Francesca Ferreri
Fino al sole 2021 Aper mache, wood, sand, glue, galvanized iron mesh, consolidated plaster, jesmonite, pigments, electrical material, low voltage light bulb. THE BLANK CONTEMPORARY ART 99 WORDS WITH FRANCESCA FERRERI «If I get close it vanishes, the top swings the weather. I will meditate on the movement for a long time that pours its robbery into me». Thus was born, shield of nothing, in glory but from the top that swings to the nothing shield, bells, the torment of finding each other still out and in, not to be there that in glory of an invention of the wind swollen, the slow shine that makes matter. Silvia Bre, The Bells, G. Einaudi editoreEugenio Tibaldi
HABITAT 03 2023 Site specific installation Mumbai art WeekTHE BLANK CONTEMPORARY ART
99 WORDS WITH EUGENIO TIBALDI …Claudia said: ‘But Mrs Frankweiler, one should want to learn something new every day. We also learned it at the museum’. ‘No,’ I replied. ‘I don’t agree. I think you have to learn, of course, and some days you have to learn a lot. But on some days you also have to let what we already have inside penetrate so that it touches everything. And we can feel it inside of us. If you don’t let that happen, then you just accumulate the facts, and sooner or later they will start tinkling inside of you. You can make noise with it, but you will never feel anything, only emptiness.”… From: Fuga al museo di E.L. Konigsburg ed. Salani Gl’Istrici
Nicola Samorì
Campo dei miracoli
2022
Oils on paper applied on linen
500 x 800 cm
Courtesy Galerie EIGEN+ART Leipzig/Berlin
Photo Rolando Paolo Guerzoni
THE BLANK CONTEMPORARY ART
99 WORDS WITH NICOLA SAMORÌ
Ninety-nine words made me think of ninety-nine bodies and ninety-nine days, just over three months, the period of time during which my most complex work created in 2022 took shape: “Campo dei miracoli” (“Field of miracles”).
It is in this five by eight meter frame that rest perhaps ninety-nine – I have never counted them – bodies, a sort of derailed cataloging. Over eight years of accumulation to form what appears to be the bed of a dry river from which stones, vegetables and figures emerge.
Returning to the initial ninety-nine words, nine are missing: here they are.
Patrick Tuttofuoco
OUT OF BODY
2022
Polished and painted stainless steel, Portogallo pink marble
Courtesy Nilufar Galley, Schiavo Zoppelli Gallery
THE BLANK CONTEMPORARY ART
99 WORDS WITH PATRICK TUTTOFUOCO
The expression OUT OF BODY indicates those experiences in which one perceives to “go out” of their physical body, projecting their own consciousness beyond bodily boundaries. We often speak of a journey of the soul, considered capable of freeing itself from the snares of the body where the purpose of this experience is to acquire a greater certainty of one’s spiritual reality. Such practices recur for example in Egyptian mythology, in the Pythagorean doctrine of Plato and the Neoplatonists, in Pliny the Elder, and in the general literature of visionary of various religious, spiritual and esoteric currencies, concerning projections or perceptual shifts in other dimensions of space and time.
These reflections serve as a prerequisite for starting a practice that sees objects as extensions of the body and as a possibility to perceive the creative experience not only through the direct relationship with the material, but as an evolution and extension of thought. If the human body can be experienced as a tool to achieve new visions of the world then, in a logic of transformation, it can even become itself the matter of the project.
