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远与近

The far near Tommaso Cascella, Ma Lin, Matteo Basilé, Davide Sebastian


大楚艺术空间艺术总监 张展


一个跨越半个地球的电话让我们充满了期待,又经 过穿越时空的网络桥梁,让双方的期待很快变为了 现实,这是一个如此一帆风顺的历程,让远在欧洲 的意大利现当代艺术展现在我们眼前。

中国和意大利同属世界上最古老的国度,是东西方 优秀传统文化的代表,我们相信在无数次中意艺术 相互碰撞和融合中,我们将在世界文化的太空里闪 烁出各自更加灿烂的光芒。

“远与近”的四位参展艺术家是活跃在意大利乃至欧 洲艺术舞台上的佼佼者,他们的艺术作品体现了意 大利当代艺术的新面貌。从艺术家不同的风格特色 中让我们感受到他们各自的艺术追求和艺术观念, 显示出他们在意大利现当代艺术中的重要地位。特 别是他们出生在不同的年代,从五十年代到八十年 代,在不同的时代和文化背景下使得四位艺术家的 作品在此次展览中更加耐人寻味。

大楚艺术是一个年轻的展览机构,推动不同民族不 同文化和地域间的艺术交流是我们办展的重要方 向,这次展览能得到中国和意大利各单位、各机构 的支持和协助,我们深表谢意。我们将期待下一次 的支持,我们继续着下一个期待!

2011年5月


Foreword:

Zhang Zhan - Art Director of Da Chu Art Space


A call across half the globe made us so excited and expected. The bridge of internet through time and space made our will become reality. It seems to be a very pleasant journey without any difficulty. The exhibition which showcases Italian contemporary art is going to be held. The four artists exhibited in “The Far Near,� are active and have an important role in Italy and even in the European art scene. Their works reflects the new phenomena of Italian contemporary art. Every artist has his own original elements in their creation which allows us to understand their artistic poems and their pursuit in art. Their important position in the Italian contemporary art is also shown by their background. They were born from the fifties to the eighties and have different cultural backgrounds which makes their work more distinguished in this exhibition.

Both China and Italy are countries with long history and ancient civilization. We believe that the cultural encounters between China and Italy will enrich our experience and bring splendor to both our cultures Da Chu Art Space is a young organization dedicated to art which promotes the cultural exchanges between different cultures and different regions. This exhibition is made possible with the support of several institutions, many people and friends to whom we would like to express our gratitude.

May 2011


未知的土地: 东西方之间的艺术之旅 马林,托马索·卡瑟拉, 马特奥·巴斯勒和大卫 ·瑟帕斯提香

毫无疑问,我们的时代喜欢偶像胜于事物,喜欢复制品 胜于原作,喜欢表现胜于现实,喜欢外表胜于本质…… 甚至,当真相减少错觉增加他眼中的神圣感骤增,因此 错觉的高度在他来看来就是神圣的高度。 费尔巴哈《基督教的本质》

多米尼克·罗拉 当我们的世界被人造卫星分割成棋盘,每一寸土地都被 塞满的时候,我们又怎能成为探索者呢? 尼古拉斯·鲍里欧德《关系美学》 Dominique Lora


几个世纪以来,伟大一词和西方世界的荣耀都是 以其征服殖民地的数量来衡量的。遍布世界的探 险队是由杰出的探险家如英国的詹姆斯·库克上校 等带领着一群制图者,用地图和图表测量详尽地 探测未知的土地。同样地,在法国大革命期间拿 破仑征服了世界,他委以重任的部队将士、智囊 团和艺术家都征服新的土地并歌颂他的胜利。在 20世纪,人类学家和艺术史家如李维·史特劳斯 和艾比·瓦尔堡,参与了对理解社会史和文化史 有着至关重要的一次探险,尽管这次的探险更属 于个人的行为。像他们的祖辈一样,先锋者按照 人文和地理的地图,仔细地记录了他们访问过的 每一片处女地和每个不知名的部落,发挥他们的 写作和绘图的能力去解释和描绘不寻常的风土人 情,深入研究“差异”的本质。他们的旅行鼓舞了 许多艺术家在世界各地漫游,寻找和探索新的未 知的土地。

在一个地理疆界不再如从前那么清晰,标志和商 品的交换使思想的过渡性传播得以实现的时代, 我们经常使用杂交和多元文化等词语,但是却没 有真正抓住这些词语蕴含的价值观和人文含义。 在这种语境下,当代艺术代表一个自由的有必要 叙述的空间,艺术家和观者的智慧和胆量在这个 空间得到充分展示,解构现实以及研究日常生活 所包含的张力成为可能。因此,想象和幻觉犹如 两把可以交替使用的钥匙,让我们更深入理解个 体和社会形象方面人类的条件。换而言之,今天 的世界,现实正逐渐变得标准化,唯一的途径去 保护差异和本土特征就是让艺术家在全球化文化 中创作。 近二十年来,全球涌现一股关注亚洲当代艺术的 热潮。世界正在树立新的形象,中国在全球的美 学辩论的舞台上成为主角。在这样的语境下,西


方艺术家被排除在地球的东面大力发展文化的 格局之外。上世纪80年代的改革开放潮流使艺 术的思想和美学观念渗透到亚洲的艺术世界, 国际上有些艺术家觉得有必要在东西方界定模 棱两可和快速转变的地域研究范畴、相似性和 边缘性。

的创作藏于内心不公开,使人想到神话般的宇 宙,宇宙里英雄和普通人物来自各个角落和各 个时间,他们在艺术家私人日记中相遇,艺术 家给予他们第二次生命和故事的结局。马林使 用身体去发表一个特别的宣言,身体的皮肤变 成画布去描绘地图,去搭建冲动的视觉舞台, 保证不同文化之间的融合。马林通过伟大的西 举办《远即近》展览的想法是提供一个国际平 方艺术作品去认识西方的历史,回想过去的探 台,展示文化和社会的范本并体现当代生活整 索,紧紧追随古代大师的高不可攀的技法,因 体经验的艺术作品。传统和普遍的对于“东西方” 此,他的作品代表着当代亚洲和西方古典时期 概念的理解在探索艺术的社会功能和寻找“自 的相遇,艺术家把遥远文明的视觉图像和中国 我”的过渡价值的艺术万花筒之下得到重新的审 当下的视觉和物质文化的偶像和图像并列和叠 视,假如艺术家是一段邂逅,是不同文化之间 加。马林是一位走钢丝者,用艺术去重新创造 互相影响渗透的旁观者和见证人,那么,艺术 自己的语言,揭示两个远古文明(在某种程度 则体现了至高的神谕,是超越和重新切磋全球 上仍未被开发)的秘密,描绘东西方价值已经 化过程的内在张力唯一的传播媒介,这种张力 被摧毁得无影踪的全球现代化……对作品痛苦 今天迫使宗教、经济、政治和文化的少数民族 的凝视产生一个形而上和超现实的图像世界 生活在中立和团结社会的虚幻之中。马林、托 马索·卡瑟拉、马特奥·巴斯勒和大卫·瑟帕斯提香 托马索·卡瑟拉是一位笔迹学家,他游刃自如地 这四位艺术家不约而同的看法是:全球化正逐 构思起草而又全心投入创作,交替地使用不同 渐抹杀一个地方的所有特色和风尚,他们的创 的艺术语言如绘画、雕塑、陶瓷等进行创作。 作方向被引领到深藏于内心深处的“他处”和“别 古希腊语中,“kallligrapheia”一词语义是“优 外”,作为唯一的手段,与不可预知和完全意外 美地书写”。纵观整个人类历史,从古罗马人到 的存在形成对比。像变色龙一样,他们向其它 阿拉伯人,从波斯人到中国人,书法艺术都作 地方转移,重新质疑自己的语言目的是探索新 为记录和装点文化和文明史。因此,卡瑟拉的 的土地和学习新的语言,丰富根深于自己文化 创作既传统和古典,又坚定地寻找语义学的含 的历史和图像并珍藏起来。亚洲一些国家正在 义即把颜料、深度、强度、图像和颜色融为一 重新规划和平衡世界,这四位艺术家都表达出 体形成统一的艺术过程。他的作品使人想起翁 对东西方文化的兴趣,在自己想象的棱柱般的 贝托·艾柯(注1)关于艺术作品的定义:“形式 空间进行创作,为自己的梦想去奋斗并踏上征 和运动两者达到完美的组合:然而是有限之中 程…… 的无限。整体是最后获得的,不应该被理解为 静止和静态现实的终结,应该是在形式之内无 马林用浪漫和超现实的手法去表现悲剧命运的 限的开放。艺术作品事实上是无限的,但其并 间歇性痛苦回忆。作品主题揭示私密的想法、 非是片段或者多余成分,而是一个场所,在确 情感和恐惧。马林的技法使人联想到西方艺术 定的角度里,每个人都可以完整认识自我。”综 史浪漫主义和新古典主义时期装饰和解剖学的 上所述,艺术家有趣的创作是想象力丰富的童 标准。作品主题的姿势是基于对美的构成的深 话,这个童话故事连续不断在画面上流动,使 入学习。艺术家私密和梦幻般的语言弥漫着莎 童话变得鲜活起来,这种形式可看作是个人的 士比亚的精神,受古典美学准则的启发而唤起 想象汉字、素描本和日志的收藏,旅行者—— 灵魂的精神晦涩的直觉(犹如17至18世纪英国 艺术家用汉字、素描本和日志去捕捉内在和 伟大的艺术家海因里希的作品一样)。马林 稍纵即逝的感觉,并冥想他在陌生的土地上的


