, the iscp – new york and the premio furla per l’arte. he has published the effort took its tools (argobooks, berlin 2008) and luca trevisani (silvana editoriale, milan 2009). since 2010 he has run the editorial platform latecomerforerunner.blogspot.com.

march 22, 2014
marie lund
drums

curated by cecilia canziani and trine friis sørensen

march 24 through may 10, 2014

prompted by several new series of works, marie lund’s first institutional solo exhibition, drums, brings together a constellation of sculptural works that punctuate the lower level spaces and corridors of museo marino marini.

centred around a series of plaster casts of backsides and insides of copies of ancient greek and roman sculptures from the royal danish cast collection, the exhibition explores the presence of objects, and the voids and surfaces that define them. as casts of copies of originals, the plaster works are far removed from the original artistry of the sculptures. instead, the works capture the traces and fingerprints left by the craftsmen who produced the copies.

another new series of sculptures consists of bronze casts of the polystyrene inserts that wrap around the edges of delicate consumer objects—shapes that only exist in support of something else. as individual bronze objects, the specificity of the shapes no longer serves a purpose. the works own this redundancy in a tenacious and headstrong manner.

also part of the exhibition is attitudes; a series of concrete sculptures cast inside the legs of trousers. these stout concrete shapes, impressed with seams and folds of the fabric, serve both as sculptures and pedestals. some of them carry wooden sculptures; others stand on their on.
the wooden sculptures, entitled the very white marbles, reference a now abandoned standard of restoration in which the surfaces of marble sculptures were vigorously cleaned to maintain their pristine whiteness. as a consequence, the distinct shapes of these sculptures would erode. lund appropriates this practice onto found wooden busts, and by chiselling away the figurative contours she suspends the sculptures between figuration and abstraction and lays bare their material quality.
sheets of acrylic glass bent around other sculptures make up an additional series of new works. contrary to the meticulous shaping and casting of the remainder of the works in the exhibition, these amorphous shapes drape around the sculptures in a crude manner. posing both as viewing lenses, backgrounds and sculptural objects in their own right, the acrylic shapes occupy multiple points of view, and add a certain unrest to our sense of perception.

drums is acutely attentive to surfaces, materialities, and voids. occupying a former church, museo marino marini’s basement area is low-ceilinged and crypt-like and evokes a sensation of eroding boundaries between walls and spaces. the sculptures distributed throughout the adjacent spaces and corridors solidify voids and give prominence to inconspicuous shapes and surfaces. they negotiate the relationship between abstraction and figuration, between taking shape and giving shape. the shapes and surfaces of the sculptures are obliged to other, mostly absent, objects—some we might be able to identify, others remain obscure.
the exhibition is curated by cecilia canziani and trine friis sørensen and supported by the danish arts foundation. the series casts was produced in collaboration with the royal danish cast collection.

marie lund (b. 1976 in copenhagen) graduated from the royal college of art in 2004, and lives and works in london. her work has been shown extensively, most recently in solo shows at proyectos monclova, mexico city, croy nielsen, berlin, laura bartlett gallery, london, and imo projects, copenhagen, and in group shows at museum of contemporary art detroit, sorø kunstmuseum, denmark, cca wattis, san francisco, cologne kunstverein, and kunsthalle mulhouse.