100th edition of “99 words with”
Giulio Paolini
Giulio Paolini’s studio in Turin
Photo credit: Paolo Mussat Sartor Courtesy Giulio and Anna Paolini FoundationTHE BLANK CONTEMPORARY ART
99 WORDS WITH GIULIO PAOLINIIn an instant
I live here, I’m writing you from here and here I intend to remain from now on. From here, yes, precisely from here one must look. It is here that the mind rests: not even a rampart of a thing, a person, not even a sound, announces itself in a void full of nothing that neither sees nor hears… Yet it’s all normal: seriously, it’s really like that.[Giulio Paolini. Recital, Scritture in versi, 1987-2020, Vol. II, Castello di Rivoli Museo d’Arte Contemporanea, 2020, p.56]
Annamaria Ajmone
Preparatory studies of La notte è il mio giorno preferito 2022 Photo Credit: Natália Trejbalová Courtesy the ArtistTHE BLANK CONTEMPORARY ART
99 WORDS WITH ANNAMARIA AJMONEJura, September 2021. Jean Marc, the ethologist who accompanies us howls, we wait in religious silence for an answer. I’m afraid to breathe. In the forest at night you wait. They suppose they might pass through this area. At night in the forest you perceive other creatures, you do not see them, you feel their eyes on your skin, while you search in that black thickness too.
Following animal tracks means abandoning our human way of looking at the world; borrowing the gaze of another creature, grasping its actions, reading space through another gaze. Trying to transform, the attempt is the first move.Zilla Leutenegger working
Photo credit: Sebastian RinderknechtTHE BLANK CONTEMPORARY ART
99 WORDS WITH ZILLA LEUTENEGGERI like:
_23 degrees celsius (outside) _Bergamasker Dogs _kitchens _the way home _big feet _the feeling after swimming _green apples _renting a car _grand hotels _gin tonics with a lot of tonic _well-tailored pants _melons _clinking glasses _order in the closet _ being saved by a good DJ _dancing _clear water _midnight blue _early morning _resting _being alone but not lonely _combination of numbers, colors and letters _chocolate _black eyes _spicy food _long introduction, short stories _space drawings _dialects _vinegar _stone floor _calm feet _bitter perfumes _a little sore muscles _humor _talking with my cat _sharp edges in drawings _the salt of my tears _white wine _bitter sweets _the beginning of a project _a good sleep _changing clothesLuisa Rabbia working on
Birth
2017
Colored pencil on acrylic on canvas
108 x 202 in
Photo credit: David Dixon
Courtesy the artist
THE BLANK CONTEMPORARY ART
99 WORDS WITH LUISA RABBIA
My work starts with a countless number of fingerprints on canvas, my approach is physical and intuitive. Whether I intertwine pencil lines or I scratch through layers of paint, marks accumulate over a large surface referencing both time and the responsibility that comes with every single action. I imagine our bodies immersed in invisible traces left by humanity over the course of time, small particles that we breathe in and out and that inevitably determine a present never disconnected from past and future. I see the fingerprints as fossils, traces that are there, just waiting to interact with the making of the painting.
Evan Roth
Landscapes
2020
Network located videos
Photo credit: Bruno Lopes, Red Lines with Landscapes, Portugal (Lisbon), Fidelidade Arte, January 31 – May 22, 2020, Lisbon
THE BLANK CONTEMPORARY ART
99 WORDS WITH EVAN ROTH
My recent work concentrates on how bias affects systems. Our current network of buried glass strands did not descend from the cloud, but has a history dating back at least as far as the “All Red Line”, the name given to the first telegraph network to circumnavigate the globe. Otherwise known as the “Empire Girdle”, this cable landed only in areas shaded in red on maps depicting the British empire. These systems are narratives that are bent intentionally and unintentionally by the histories and biases of those with the power to define which way is up.
Irina Kirchuk
Cloudburst
Installation view
2018
Bold Tendencies Commissions
Photo credit: Damian Griffiths
THE BLANK CONTEMPORARY ART
99 WORDS WITH IRINA KIRCHUK
Our urban landscape.
The inconsequential and the unattended objects that fill the world with their material obsolescence and a petty and apparent functionality.
An absurd panorama.
Self-criticism, parody, sarcasm, humor, camouflage, irony, minimalism.
The symbolic and the obvious, the real and the fictional.
The discarded materials and its charm, a free record, unwanted, of our everyday.
Those aren’t solitary, lost and godforsaken bits, on the contrary, clues into worlds ruled by systems previously unknown.
Doors open to mystery, fantasy or fun.
Found objects isn’t only about saving resources, but also about pointing a finger to our own economic behavior.