存在,结果是多种语言的共鸣犹如一场视觉的 交响乐,形式的变换在一个内省的空间以物质 体现出来。就像在一张古代描绘炼金术的地图 里,艺术家想象的生灵穿越了记忆和梦想,表 达出思想空间里无边界的认知。 ThisHuamanity(这人类)是马特奥·巴斯勒 的最新力作。艺术家研究在人类企及的地理范 围内永远旅行的“其他”现实的语境下复杂的“自 我”结构,(这系列作品实际上是在亚洲和欧洲 完成的),不分种族、宗教和文化,在女性的 放大镜下,巴斯勒梳理每天都活在斗争之中获 得自己身份的年轻和年长女性,母亲、女儿、 姐妹的记忆、灵感和欲望。在艺术家创作的一 系列摄影作品中,女性的身体是去体验和表现 性别和身份的共同媒介,同时试图用身体去超 越单一的文化优势,去消除自己和其他,原生 的和外来的,男性和女性等之间的差异。通过 上演一场场战争,痛苦、恐惧、力量和希望都 统统被公诸于众,艺术家细致地观察女性整体 的体验,目的是研究差异的无限性和过渡的性 质。引用阿奇莱·博尼托·奥利瓦的话评价艺术家 的作品:“巴斯勒的作品是肖像的世界,是科技 的风格主义和绘画的超现实主义结合的产物, 是艺术家的语言、自传体的和自发的游牧主义 之间的碰撞产生的。艺术史上两个重大的时刻 独特的交汇发出不寻常的信号,旨在综合和宣 告艺术是后设的语言。”(注2)每一张照片都 是多数人对少数人产生的恐惧的断言。最后, 《这(新)人类》系列作品表达认可和理解少 数人必须作为整体融合到东西方之中,融合到 传统和现代,宗教和世俗之中。巴斯勒的作品 是变形和碰撞的辩证和统一,表明不合时宜今 天如何变成中心概念并暗示“全球本地化”已经取 代了“全球化”。在此,《这人类》新一代和重力 新中心崛起的缩影。 大卫 ·瑟帕斯提香的摄影作品摒弃过去和现在, 真实和虚幻的对立,通过视觉序列去模糊记录 片和电影的界限,艺术家不是单纯地去表现, 而是创造出一个精神的实验室,打开一个复杂

的推拉门系统,在此真和假的传统概念被摧毁 并被重新组合成起伏的可能经验,在《未来记 忆》系列作品中,艺术家上演了一出记忆的戏 剧,为了取得统一和主权人民而英勇斗争统一 意大利的国父们的纪念碑化身成活的肖像。当 代艺术家经常使用英雄和普通人的形象去表现 抗争生活的勇气和坚韧不拔的精神,去表达对 于失控的世界我们的无助感。英雄们经常是从 近代历史人物(如肯尼迪和毛泽东)或者从当 代的虚构文学(如蝙蝠人和蜘蛛侠)中获得原 型。瑟帕斯提香却选择了19世纪意大利复兴时 期的浪漫主义爱国英雄加里波第、萨基和卡洛· 迈尔并使他们复活,他们被包裹起来放置在惨 遭天灾的城市的残亘断壁中(如2009年的拉奎 拉地震),目的是通过“隐瞒使真相大白”(大 卫·波登语),从而揭示对一个被摧毁而杂乱无 章的世界的共同认识。尽管他们的身体了无生 气,他们生动的眼神却在提醒我们的出身和历 史,为本质和表面不断交替变化的今天带来一 丝希望。艺术家把自己的想象重新组合,把时 间和风格,过去和现在的记忆重新排列,把视 觉移位到一项全面的计划中,表明人类的经验 不能作为中心,人类的经验是神圣的,要纳入 传统、身份和社会识别码和文化起源必须要传 达出精神和物质文化的新系统中。 《远即近》展览始终以旅程作为出发点,是两 种不同现实相遇的结果。这四位艺术家是经验 丰富的漫游者,他们在两个世界过渡性地游 走,努力探索可行的新路。值得欣慰的是,艺 术家们没有跟随将军和部队,他们是为自己工 作的制图者,对两种文化好奇,一心要沿着古 代的丝绸之路和香料之路,去重新挑战人们的 智慧。 •

翁贝托·艾柯, 《开放的作品》,1989年

• 阿奇莱·博尼托·奥利瓦,《梦中之梦》, 马特奥·巴斯勒,巴厘,2009年


The Far Near:

An Art Journey between East and West

With no doubt, our time prefers the image to the thing, the copy to the original, the representation to the reality, the appearance to the being‌ Even more, the sacred grows at his eyes as the truth decreases and as the illusion increases, so that the height of illusion is also for him the height of the sacred. Feuerbach, The Essence of Christianism

How can we be explorers in a word divided as a chessboard by satellites and where each centimeter has already been stacked? Dominique Lora

Nicolas Bourriaud, Radicant


For centuries the “grandeur” and glory of Western nations was measured according to the number of conquered and annexed territories. Expeditions throughout the globe were undertaken by great explorers such as British Captain James Cook who, together with a crew of cartographers, extensively documented the exploration of unknown lands by the means of maps and illustrated surveys. Similarly, during the French Revolution Napoleon conquered the world with an army of soldiers, wise men and artists that were respectively commissioned to conquest, interpret and immortalize his victories and discoveries. During the twentieth century, although on a more individual plan, anthropologists and art historians such as Levy Strauss and Aby Warburg participated in expeditions that were crucial for the understanding of social and cultural history. Like their predecessor, those pioneers extensively documented their experiences over virgin sites and unknown tribes by tracing human and geographical maps, using their ability as writers and draftsmen to explain and illustrate unusual habits and customs in the attempt to penetrate the soul of “otherness”. Those journeys have inspired many artists to wander throughout the world in search of a new Terra Incognita (unknown land) to uncover.

In a time in which geographical boundaries are no longer specifics and the transnational circulation of ideas is made possible by the exchange of logos and goods, we often refer to the terms crossbreeding and multiculturalism without being really able to grasp their human implications and semiological values. In such a context, contemporary art represents a free and necessary narrative space where the intellectual bravery of both artists and audiences can unflinchingly unfold, decompose the real and investigate the tensions inherent to everyday life. Therefore, vision and imagination represent the alternative key to a broader understanding of the human condition in the fabrication of both individual and social identity. In other words, as the world increasingly turns into a standardized reality, the only way to defend diversity and local characters is to ask the artists to elaborate a global culture. During the past two decades there has been a tremendous upsurge of interest in contemporary Asian Art. As a new image of the world is being generated China has become a global player in the aesthetic debate. In such a context, Western artists seem to be often insulated and isolated from the cultural developments


which are happening on the East side of the planet. Thus, following the “open door trend” of the early 1980s, where the ideas and aesthetics of modern art penetrated the Asian cultural world, a number of international artists feel today necessary to go against the current and investigate boundaries, similarities and edges at the ambiguous and shifting site that galvanizes Orient and Occident. “The Far Near” was born from the desire to provide an international platform to showcase artworks that reprocess cultural and social paradigms and where art is addressed as the receptacle for a cohesive representation of contemporary living experience. Here, the traditional and common perception of East and West are re-examined under the artistic kaleidoscope aimed at exploring both the social function of art and the value of transit(ion) in researching the Self. If the artist is the beholder and the witness of an encounter, of the contamination of diverse cultures, art embodies the fierce oracle and the unique vehicle to overstep and re-negotiate the tensions inherent to the globalization process that is today forcing religious, economic, political and cultural minorities into the illusion of a neutral and unified community. Ma Lin, Tommaso Cascella, Matteo Basilé and Davide Sebastian share the sense that globalization is slowly obliterating all form of Genius Loci (local genius) and direct their research towards the “elsewhere” and the “otherwise” that lies deep down our inner-self as the sole manner to contrast the unpredictable and totally accidental aspects of existence. As chameleons, they move towards other directions, re-questioning their language only to multiply it according to the territory they are exploring, leading their historical and iconographic matrix to be enriched without being dispersed. Whereas Asian countries are somehow redesigning the world balance, Lin, Cascella, Basilé and Sebastian have conveyed their interests towards and between East and West, working on the prism-like space of their own imaginary to produce dreams still to be realized, objects to be invented and journeys to be undertaken... Ma Lin’s paintings are spasmodic visions of traumatic memories, romantic and simultaneously surrealist expressions of a tragic destiny in which the subjects unveil intimate thoughts, emotions and fears. His technique is reminiscent of the decorative and anatomic standards of Western Romanticism and Neoclassicism, movements based on the extensive study of the antique in the construction of beauty. The artist’s intimate and dreamlike language seems to be somehow permeated with a Shakespearean spirit and inspired to classical aesthetic canons (as the one that distinguished the work of great Seventeenth-Eighteenth century British master Johann Heinrich Füssli) in the evoking of the psychic recondite instincts of the soul. Ma Lin’s compositions are closed-doors inner rooms that recall a mythical universe where heroes and anti-heroes

