ANDREA GROTTO \\*//
portfolio 2018
CONTACTS
mail:andreagrotto989@gmail.com cell: 340 9862606 instagram:
andrea.grotto
Stidio: Fondamenta S. Biagio 796, Giudecca (Maps)
ABOUT
Andrea Grotto attended the Academy of Fine Arts in Venice where in 2014 he earned the 2nd level Degreein Painting. In 2013 he is among the winners of the Atelier program of the Bevilacqua La Masa Foundation in Venice with the collective How We Dwell (Make Your Own Residence). His work shows a particular interest in the search for bonds and connections between elements of representation which through the reworking of symbologies become the vehicle for the discovery of settings and situations. Work then becomes a container, that thanks to the evidence of inanimate elements, returns to trace an accomplished story.
CV
** Future exhibitions
Affiliations: 2017 .ATRII / Sezioni e Piani. 2015 .Malutta Foundation. 2013 How We Dwell (Make your own residence) Marco Gobbi, Cristiano Focacci Menchini, Adriano Valeri, Venice, IT. Co-founder.
Residency: 2014 .GlogauAir, Berlin. DE 2013 .Atelier Bevilacqua La Masa, winner with a project How we dwell (make your own residence) with Marco Gobbi, Cristiano Menchini and Adriano Valeri.IT .DC2013, Dolomiti Contemporanee. Roccedimenti, fatte, non finite, le nature contemporanee, Casso Pordenone.IT
Awards: 2018 .Premio Michetti 69° edition, curated by Renato Barilli, Michetti Museum Francavilla al Mare, Chieti, IT. 2016 .Premio Francesco Fabbri, V edition, curated by Carlo Sala, Pieve di Soligo, Treviso, IT. .ORA Art Price, selected by Moitre Gallery, Turin, IT. 2014 .98 ma Collettiva Giovani Artisti, Winner of the prize Regione Veneto. Group show, St Mark’s square Gallery, Venice, IT. .Combat Prize 2014, winner of the special award under 35. 2012 .ESSAI(Y) selected with a bursary at the degree show, Magazzino del sale n°3, Venice, Accademy of Fine Arts and Bevilacqua La Masa Foundation, IT.
Solo shows: 2018 .*Brucia Luce, curated by Samuele Menin, Arrivada GAllery,Milan.* .Un punto da ballerina, curated by Saverio Bonato, CASA CAPRA, Schio,IT. 2017 .Vento non si vede, Moitre Gallery, Turin, IT. .Leda | Grecale, Caterina Tognon Gallery, Venice, IT. 2014 .Project Showcase, GlogauAir, Berlin. DE.
Group shows: 2018 .*Reazione a catena,curated by Gino Pisapia, Bonelli Gallery, Milan. * .*Selvatico 13/Fantasia Fantasma, curated by Massimiliano Fabbri, Pezzi Palace, Cotignola, Ravenna. * .* SSSSSSS, Atrii and Yellow curated by Alice Pedroletti and Lucia Veronesi, Yellow Art Space, Varese.* .Il gemello Cattivo, curated by Fondazione Malutta, Museo Santa Maria della Scala, Siena. .Il lanternista, curated by Angel Moya Garcia, in collaboration with GLi Impresari, Tenuta dello scompiglio, Lucca. .HP collection, curated by Carlo Pratis and Michela de Mattei, Operativa arte contemporanea GAllery, Rome. .Tiziano contemporaneo | Bring-Tooling, Dolomiti Contemporanee, curated by Gianluca D’Inca Levis, Riccardo Caldura, Petra Cason, Forte di Monte Ricco, Pieve di Cadore. .La torre maluttona | Mercato Babelico, curated by Malutta Foundation, Monitor Gallery, Rome, IT. .Il ricamo in seta nell’arte contemporanea, round table curated by Cornelia Lauf, Mocenigo Palace, Venice, IT. 2017 .Punctum-Invisibili Connessioni, curated by Viola Invernizzi for ITALGAS historical archive, Turin, IT. .Alchimie II, Confindustria Veneto and Bevilacqua La Masa Foundation, Palazzetto Tito, Venice, IT. .La costruzione di un errore, Theater of Palazzo Grassi, curated by Cescot Veneto, Venice, IT. .Passangers that come and go, Malutta Foundation, Tulla Culture Center, Tirana, Albania. .Collezione Malutta & Black Market, Monitor Gallery, Rome. IT.