are hailing from different places and times and meet again on the pages of the artist’s private diary to live a second life and to write a different end to their stories. Ma Lin uses the body to make a particular statement, the human skin becomes the canvas to trace maps and to formulate a visionary theater of impulses where mixed cultures are merged into a promise. Recalling the quest of past explorers, Ma Lin looks at Western history through the lens of its great iconography to seize the unreachable grandiosity of antique masters. Therefore, his works represent an encounter between contemporary Asia and Western classic age. The artist overlaps and juxtaposes images of a faraway civilization to icons and signs inherent to Chinese recent visual and material culture. Ma Lin is a tightrope walker who reinvents his own language using art to unveil the secrets of two distant (and under a certain light, still unexplored…) civilizations, describing a global modernity where Eastern and Western values have been wrecked into the nowhere... and the cruel gaze of the image collector results into a metaphysical and surreal picture of world. Tommaso Cascella is a graphologist that steps over the draft to completely throw himself into the work, alternatively playing with painting, sculpture and ceramic as intertwining languages. The ancient Greek used the word “kalligrapheia” to mean “writing beautiful”, and throughout history, from Romans to Arabs, from Persians to Chinese, the art of calligraphy has served the purpose to document and decorate the cultural history of civilizations. Under this light, Cascella’s gesture is classic and somehow definitive in the search of a lexical semantics where pigments, depth, intensity, signs and colors are all galvanized into a unified artistic process. His works reminds Umberto Eco’s definition of the work of art as; a form and a movement that has reached its own conclusion: somehow it is an infinite included into a finite. Its totality results from its conclusion and has to be considered not as the closedown of a static and motionless reality, but as the opening of an infinite resumed within a form. The artwork has in fact an infinity of aspects which are not fragments nor spare parts, but are a place where each of us can identify in our entirety and reveal ourselves in a determined perspective. Thus, the artist’s playful creations are imaginary tales enlivened by a continuous movement of forms that flows in and out the canvas as a private imaginary collection of ideograms, a sketchbook and a journal where the traveler-artist captures insight and fleeting impressions and contemplates his being a stranger in a foreigner land. The result is a polyphonic language that vibrates as a listened vision, as a visual symphony in which mutating forms are materialized within an introspective space. As in alchemic ancient maps the artist’s imaginary creatures travel across memories and dreams to convey within a mental space where cognition is organized without boundaries.


ThisHumanity is Matteo Basilé’s latest project in which the artist investigates the complex structure of the Self in the context of a reality “other” that perpetually exceeds and travels through human geographical boundaries (the project was in fact entirely realized in Asia and Europe). Under the feminine magnifying glass and despite origins, religions and cultures Basilé archives memories, aspirations and desires of older and younger women, mothers, daughters and sisters who fight everyday to fabricate their own identity. The artist features a collective photo album where the female body is the universal vehicle to experience and perform gender and identity in the double attempt to transcend a mono-cultural vantage point and to eliminate the distinction between own and other, indigenous and foreign, feminine and masculine…. By staging battles, in which wounds, fears, strengths and hopes are unveiled, the artist scrutinizes the feminine experience as a whole, only to address and research the un-finite and transitory nature of difference. To cite Achille Bonito Oliva: “Matteo Basilé’s poetics is an iconographic universe, it is the fruit of the combination between technological Mannerism and pictorial Surrealism. The artwork short-circuit originates from collision points, which are caused by a linguistic, autobiographical and spontaneous nomadism of the artist. The unique confluence of those two art historical moments signals the unusual use of quotation, aimed at synthetizing and asserting Art as meta-language”. The idea of minority takes over the illusion of majority: each snapshot asserting that majorities can only generate fear towards the other and the different. Ultimately, this (New) Humanity expresses the acceptance and understanding that minorities must merge into a whole by (co)existing between East and West, tradition and modernity, sacred and profane. Basilé’s dialectics simultaneously enacts a metamorphosis and a collision, signaling how obsolete has become today the notion of (epi)center and implying that the idea of “glocal” has once and for all replaced the one of “global”. Under this light, ThisHumanity epitomizes the raise of a new generation and of a new center of gravity. Davide Sebastian’s photographic works obliterate the antagonism between past and present, imaginary and real. Through visual sequences that blur the borders between documentation and fiction the artist creates a spiritual laboratory where to experiment rather than simply “represent”, opening a complex system of sliding doors in which the traditional notions of true and false are dismantled and recombined into fluctuating and possible experiences. In “Future Memories”, Sebastian stages a memory theater where the monumental effigy of Italian Founding Fathers, who fought for the principles of Unification and Sovereign People, are reincarnated into living portraits. Contemporary artists frequently recur to (anti)heroic characters that symbolize courage and fortitude in the struggle for life, to express the feeling of being helpless in a world over

which we have no control. Heroes are usually chosen from recent historical figures (JFK, Mao) or from contemporary fictional and imaginary literature (Batman, Spider-man). Instead, Sebastian refers to romantic heroes from the Nineteenth century “Risorgimento” period. Patriots such as Giuseppe Garibaldi, Gaetano Sacchi or Carlo Mayr are brought back to life as living performers, wrapped and placed among the debris of recent environmental disasters (i.e. 2009 L’Aquila earthquake) as to “reveal through concealment” (David Bourdon) the common and global perception of a wrecked and confusing world. Despite their petrified body, those heroes’ lively and vigorous gaze reminds us of our origins and history, inducing a ray of hope in a time where essence and appearance constantly mutate. Sebastian remixes his own imaginary, juxtaposes times and styles, samples past memories and present experiences. In doing so, the artist transposes his visions into a holistic plan as to indicate that human experience cannot be perceived anymore as the center but rather as the sacred place where traditions and identity, social codes and cultural matrices must convey towards a new system of spiritual and material culture. The “Far Near” is permeated with the idea of journey and is the result of the encounter between two different realities. Ma Lin, Tommaso Cascella, Matteo Basilé and Davide Sebastian are experienced wanderers whose transnational porosity moves between two worlds in the endeavor to trace new and possible ways. Fortunately, the artists do not follow generals and armies, they are instead cartographers working for their own sake, curious of a reciprocal knowledge, aiming at retracing the antique roads of silk and spices in the attempt to re-tangle the people’s wisdom.


托马索·


·卡瑟拉


睡眼惺忪

nell’occhio abbagliato

acrilic color on canvas, 丙烯 2010 cm 200x199


愤怒的天使

angelo furente

acrilic color on canvas, 丙烯 2011 cm 200x198


没有痛苦的临终

agonia senza dolore

acrilic color on canvas, 丙烯 2011 cm 112x215


爱情和贪欲

come l’amore e tutte le brame

acrilic color on canvas, 丙烯 2011 cm 200x200


月亮和菜园

la luna e gli orti

acrilic color on canvas, 丙烯 2011 cm 182x300


耀眼的语言

sulla meridiana di parole

acrilic color on canvas, 丙烯 2011 cm 198x200


无聊和快乐之后

dopo noia e gioia

acrilic color on canvas, 丙烯 2011 cm 109x119


一日之计在于晨

nell’oro del giorno

acrilic color on canvas, 丙烯 2010 cm 110x120


在海上

su dal mare

acrilic color on canvas, 丙烯 2011 cm 106x120


倾盆大雨

arido scorcio

acrilic color on canvas, 丙烯 2011 cm 110x119


被鸟雀包围

assediato dagli uccelli

acrilic color on canvas, 丙烯 2011 cm 105x120


名字的阴影

l’ombra dei nomi

acrilic on paper, 丙烯 2009 cm 50x50


颜色之源

la fonte del colore

paper collage, 拼贴 2007 cm 50x50


空气弥漫

l’aria sgranata del giorno

embossed box, 浮雕 2009 cm 50x50


昆虫学

entomologia 1

paper, 纸张 2007 cm 50x50


马林


对话系列

dialogo

charcoal and acrilic on canvas, 碳和丙烯 2010 cm 90x60, 100x50, 90x60


碰撞系列五

incontro

charcoal and acrilic on canvas, 碳和丙烯 2010 cm 130x150


会见

incontro

installation, 装置 2011 cm 100x90


对话(罗马)

Roma dialogo

charcoal and acrilic on canvas, 碳和丙烯 2008 cm 120x60


碰撞系列之

incontro No.1

charcoal and acrilic on canvas, 碳和丙烯 2010 cm 100x80


碰撞系列之三

incontro No.3

charcoal and acrilic on canvas, 碳和丙烯 2010 cm 125x115


记忆之一

memorie serie No. 1

charcoal and acrilic on canvas, 碳和丙烯 2005 cm 100x100


针灸系列之二

agopuntura serie No. 2

charcoal and acrilic on canvas, 碳和丙烯 2009 cm 170x50


针灸与公主

agopuntura e principessa

charcoal and acrilic on canvas, 碳和丙烯 2002 cm 100x70


走向

tendenza

charcoal and acrilic on canvas, 碳和丙烯 2008 cm 100x80


马特奥·巴斯勒


这人类——人们 #06

thishumanity people #06

Lambda print on silver paper mounted on aluminium and framed, 银盐铝纸微喷 2010 cm 167x125


这人类——人们 #12

thishumanity people #12

Lambda print on silver paper mounted on aluminium and framed, 银盐铝纸微喷 2010 cm 167x125


这人类——人们 #13

thishumanity people #13

Lambda print on silver paper mounted on aluminium and framed, 银盐铝纸微喷 2010 cm 167x125


这人类——人们 #14

thishumanity people #14

Lambda print on silver paper mounted on aluminium and framed, 银盐铝纸微喷 2010 cm 167x125


这人类——人们 #15

thishumanity people #15

Lambda print on silver paper mounted on aluminium and framed, 银盐铝纸微喷 2010 cm 167x125


这人类——人们 #17

thishumanity people #17

Lambda print on silver paper mounted on aluminium and framed, 银盐铝纸微喷 2010 cm 167x125


这人类——人们 #20

thishumanity people #20

Lambda print on silver paper mounted on aluminium and framed, 银盐铝纸微喷 2010 cm 167x125


这人类——人们 #25

thishumanity people #25

Lambda print on silver paper mounted on aluminium and framed, 银盐铝纸微喷 2010 cm 167x125


这人类——人们 #35

thishumanity people #35

Lambda print on silver paper mounted on aluminium and framed, 银盐铝纸微喷 2010 cm 167x125


这人类——人们 #37

thishumanity people #37

Lambda print on silver paper mounted on aluminium and framed, 银盐铝纸微喷 2010 cm 167x125


这人类——人们 #45

thishumanity people #45

Lambda print on silver paper mounted on aluminium and framed, 银盐铝纸微喷 2010 cm 167x125


这人类——人们 #54

thishumanity people #54

Lambda print on silver paper mounted on aluminium and framed, 银盐铝纸微喷 2010 cm 167x125


这人类——人们 #55

thishumanity people #55

Lambda print on silver paper mounted on aluminium and framed, 银盐铝纸微喷 2010 cm 167x125


这人类系列——罪人们 #01

thishumanity series - circle of sinners #01

Lambda print on silver paper mounted on aluminium and framed, 银盐铝纸微喷 2010 cm 120x190


这人类系列——罪人们 #02

thishumanity series - circle of sinners #02

Lambda print on silver paper mounted on aluminium and framed, 银盐铝纸微喷 2010 cm 120x190


这人类系列——罪人们 #03

thishumanity series - circle of sinners #03

Lambda print on silver paper mounted on aluminium and framed, 银盐铝纸微喷 2010 cm 120x190


大卫


·瑟帕斯提香


未来记忆风景

future memories landscape

Lambda print on silver paper mounted on aluminium, 银盐铝纸微喷 2011 cm 100x150


未来记忆风景

future memories landscape

Lambda print on silver paper mounted on aluminium, 银盐铝纸微喷 2011 cm 150x100


未来记忆风景

future memories landscape

Lambda print on silver paper mounted on aluminium, 银盐铝纸微喷 2011 cm 100x150


未来记忆风景

future memories landscape

Lambda print on silver paper mounted on aluminium, 银盐铝纸微喷 2011 cm 100x150


未来记忆风景

future memories landscape

Lambda print on silver paper mounted on aluminium, 银盐铝纸微喷 2011 cm 150x100


未来记忆肖像 #01 #02 #03 #04

future memories portrait #01 #02 #03 #04 Digigraphie on paper, 银盐铝纸微喷 2011 cm 50x70


未来记忆肖像 #08

future memories portrait #08

Digigraphie on paper, 银盐铝纸微喷 2011 cm 50x70


未来记忆肖像 #05 #06 #07 #10

future memories portrait #05 #06 #07 #10 Digigraphie on paper, 银盐铝纸微喷 2011 cm 50x70


未来记忆肖像 #09

future memories portrait #09

Digigraphie on paper, 银盐铝纸微喷 2011 cm 50x70


简历

托马索·卡瑟拉1951年出生在意大利罗马。对于艺术 家来说绘画和雕塑就是自然流露的语言,是传承家族几代 人流淌的艺术家血液的结晶。他的绘画有雕塑的三维立体 的效果,和他使用青铜,铜,陶瓷,铁和铝为材料创作的 雕塑一样相映成趣。卡瑟拉的绘画作品是抒发内心的真实 作品,画面充满的各种符号是宇宙空间的语言和意义。 艺术家1985年在米兰的Luigi De Ambrogi画廊举办了首次 个人展览。从1985年到今天艺术家举办了众多的个人展览 和参加了众多的群展。 个人展览 2008年 Pop-up,策展人Beatrice Buscaroli,Marco RossiSpirale Arte画廊,米兰 2007年 从火的内部, Autore Moretti当代陶瓷基金会,德鲁塔, 意大利


用手去听,策划Luca Beatrice,Eventinove画廊,都灵 我想成为白天,Alberto D’Atanasio撰文,圣方济科考古 博物馆,特尼,意大利 2006年 鸢尾花的语言,策展人Vladeck Cwalinski, S. Agostino修 道院,皮埃塔圣塔,意大利 偶然和灵魂,Spirale Arte画廊,蒙札,意大利 2005年 在语言上漂浮,Franca Pezzoli当代艺术画廊,克鲁松 尼,意大利 在语言上漂浮,Arttrentatre研究中心,阿维林农,意大 利, 中心的中心,Campo画廊,阿维里安那,意大利 2004年 颠倒真实,Marchetti画廊,罗马 阴影的阴影,Spirale Arte画廊,维罗纳,意大利 水的边沿, La Bussola艺术中心,科森查,意大利 日历,Crispi宫,那不勒斯 2003年 Orie画廊,东京 绘画和雕塑, Westend画廊,法兰克福 1+1=1,Orsini宫,博马索,意大利 Rosssso,Spirale Arte画廊,皮埃塔圣塔,意大利 13画廊,雷佐艾米利亚,意大利 Leupi画廊,阿斯科那,意大利 2002年 Equipe工作室,浦天札,意大利 13画廊,雷佐艾米利亚 包围,Priori宫,意大利 包围,Spirale Arte画廊,米兰 Reame di Rame,Miralli画廊,维特博,意大利 2001年 石头和托马斯·卡瑟拉, D. Carlesi撰文,Piaggio博物馆, 意大利 当下的类——T. Cascella, E. Esposito, A. Fettolini,多瑙 河美术馆,布拉迪斯拉发 Tarozzi画廊,意大利 没有线和针,Marchetti画廊,罗马 动画纸张作品,Bulino画廊,罗马 Basié & Cascella,Ciampino市画廊,罗马

2000年 空气的重量,Enzo di Martino撰文,Venice Design画 廊,威尼斯 水的颜色,Alberto Fiz撰文, Spirale Arte画廊,米兰 健康和吻, Alice & Altri lavori in Corso画廊,罗马 Ugo da Carpi奖, 第5届版画展,Carpi宫,意大利 1999年 Oprandi画廊,Voltiere 抽象和行星的行动, Les Chances de l’Art画廊,博扎 努,意大利 描绘宇宙,Westend画廊,法兰克福 1998年 Teardo画廊,意大利 Athema画廊,意大利 Extra Moenia画廊,意大利 1997年 Rodari工作室,意大利 倾斜的天空, 意大利 Ellequadro画廊,热那亚 日历和其他的故事,Alessandro Riva撰文,Spirale Arte 画廊,米兰 Liba当代艺术画廊,意大利 1996年 瞬间的传奇,Federica di Castro撰文,Giulia画廊,罗 马 Comunale剧院,意大利 La Panchetta画廊,巴里,意大利 颜色之前,Luciano Caramel撰文,San Carlo画廊,米 兰 Domus Aurea,Hèléne De Roquefeuil画廊,诗人 Antonio Arèvalo撰文,巴黎 罗马第12届四年展 日历,Astuni画廊,意大利 1995年 中心的界限,意大利俱乐部, 法恩扎,意大利 住着的雕塑, Taverna Parisi别墅,意大利 1994年 Paola Verrengia画廊,意大利 寂静的纠结,Otello Lottini撰文,Argentina剧院,罗马 日历,Hèléne De Roquefeuil画廊,巴黎 日历, San Carlo画廊,米兰