Workshop: 2016 .Versus la sfida dell’artista al suo modello in un secolo di Fotografia e Disegno, curated by Andrea Bruciati, Daniele De Luigi, Serena Goldoni, Modena Civic Gallery, IT. 2015 .Le stanze d’ Aragona, curated by Helga Marsala and Andrea Bruciati, Rizzuto Gallery, Palermo,IT. .L’esprit de l’escalier, curated by Alice Ginaldi, Dimora Artica, Milan, IT .Biennale Giovani 3, curated by Renato Barilli, Guido Molinari, Guido Bartorelli, Accademy of fine arts of Bologna and Rimini’s city Museum, IT. 2014 98 ma Collettiva Giovani Artisti, St Mark’s square Gallery, Venice, IT. .Nessun luogo è lontano, curated by Eugenia Delfini and Sottobosco, Ex Macello in Padua, IT. .The inner outside (bivouacs), new expositive space in Casso Pordenone, curated by Gianluca D’Inca Levis, IT. .Combat Prize 2014, curated by Paolo Batoni, Fattori Museum, Livorno, IT. .Passi Erratici, with How we Dwell group, curated by Stefano Riba, Museum of mountain Turin,IT. .Il giovane sole debole, Caterina Tognon Gallery, Venice, IT. .Final Exibition, Bevilacqua La Masa Foundation, San Marco’s Gallery, with How we dwell (make your own residence) curated by Rachele D’Osualdo, Venice, IT. 2013 .La materia. Stonefly Prize Walking with art, curated by Marco Tagliafierro, with How we dwell (make your residence), Bevilacqua La Masa Foundation, Tito Palace, Venice, IT. .DC2013, Dolomiti Contemporanee. Roccedimenti, fatte, non finite, le nature contemporanee,curated by Gianluca D’Inca Levis and Guido Bartorelli, Casso Pordenone, IT. 2012 .International Performance Art Week, He partecipated with a performance called STUBE, Bembo Palace in Venice, IT. .Luci sorgenti / SpringLights4, curated by Miriam Montani and Caterina Terzetti. Cascia, IT. .Gemmazioni, Arts Education Environment, conference and workshop, Academy of Fine Arts of Venice, IT.
2018 .I luoghi dell’apparizione, curated by Gian Antonio Gilli, Crissolo / Monviso, Turin .Landina, curated by Lorenza Boisi. 2017 .ATRII / Sezioni Piani, curated by Alice Pedroletti and Lucia Veronesi in collaboration with Bevilacqua La Masa Foundation, Venice, IT. 2013 .Arte e ambiente, curated by Carlo Di Raco, capannone n°35 Forte Marghera (VE), IT. 2012 .Gemmazioni, Arts Education Environment, conference and workshop, Academy of Fine Arts of Venice, IT. 2010 .Cadavre exquise, open laboratory curated by Carlo Di Raco, Ivana D’Agostino, Domenico Papa coordinator artists: Paolo Dolzan, Jasa, Miriam Pertegato, Magazzino del Sale n°3 Fondamenta degli Incurabili, Venice, IT.
Fairs: 2017 .Parallel, Malutta Foundation, Vienna. 2015 .Artissima 2015, Caterina Tognon Gallery. .Some Velvet Drawings, group show curated by Andrea Bruciati and Eva Comuzzi, Art Verona. 2014 .2000 maniacs, curated by di Lorenza Boisi e Andrea Bruciati, Art Verona.
Collections: 2017 .ITALGAS Collection, Turin, IT. 2016 .Modena Civic Gallery, IT. Some important privare collection.
PAINTINGS In the first phase of my artistic research, I worked a lot on the theme of landscape, in particular on the alpine landscape. There were two important phases: the first one was based on outdoor experience, during which I followed a specific itinerary and recorded/kept track of its peculiar characteristics; the second one was developed indoor at my studio by rendering some static samples and pictorial notes on the canvas. I tried to gradually possess the landscape where I had walked, by remembering it as a white canvas or better like an empty space. The result was a new different landscape, born from an unprecise mental-vision and from the attempt to follow the suggestions which, step by step, the work itself assembled.
Untitled, 50x40cm, oil on canvas, 2012.
Untitled, 181x153cm,oil on canvas, 2014.