Tommaso Cascella Bilder,Schnitzer画廊,克拉根福 日历, Teardo画廊, 意大利 1993年 重建, M. Vescovo撰文,Giulia画廊,罗马 一年里的日子, Westend画廊,法兰克福 旅行,Lidya Palumbo Scalzi,意大利 日历,Marco Rossi Lecce画廊,罗马 1992年 观察天气,当代艺术画廊,帕多瓦,意大利 Bellamunum,F. Gualdoni撰文,Crepadona宫,意大利 莫德纳市画廊,意大利 铁和火,Sauro Bocchi工作室,罗马 1991年 文件,E.Santese撰文,Teardo画廊,意大利 San Luca画廊,C.Cerritelli撰文,博洛尼亚,意大利 文件,米兰人民银行,罗马 短暂的方面,C. Cerritelli撰文, Miralli画廊,维特博, 意大利 从庞贝到孟买, Bianca Pilat画廊,米兰 雕塑,J. Blaine撰文,P.Castellin F. Beltrametti, Mara Coccia工作室,罗马 1990年 空空的港口的守望,N. Miceli撰文,Saletta Viviani画 廊,比萨 第十三个月,G.R.Manzoni撰文,Ellequadro画廊,热那 亚 Westend画廊,法兰克福 1989年 Occhioscrittura,Extra画廊,意大利 Giulia画廊,罗马 1988年 声音的宗教,Patio画廊,意大利 Peira画廊,意大利 有角的高墙,A.Spatola撰文,Piramide画廊,佛罗伦萨 1987年 化石,G. Cortenova撰文,Graffiti Now画廊,维罗纳, 意大利 语言的有魅力的地方,S. Fizzarotti撰文,Dimensione画 廊, 意大利 Peccolo画廊,利沃那,意大利 世俗的时间,Todi艺术节, 意大利

1986年 鸢尾花的涂鸦,P. Echaurren撰文,Rotta画廊, 热那亚 Zootropio,P. Balmas撰文,Cesare Manzo工作室,意 大利 丝绸之路,E. Battarra撰文,S. Leucio纪念宫,意大 利, 粮仓, Buonaccorsi别墅,意大利 没有时间的一幕1,F. Gualdoni撰文,Piramide画廊,佛 罗伦萨 没有时间的一幕2,F. Gualdoni撰文,Bagnai画廊,锡 耶纳,意大利 鬼脸,E. Sanguineti撰文,San Luca画廊,博洛尼亚 1985年 Damnatio memoriae,V.Magrelli撰文,Deambrogi画 廊,米兰 Animagia,A. Spatola撰文,Corraini画廊,曼托瓦,意 大利

马林1961年出生于湖北省武汉市,1983年毕业于湖北

美术学院,1984年至今生活工作在罗马。1992年他毕业 于意大利博洛尼亚美术学院绘画系波查蒂(Pozati)工作 室,现任意大利罗马“中意艺术家工作室”主席。 马林的技法使人联想到西方艺术史浪漫主义和新古典主义 时期装饰和解剖学的标准。作品主题的姿势是基于对美的 构成的深入学习。艺术家私密和梦幻般的语言弥漫着莎士 比亚的精神,受古典美学准则的启发而唤起灵魂的精神晦 涩的直觉(犹如17至18世纪英国伟大的艺术家海因里希的 作品一样)。 2010年 穿过——中国当代艺术家十人展,Spoleto美术馆,意大 利 2009年 第一届地中海双年展,莱切,意大利 马林个人展, Meletti宫, Ascoli Piceno, 意大利 第一届国际艺术作品联展,Rossano, 意大利 参加珠海市十字们雕塑招标评委 被聘请为广州美术学院教育系研究员 参加第三届中国国际美术教育改革学术研讨会


2008年 地球需要人类,那不勒斯,意大利 组织湖北艺术家在意大利托斯卡纳地区举办展览 人的时代,个展,Triphe画廊,Cortona,意大利 2007年 组织湖北美院艺术家在意大利Caprarola和Cosmo的画廊 举办展览 组织中央美院,广州美院在意大利罗马和都灵等城市写生 和举办展览

包括:2006年在意大利特兰特和罗维雷特美术馆举办的 《外观》展,米兰Pack画廊举办《圣人光临》展。艺术 家最近参加的群体展览包括在法兰克福Marlborough画廊 举办《意大利当代艺术展》,2008年罗马法内斯纳宫举 办《实验》展,2007年在维也纳国家美术馆举办《意大 利:1980-2007》展。他的作品2009年代表意大利国家 馆,参加第53届威尼斯双年展。巴斯勒最近的个人展览 题为《这人类》,在米兰Pack画廊举办。 个人展览

2006年 2011年 协调策划《Sandro Trotti个展》,北京中国美术馆 SEISENZANOME ,Ronchini当代艺术画廊,特尼,意 组织中央美院,广州美院,湖北美院,天津美院在意大利 大利 罗马美院举办《国际艺术平台》活动 这人类, Pack画廊,米兰,意大利 2010年 2002年 圣人来临——最后的行动,Emme Otto画廊,罗马,意 中国当代绘画,帕多瓦和巴里,意大利 大利 2001年 山东美术出版社出版马林作品集 策划《意大利超前卫》,上海美术馆 山东美术出版社出版《马林作品集》 参加上海艺术节,罗马艺术世界画廊和上海艺术博览会 2000年 科维尔2000年联展,Termoli现代美术馆,意大利 龙在意大利双人展,未来画廊,罗马 地中海国际艺术节, 巴里,意大利 上海艺术节,上海 创办中意艺术家工作室

 2009年 THISORIENTED第2阶段, BIASA艺术空间,巴厘(策 展人:阿奇莱·博尼托·奥利瓦) THISORIENTED 装置,Guidi e Schoen画廊,热那亚, 意大利  2008年 圣人来临,Bottini别墅,卢卡 (策展人:瓦勒里奥·德希) 日记,Giacomo Vittone艺术之家,特农,都灵  2007年 外观,MART现代和当代艺术博物馆,特兰特和罗维雷 托 (策展人:阿奇莱·博尼托·奥利瓦和让卡洛·马兹安尼) 超前卫主义留下的,Pack画廊,米兰 (策展人:阿奇莱· 博尼托·奥利瓦)

 2006年 马特奥·巴斯勒1974年出生于意大利罗马,在罗马和 新世界,Ronchini当代艺术画廊,特尼 超前卫,Il Ponte当代艺术画廊,罗马, (策展人:阿奇 印度尼西亚巴厘工作和生活。巴斯勒出生在艺术家世家 莱·博尼托·奥利瓦) (卡瑟拉),从小到大都浸淫在艺术的氛围中。这样的环 无人之地,Guid e Schoen画廊,热那亚 境为他提供了源源不断的艺术创作灵感并臻至个人的审 乌托邦,V. Colonna现代艺术馆, Pescara (策展人爱丽克· 美观。从进入艺术界开始,巴斯勒的技法涉猎广泛,包 迪·费博,马蒂娜·马特拉和马兹亚·仁泽蒂) 括绘画、涂鸦、摄影和影像艺术等。艺术家的文化背景和 无穷的创造力使他从来不满足于使用一种艺术语言进行创  2005年 作,而是在记忆和传统的关系中不断地挑战自我。巴斯勒 居室原型,De Crescenzo & Viesti画廊,罗马 是欧洲使用数字艺术创作的先锋之一,他使用先进的技术 原始的炼金术,Pack画廊, 米兰 (策展人:让卡洛·马兹 进行艺术研究旨在揭示自我和社会。他的重要的个人展览 安尼)


TM: 记忆部落,GNAM, 意大利国家现代艺术馆,罗马 ( 策展人:阿尔贝托 ·阿布鲁泽斯) 我不相信,Il Ponte 当代艺术画廊,罗马 (策展人:约翰· 特纳) 制图, Patrizia Buonanno当代艺术画廊,特兰托 2004年 经验主义,Sergio Tossi当代艺术画廊,佛罗伦萨 水仙,Il Ponte 当代艺术画廊,罗马 文件的上帝,Beukers画廊,鹿特丹;Reflex画廊,阿姆 斯特丹( 策展人:多米尼克·罗拉) 2003年 保存, Guidi&Schoen画廊, 热那亚 (策展人:毛利兹 奥·夏卡卢加)  2002年 灵化,Franco Riccardo 视觉艺术,那不勒斯 书写,Notte书店,罗马 纽约奖,哥伦比亚大学 (策展人:大卫·弗雷德伯格)  2001年 In Liquido Veritas, Sergio Tossi当代艺术画廊,佛罗伦 萨 祈祷站,Ercolani工作室,博洛尼亚 意大利数字框架,GNAM ,意大利国家现代美术馆,罗 马 巴斯勒 /卡色拉, D’Ac当代艺术画廊,钱皮诺,(策展 人:提香娜·达其雷)  2000年 液体的爱,马雷拉画廊,米兰 1999年 F.M.,Ercolani工作是,博洛尼亚 (策展人:雷纳托·巴利 里) Who is Who?,奴亚洛MAN当代美术馆,奴亚洛 (策展 人:卢卡·北亚特里切curated by Luca Beatrice)  1998年 写生而不是肖像,Paola Verrengia画廊,萨累莫,(策展 人:洛雷佐·曼高) 融汇,Il Ponte 画廊,罗马 (策展人:约翰·特纳) 1997年 Clonato,Il Ponte画廊,罗马(策展人:约翰·特纳) Il Mio Nome П Nessuno, Il Mio Numero П Zero,为

Fendi制作装置 (策展人:拉斐尔·古利) 1996年 烈士和圣人,L’Attico画廊,罗马 (策展人:发比奥·萨尔 珍蒂尼) 1994年 短路,CaffО Latino画廊,罗马 (策展人:芭芭拉·马图 瑟洛)

大卫 ·瑟帕斯提香1981年10月21日出生。1995年至 2000年意大利A. Caravillani艺术学校学习。2000年至 2001年罗马艺术和科技学院学习,获得艺术,设计和营 销策略学位。艺术家通过视觉表达万花筒去体现生活,通 过处理虚拟的信息,在自然和人为的环境下,艺术家努力 研究和分析人类令人疑惑的行为。从艺术创作的生涯的开 始起,艺术家就关注人和自然,科学和技巧的关系,创作 的手段包括摄影,涂鸦和影像艺术。艺术家关注西方社会 中逐渐产生的变化,用非凡的创造力进行创作。 2001年,艺术家和另一名艺术家联合开展一项艺术项 目,题目叫做FORMA2,把数字技术应用到环境实验 中。最近,艺术家研究欧洲和美国在城市和郊区越建越多 的手机基站。基站发出的电子磁波把这些地方变成了天 线塔。Tesla艺术项目是为了纪念发明了电子磁波的先驱 Nikolai Tesla先成立的。我的作品描绘了从树林和城市 间产生的噪音被无线电波干扰的人为的景象。 个人展览 2004年 嫁接,Altri Lavori in Corso 画廊,策展人G. 马兹安尼, 罗马 群展 2011年 远与近,武汉,中国,策展人,多米尼克·罗拉 影像艺术节,米兰三年展,策展人洛勒娜·贝娜迪 艺术便利之状态,Mana当代艺术中心,新泽西,莎拉·亚 泽拉 游戏之角色,MACRO当代艺术馆,罗马 Echi d’Eco,Sochi美术馆,策展人A. 杰莎 ACHTUNG! ACHTUNG!, Ex Gil,罗马,策展人M. 迪· 维罗利和B. 可雷维其奥


2010年 ECOBRAIN” 意大利里米尼亚艺术展,策展人M. 卡法拉 ���和 P. 佛图那土 2010年艺术节,MACRO FUTURE美术馆,罗马,策展 人洛勒娜·贝娜迪 Misticanza 2010,San Casciano dei Bagni 剧院,意大 利,策展人M.E. 米奴多 干扰 2010 – 城乡 2.0,Bisaccia城堡,意大利,策展人华 伦天娜·塔尼 影像节” ,纽约Tribeca电影院, 策展人 D. 费尼 艺术环境,罗马,策展人P. Fortunato 和M. 洛· 法兰克 23rd 届马赛影像节,Association des Instants Vidéo Numériques et poétiques 后产业时代.it,阿根廷,Centro Cultural José Amadeo Conte Grand San Juan 后产业时代.it,Cultural center Borges, 不宜诺斯艾里 斯,阿根廷,策展人 M. 夏琳切拉 Paratissima Limited 5.2,都灵火车站,策展人L. 冯娜

迈亚密2006,米兰San Carlo 新当代艺术画廊 2005年 数字艺术,那不勒斯,Franco Riccardo 画廊 Flash Art 博览会,罗马,Altri Lavori in Corso art画廊 Unmediated,Sergio Tossi 画廊,佛罗伦萨,策展人 M. 巴斯勒 Celeste 2005艺术奖,San Gimignano,策展人G. 马兹 安尼 Riparte Naples,那不勒斯, Altri Lavori in Corso画廊 Riparte Genova,热那亚,Il Ponte 当代艺术画廊,罗马

2004年 压力之下,热那亚,Guidi & Schoen art 画廊,策展人 M. 夏卡卢加 Oraziana,Bomarzo, Orsini Palace,策展人O. 罗迪尼 Caravillani 04,SC02 画廊,罗马,策展人G. 马兹安尼 罗马第一点,首尔,韩国,PICI画廊,策展人M. 可沙和 M. 德·卡蒂亚 2009年 罗马第一点,东京,日本,Gotanda设计中心, 策展人M. Ecoartproject,罗马,策展人P. 佛图那土,罗马,意大利 可沙和M. 德·卡蒂亚 Viba Festival,阿根廷 罗马第一点,大阪,日本,Kuchu Tein Tenbodai Sky Hangar 09 Flying Circus,Creative room画廊, 罗马 画廊, 策展人M. 可沙和M. 德·卡蒂亚 Yoveo video festival,Suffolk space画廊,纽约 Flash Art 博览会,米兰,Altri Lavori in Corso画廊 HAVENKWARTIER DEVENTER摄影节,荷兰 Micromega – 神奇的艺术,Halles Saint-Géry 2002年 Bruxelles, 比利时,策展人D. 罗拉. 在盒子里,罗马,Altri Lavori in Corso 画廊, 策展人D. ntersecting Identities,Halles Saint-Géry Bruxelles , 那东尼 比利时,策展人D. 罗拉 Riparte国际艺术博览会,罗马,Altri Lavori in Corso 后产业时代.it”,09国际艺术博览会,阿根廷 画廊 Lu.C.C.A. (Lucca Center of Contemporary Art) e Glocal Project Consulting,策展人D. 罗拉 2008年 自然中的艺术和艺术中的自然,罗马, Casina delle Civette Villa Torlonia,策展人S. 曼费列迪和G. 曼尼·维娜 2007年 Seme from roots to Gent,Art Track画廊,比利时 StArtTrek新一代,Bomarzo, 意大利,策展人A. 皮斯利 Celeste 2007艺术奖,锡耶纳,策展人G. 马兹安尼 城市象征,罗马,Monocromo 画廊,策展人G. 马兹安尼 2006年 ArTerritory,Arte territorio e memoria,罗马 Centrale Montemartini 美术馆,策展人D. 罗拉 未来与现在,罗马,策展人M. 夏琳切拉 神圣之符号,罗马,Valle Giulia博物馆,策展人 O. 罗迪 尼 Riparte Napoli,那不勒斯,Altri Lavori in corso Gallery and Vulcano 画廊


Biography:

Tommaso Cascella was born in 1951 in Rome. Painting and sculpture are natural languages to him. It is the result of heritage accumulated from the family of several generations. His painting has the tendency of tridimensional transposition, in symbiosis with his sculpture in bronze. The artist’s intensive chromatic compositions are real and proper architecture constellated with symbols, almost like an alphabetic alchemical with universal significances. Painting and sculpture were executed with the will of contaminating the sight with sense. The titles of his works are usually brought from poems and literature which shows his great passions for books Cascella’s first personal exhibition was held in the Gallery of Luigi De Ambrogi in Milan in 1985. From then on till now the artist has held numerous personal exhibitions and has participated in widely in many collective exhibitions. Personal exhibitions 2011 Rosso27 Art Gallery, Rome - Il Contorno del Vento 2010 Tricromia Art Gallery, Rome – Un giorno smarrito