Like in a book in which the characters have been omitted, I am trying to tell a story inhabited only those elements otherwise auxiliary in a tale. Mattresses, sofas, vases, canes and boxes, are like silent witnesses at the same time forming but also occupying the set where the story takes place. The story is my own personal story; it tells about childhood games and grandiosity, enacted by the various symbolic objects, without which the tale would remain untold.
Double one, 60x80cm, oil on canvas, 2017.
Crestali, 40x50cm, oil on canvas, 2018.
Îą brillanti, 150x120 cm, oil on canvas, 2017.
Chromatalia, 40x60cm, adhesive silver sheet,2018.
Caldera, 150x120cm, oil on canvas, 2017.
Vento non si vede, 50x40cm, oil on canvas,2017.
Un punto da ballerina, 70x50cm, oil on canvas, 2017.
Misuratore di spazi, 70x50cm, oil on canvas, 2017.
R.J.Wood Adat Jour, 164x146cm, oil on canvas, 2015.
Innesto a Focaja, 40x30cm, oil on canvas, 2017.
Untitled, 30x30cm, oil on canvas, 2016.
Twinkle green, 175x149cm, oil on canvas, 2015.
Simposio, 160x130cm, oil on canvas, 2015.
Danza Ercolano, 150x130cm, oil on canvas, 2016.
Àncora Fiore, 150x110cm, oil on canvas, 2018.
DRAWINGS
Anche le tenerezze diventano croccanti, 21x13cm, ballpoin pen on paper, 2018. (serie)
Anche le tenerezze diventano croccanti, 21x13cm, ballpoin pen on paper, 2018.
Anche le tenerezze diventano croccanti, 21x13cm, ballpoin pen on paper, 2018.
Anche le tenerezze diventano croccanti, 21x13cm, ballpoin pen on paper, 2018.
Sogni cornuti, 21x13cm, ballpoin pen on paper, 2018.
Marmi, 21x14cm, ballpoin pen on paper, 2018.
Voltafaccia, 21x14cm, ballpoin pen on paper, 2018.
Cameo, 21x29cm, ballpoin pen on paper, 2017.
Fumante, 21x29cm, ballpoin pen on paper, 2018.
PROJECTS
IL BUIO CHE RESTA VERSUS Galleria Civica di Modena.
For the realization of this work I chose to dwell upon the meaning of the word “competition”, by conceiving it as a place where a clash occurs between two forces as well as a container or a “case” of “residual” images. Trying to determine which could be the two forces to put into play, I thought of the “retina persistence”, the instant when the eye passes from darkness (f1) to light f2 and sight is populated by odd fluctuating shapes that eventually disappear into nowhere. The development of this work started precisely around these shapes/images, become forms that stopped on the paper sheet and then faded and vanished, in order to faithfully reappear, or just leave a matte track. Shading and layering have been pictorially carried out with the use of the laser photocopier, by seeking those forms that remaining on the machine plate, were invaded by the laser light and then sank into the dark black, leaving only a trace of their passage.
Il Buio che resta
87x40 cm, laser over print on paper, 2016.
DIDN’T YOU KNOW STONES CAN FLY ROCCEDIMENTI Dolomiti Contemporanee | CASSO This work was carried out during the residency that took place from the 25th of June to the 6th of July 2013 in Casso (PN), with the valuable contribution of about 20 sponsors supplying all of the necessary materials, from wood and screws to the lents. My intent was to tell a story: the history of a country based on the beautiful traditions, stories and legends that even elderly people now hardly recall. People often know the story of Casso and Erto only because of the Vajont disaster, which occurred the night of October 9, 1963. What happened in Longarone, I cannot even imagine. However I interrogated myself on what happened next? 50 years have passed since the disaster and there are still families who live in the valley, descendants of the children who were born in Casso and Erto. Things have changed since then in many ways. I was able to empathize with some of the people who stayed here, those who resisted the depopulation of the city, who wanted to rebuild and remain. My question is: what are your stories? What has been told to the children that have lived here, on Mount Toc and Mount Salta? ... Moments of amnesia are understandable, they do not remember clearly. Full of mystery, confusing but compelling, their stories became part of the folk tradition of the area. After a week during which I tried to gain some confidence with Casso’s inhabitants, the “real stories” came out. They showed me places and then they added personal notes. I have listened to, collected and photographed what I felt most attractive; only then I did realize that the recollections of others came out of the fog of memory, to be confused with the images of contemporary reality. Didn’t you know stones can fly? This is a story told inside a hut, a bivouac of wood, a personal space, as it is an intimate tale of the collective memory of Casso. You have to earn the story; in fact you have to climb to discover it. A wooden machine with various components moving at a measured pace, a wheel that serves to introduce photos developed on glass with light-sensitive emulsion. The darkness of the room and then the light of the images that stand on two glasses (two small screens) show two images that appear in pairs. Some are sharp, some less, some unrecognizable, but all belong to the same place. Anyone who doesn’t know the stories cannot read them through my pictures; he who knows them, on the other hand, is able to. For both, however, it is the telling of a story that comes from memory.
Didn’t you know stones can fly?
Site-specific installation, wood, screws, nails, engine for the spit, magnifying lenses, bulbs, cones Photography, Photos on glossy, bicycle brake, fisher, threaded rods, rubber bands, tape, glass 180 x 196 x 200 cm.
NERO DI LUCE
copper engraving and inked. INVISIBILI CONNESSIONI ITALGAS Historical Museum. TURIN.
Black like coal, black like the night to give light.
Luce newspaper, 1935
A magic process by an invisible Alchemist that extracts light from the black matter. Visiting the ITLAGAS photographic archives I was very amazed to browse many family photo albums, offered to ITALGAS by private familIes, where the common division among private life and working time is lost, becoming intertwined in the life of the workers. Working for the GAZ became important enough to want to document it like the birth of a child. It was exciting to understand the process through which that big and smoky factory had entered inside people’s everyday life. My work enters the museum hiding itself among the historical materials of the collection. In particular, I worked on the first gas burner shield in the library, realizing three copper engraving to tell a story of energy removal, reworking some alchemical images. I decided to work with the burner because historically it was the first real contact-point between the company and the consumers, becoming indispensable in everyday life. These etching took the place of the plate to separate flames on the burner creating a strange relationship between technical and scientific nature of the burner and the mystic nature of the engraved images, inspired to alchemical processes.
ERI COME SEI DIVENTATA
LA COSTRUZIONE DI UN ERRORE Theater of Palazzo Grassi,Fondazione Malutta. VENICE.
You were like you became is an artwork realized for “La costruzione di un errore� (The Construction of a Mistake), an event that took place in September 2017 at the Theatre of Palazzo Grassi. This work is made by the repetitive carving of a complex organic form on a worn out piece of leather. The mistake construction process is highlighted by the progressive loss of detaiL as the form is gradually beeing carved. The installation project of the Malutta Foundation was designed and curated by Andrea Grotto and Cristiano Focacci Menchini.
Eri come sei diventata, 70x60cm, carved leather, 2017.
SUL BLU D’INVERNO. AVVOLTI DA UNO SPAZIO PROFONDO Set of 4 woolen coats with painted and embroidered cotton lining. Variable dimensions, 2017.
ALCHIMIE Bevilacqua La Masa Foundation, Tito Palace. VENICE.
On the blue of winter. Wrapped in a deep space. The paradox of the dark sky of Olbers is considered the oldest and most discussed in the history of astronomy. I recently came across, trying to figure out how it is possible that the sky, which in front of my eyes is of a pleasant cool blue color, is instead depicted in the images of the galaxy as a wraparound black horizon, sprinkled with gigantic bright glows, but not enough to warm the atmosphere. Why then is that strange blue tone so cold and why such a vast expanse of lights cannot make the spaces visible, on which it extends? This work thus arises from the desire to elaborate the terms of the visual and sensory perception of the observer, imagining that he can dress himself with the color of the sky and warm up with the enveloping darkness of the cosmos, its mysteries and its arcane history. Specifically, the project involves the creation of a minimum of four models of artist coats, one for each winter month, each with a different gradation of blue, resulting from a series of photographic sampling of the sky during the four-month winter. The inside of the coat is instead antithesis with the outside, and becomes the container of a large map of constellations.
See more (link)
La nascitad el sole, 33x33cm, hand embroidery on painted cotton, 2017.
Il Buio, 33x33cm, hand embroidery on painted cotton, 2017.
La nascita della luna, 33x33cm, hand embroidery on painted cotton, 2017.
Primo cielo, 33x33cm, hand embroidery on painted cotton, 2017.
Photographic documentation:
Andrea Grotto Stefano Maniero Giacomo de DonĂ Francesca Occhi