Marcorossi Arte Contemporanea, Pietrasanta – L’Amore per nome Galleria delle Arti, Città di Castello – Il mondo è piatto (insieme a Luca Baldelli) Museo delle Genti d’Abruzzo, Pescara – Carta canta Park Hotel, Marina di Ravenna - EST 2009 Galleria delle Arti e Palazzina Vitelli, Città di Castello – Aspettando i barbari 2008 Pop-Up, Marco Rossi-Spirale, Milan, curated by Beatrice Buscaroli, 2007 Dall’interno del fuoco, Fondazione Ceramica Contemporanea d’Autore Moretti, Deruta Ascolto con le mani, Galleria Eventinove, Turin, curated by Luca Beatrice Voglio essere giorno, Museo Archeologico e Chiostro San Francesco, Amelia Terni, curated by Alberto D’Atanasio 2006 Il linguaggio dell’iride, Chiostri di S. Agostino, Pietrasanta, curated by Vladeck Cwalinski Il Caso d l’anima, Spirale Arte, Monza Galleria Rosso 20sette, Rome 2005 Galleggiare sui linguaggi, Franca Pezzoli arte contemporanea, Clusone Glleggiare sui linguaggi, Centro studi Artetrentatre, Avelino Centro del centro, Campo Galleria, Avigliana 2004 Nel rovescio del reale, Galleria Marchetti, Rome Ombra dell’ombra, Spirale Arte, Verona Al margine dell’acqua, Centro d’arte La Bussola, Cosenza Capricorno Gallery, Capri Calendiario, Palazo Crispi, Naples 2003 Galleria Orie, Tokyo Dipinti e sculpture, Westend Galerie, Frankfurt 1+1=1, Palazzo Orsini, Bomarzo Rossso, Spirale Arte, Pietrasanta Galleria 13, Reggio Emilia Galleria Leupi, Ascona 2002 L’Equipe laboratorio, Potenza Galleria d’arte 13, Reggio Emilia Assedio, Palazzo dei Priori, Certaldo

Assedio, Spirale Arte, Milano Reame di rame, Galleria Miralli, Viterbo 2001 Pietro e Tommaso Cascella, Cordelia Von Den Steinen, Museo Piaggio, Pontedera, curated by D. Carlesi Spirale Arte, Verona T. Cascella, E. Esposito, A. Fettolini, Analogie del presente, Danubiana Meulensteen Arte Museum, Bratislava Galleria Tarozzi, Pordenone Senza filo ne’ ago, Galleria Marchetti, Rome Cartoni animate, Galleria il Bulino, Rome Basile’ & Cascella, Galleria Comunale di Ciampino, Rome 2000 Il peso dell’aria, Galleria Venice Design, curated by Enzo Di Martino I colori dell’acqua, Spirale Arte, Milan, curated by Alberto Fiz Salute e Baci, Galleria Alice & Altri lavori in corso, Rome Premio Ugo da Carpi, X Biennale della xilografia, Castello di Carpi, Modena 1999 Galleria Oprandi, Voltiere Astrazione e azione degli astir? Galleria Les Chances de l’Art, Bolzano Figurare l’Universo, Westend Galerie, Frankfurt 1998 Galleria Teardo, Pordenone Galleria Athema, Porto d’Ascoli Galleria Extra Moenia, Todi 1997 Studio Rodari, Verbania Intra Cielo oblique, Torre Guevara, Ischia Spirale Arte, Pietrasanta Galleria Ellequadro, Genoa Calendiario e altri racconti, Spirale Arte, Milan, curated by Alessandro Riva Liba Arte Contemporanea, Pontedera 1996 Leggende istantanee, Galleria Giulia, Rome, curated by Federica Di Castro Teatro Comunale, Atri Galleria La Panchetta, Bari Prima del colore, Galleria San Carlo, Milan, curated by Luciano Caramel Domus Aurea, Galerie Hèléne De Roquefeuil, Paris, curated by the Poet Antonio Arèvalo XII Quadriennale, Rome Calendiario, Galleria Astuni, Fano


1995 I confine del centro, Circolo degli Artisti, Faenza La Scultura abitata, Villa Taverna Parisi, Frascati 1994 Galleria Paola Verrengia, Salerno Grovigli di silenzio, Teatro Argentina di Rome, curated by Otello Lottini Calendiario, Galerie Hèléne De Roquefeuil, Paris Calendiario, Galleria San Carlo, Milan Tommaso Cascella Bilder, Galerie Schnitzer, Klagenfurt Calendiario, Galleria Teardo, Pordenone 1993 Ricostruzione, Galleria Giulia, Rome, curated by M. Vescovo I giorni dell’anno, Westend Galerie, Francoforte Il viaggio, Galleria Lidya Palumbo Scalzi, Latina Calendiario, Galleria Marco Rossi Lecce, Rome 1992 Osservazione del Tempo, Galleria Contemporanea, Padova Galleria Peira,Centro G. Arpino, Bra Bellamunum, Palazzo Crepadona, Belluno, curated by F. Gualdoni Galleria Civica di Modena, Modena A ferro e fuoco, Studio Sauro Bocchi, Rome 1991 Carte, Galleria Teardo, Pordenone, curated by E. Santese Galleria San Luca, Bologna, curated by C. Cerritelli Carte, Banca Popolare di Miano, Rome Brevi firmament, Galleria Miralli, Viterbo, curated by C. Cerritelli Da Pompei a Bombay, Galleria Bianca Pilat, Milan Sculture, P. Castellin, curated by J. Blaine F. Beltrametti, Studio Mara Coccia, Rome

Luoghi fatati del linguaggio, Galleria Dimensione, Lecce, curated by S. Fizzarotti Galleria Peccolo, Livorno Tempo profane, Todifestival, Todi 1986 Graffi all’iride, Galleria Rotta, Genoa, curated by P. Echaurren Zootropio, Studio Cesare Manzo, Pescara, curated by P. Balmas La via della seta, Complesso monumentale di S. Leucio, Caserta, Curated by E. Battarra Granai, Villa Buonaccorsi, Potenza Picena Galleria Santelmo, Salo’ Il sipario dei senza tempo 1, Galleria Piramide, Florence, curated by F. Gualdoni I sipario dei senza tempo 2, Galleria Bagnai, Siena, curated by F. Gualdoni Smorfie, Galleria San Luca, Bologna, curated by E. Sanguineti 1985 Damnatio memoriae, Galleria Deambrogi, Milan, curated by V. Magrelli Animagia, Galleria Corraini, Mantova, curated by A. Spatola

Ma Lin was born in 1961 in Wu Han of Hubei Province. In 1983 He graduated from the Hubei Academy of Fine Arts and in 1992 from the studio of the master Pozati of the Academy of Fine Arts in Bologna. From 1984 till now he lives and works in Rome. Now he is president of Chinese-Italian Association of Artists.

1990 A guardia del porto vuoto, Galleria Saletta iviani, Pisa, curated by N. Miceli Il tredicesimo mese, Galleria Ellequadro, Genoa, curated by G. R. Manzoni Westend Galerie, Frankfurt

His technique is reminiscent of the decorative and anatomic standards of Western Romanticism and Neoclassicism, movementsbased on the extensive study of the antique in the construction of beauty. The artist’s intimate and dreamlike languageseems to be somehow permeated withaShakespearean spirit andinspired to classical aesthetic canons(as the one that distinguished the work of great Seventeenth-Eighteenth century British master Johann Heinrich Füssli) in the evoking of the psychic recondite instincts of the soul.

1989 Occhioscrittura, Galleria Extra, Taranto Galleria Giulia, Rome, curated by C. Casorati

2010 Percorso, Ex Museo Civico di Spoleto, Italy

1988 La religion del suono, Galleria Il Patio, Ravenna Galleria Peira, Bra Grande Muro con angoli, Galleria Piramide, Florence, curated by A. Spatola 1987 Fossili, Galleria Graffiti Now, Verona, curated by G. Cortenova

2009 The First Mediterranean biennale, Lecce, Itly Personal exhibition of Malin, Palazo Meletti, Ascoli Piceno, Italy The first international exhibition, Rossano, Italy Participated in the bidding for a public sculpture in Zhuhai, China Visiting professor in the Education Department of Guangzhou Academy of Fine Arts Participated in the conference of international art education in


Guangzhou 2008 The earth needs human, Naples, Italy Curated an exhibition of Chinese artists from Hubei Province in Tuscany The Epoch of man, personal exhibition, Triphe Gallery, Cortona, Italy 2007 Curated an exhibition of artists from Wu Han Hubei Academy of Fine Arts in Caprarola and in Gallery Cosmo Cultural exchange projects in Rome and Turin with artists from Beijing Central Academy of Fine Arts and Guangzhou Academy of Fine Arts 2006 Co-curated Personal Exhibition of Trotti, Chinese National Art Gallery, Beijing Cultural exchange project in the Academy of Fine Arts in Rome with several art institutions from China 2001 Chinese contemporary art, Padova and Bari, Italy 2001 Ma Lin’s works of art published by Shandong Art Publishing House, China Co-curated the exhibition Transavaguardia, Shanghai Art Museum Shanghai Art Festival, Rome Art Mondo Gallery and Shanghai art fair 2000 2000 collective exhibition, Termoli Modern Art Museum, Italy Dragon in Italy, two artists exhibition, Future Gallery, Rome Mediterranean international art festival, Bari, Italy Shanghai art festival, Shanghai, China Founded the Chinese-Italian Association of Artists

Matteo Basilé was born in Rome in 1974. The artist currently lives and works in Rome and Bali. Born from a well-established dynasty of artists (Cascella), Matteo Basilé has been exposed to the art world all his life. Such familiarity with this environment provided him with multiple sources of inspiration and certainly facilitated him in refining a personal aesthetic discourse. Since his first appearance on the art scene, Basilé has been working with a range of different media such as painting, graffiti, photography and video art. By interacting with his cultural inheritance and aspiring to a new system of productive meaning, Basilé constantly rejects a static vocabulary and confronts himself in relation to memory and tradition. Among the first European pioneers of what is today regarded as digital art, Matteo Basilé uses avant-garde technology as a research tool aimed at the process

of self and social discovery. Among hus latest exhibitions the solo show Appartions at MART, Trento and Rovereto (2006), and The Saints are coming, at the Pack gallery, Milan, (2006), as a collective exhibitions he lately partcipated in Art italienne contemporaine, Marlborough Galerie, Monaco (2008), Experimenta, Palazzo della Farnesina, Rome (2008), Italia, 1980-2007, , Vietnam National Museum of Fine Arts, Hanoi (2007). The artist participated in the 53rd edition of the 2009 Venice Biennial to represent the Italian pavilion. Basilé recently presented his latest project Thishumanity at the Pack Gallery of Milan. Solo exhibition 2011 SEISENZANOME – Ronchini Arte Contemporanea, Terni, Italy THISHUMANITY – Galleria PACK, Milan, Italy  2010 THE SAINTS ARE COMING – Last Act, Galleria EMME OTTO – Rome, Italy  2009 THISORIENTED 2nd STAGE, BIASA ArtSpace, Bali (curated by Achille Bonito Oliva) THISORIENTED installation, Galleria Guidi e Schoen, Genoa 2008 The Saints Are Coming, Villa Bottini, Lucca , (curated by Valerio Dehò) Diary, Casa degli artisti ‘Giacomo Vittone’ Tenno, TN 2007 Apparitions, MART, Museo d’Arte Moderna e Contemporanea, Trento e Rovereto, Rovereto, (curated by Achille Bonito Oliva e Gianluca Marziani) Quel che resta della Transavanguardia, Galleria Pack, Milan (curated by Achille Bonito Oliva) 2006 Il Nuovo Mondo, Ronchini Arte Contemporanea, Terni Trans-Avanguardia, Il Ponte Contemporanea, Rome (curated by Achille Bonito Oliva) No Man’s Land, Galleria Guid e Schoen, Genoa Utopia, Museo d’Arte Moderna V. Colonna, Pescara (curated by Erica Di Febo, Martina Martella, Marzia Renzetti) 2005 Prototypedomestika, Galleria De Crescenzo & Viesti, Rome Primordial Alchemy, Galleria Pack, Milan (curated by Gianluca Marziani) TM: Tribes of Memory, GNAM, Galleria Nazionale d’Arte Moderna, Rome (curated by Alberto Abruzzese) I Don’t Believe It, Il Ponte Contemporanea, Roma (a curated by Jonathan Turner) Mapping, Galleria d’Arte Contemporanea Patrizia Buonanno, Trento


2004 Empirismo Eretico, Sergio Tossi Arte Contemporanea, Florence Narciso, Il Ponte Contemporanea, Rome The Lord of the Flies, Galerie Beukers, Rotterdam, Galerie Reflex, Amsterdam (curated by Dominique Lora) 2003 Conserving, Guidi&Schoen, Genoa, (curated by Maurizio Sciaccaluga) 2002 Spiritualized, Franco Riccardo Arti Visive, Naples Written, Edicola Notte, Rome New York Prize, Columbia University, New York (curated by David Friedberg) 2001 In Liquido Veritas, Sergio Tossi Arte Contemporanea, Florence Pray Station, Studio Ercolani, Bologna Italian Digital Frame, GNAM Galleria Nazionale d’Arte Moderna, Rome Basilé / Cascella, D’Ac Galleria d’Arte Contemporanea, Ciampino (curated by Tiziana D’Achille) 2000 Liquid Love, Marella Arte Contemporanea, Milan   1999 F.M., Studio Ercolani, Bologna, (curated by Renato Barilli) Who is Who?, MAN Museo d’Arte Contemporanea di Nuoro, Nuoro (curated by Luca Beatrice) 1998 Ritraggo ma non Ritratto, Galleria Paola Verrengia, Salerno (curated by Lorenzo Mango) Fusion, Il Ponte Projects, Rome (curated by Jonathan Turner) 1997 Clonato, Il Ponte Contemporanea, Rome (curated by Jonathan Turner) Il Mio Nome è Nessuno, Il Mio Numero è Zero, Installation for Fendi, Rome (curated by Raffaele Curi) 1996 Martiri e Santi, L’Attico, Rome, (curated by Fabio Sargentini)   1994 Corto Circuito, Caffè Latino, Rome (curated by Barbara Martusciello)

Davide Sebastian was born on 21 Oct. 1981. Now he lives and works in Rome. He is an artist who experiences life by exploring

the kaleidoscopic visual expressions of digital technology. By manipulating virtual informations he converges his efforts on researching and analysing the compulsive aspects of human behaviour in the frame of both natural and artificial environment. Since the beginnings Sebastian concentrated on the relationship between man and nature, science and artifice. Erupting on the art scene while still very young, he has been working with different media such as photography, graffiti, and video art. His work is characterized by the fascination with the gradual changes occured within western societies in relation to the developments of both the computing and the telecommunication industries. In 2001, The artist founded, together with the Italian-Swiss artist Daniele Jost, FORMA2, an art project focused on applying digital technologies on environmental experiments; Science and art galvanized within a virtual laboratory that generated projects aroused from the cooperation between scientific and artistic practices. Recently Sebastian concentrated his personal research on the increasing number of cell phone trees that have been installed all over Europe, and the U.S., even though camouflaged throughout cities and suburbian surroundings. By transmitting electromagnetic waves, those uncontaminated sites are trasformed (unconsciously for the collectivity) into mere antenna towers. The Tesla Project (in homage to Nikolai Tesla pionieer in the research of electromagnetic waves) investigates specific forms that were originally created as artificial protesis which purpose was to mimic within the environment. His pictures depict those civil grafts that epitomize an artificial nature, where radio frequences are confused with backround noises coming from the woods and the city. Using the computer to transform each beat into an living audio-visual installation the artist becomes a sort of modern alchimist. Through his sensitive experience, the spectator is thus viene propelled within a virtual forest where an absurd artificial nature is captured by the objective and successively manipulated in order to eventually become an anthropomorphic sculpture. Playing with the specularity and the repetition of nature’s unknown elemento he creates a dimension where technology serves as the incubator where boundaries betweeen nature and high-tech development become surprisingly subtle. Technology versus technology to underline the unreachabe limits of science and divine, rational and sensory. Solo Exhibitions 2004 “Innesti”, Altri Lavori in Corso Gallery, curated by Contemporay Art Critic G. Marziani, Rome, Italy Group Exhibitions 2011 The Far Near, Wu Han City Cina a cura di Dominique Lora Festarte Videoart Festival, Triennale di Milano a cura di Lorena Benatti The state of the art facility” Mana Contemporary’s Art Center, New Jersey City, a cura di Sarah Azzara


PLAY giochi di ruolo, MACRO Museo di arte contemporanea di Roma Echi d’Eco, Sochi ART MUSEUM Russia a cura di A. Geusa ACHTUNG! ACHTUNG!, Roma Ex Gil cura di M. Di Veroli e B. Collevecchio 2010 ECOBRAIN, Italy Rimini Fair Pavilion B4 curated by M. Cavallarin e P. Fortunato Festarte 2010, MACRO FUTURE, Rome Italy, curated by Lorena Benatti Misticanza 2010, Theatre of San Casciano dei Bagni Italy curated by M.E. Minuto Interferenze 2010 - Rurality 2.0, Castle of Bisaccia Italy curated by Valentina Tanni 2010 - “Video Art Festival” Tribeca Cinemas New York City U.S.A. curated by D. Fine 2010 - “Art’ambiente” Rome Italy curated by P. Fortunato and Dott. ssa M. Lo Franco 23rd Marseille France, Instants Video, Association des Instants Vidéo Numériques et poétiques Postproduction.it , Centro Cultural José Amadeo Conte Grand San Juan, Argentina PostProduction.it, Cultural center Borges, Buenos Aires, Argentina, curated by M. Scaringella Paratissima Limited 5.2, Turin, Railway station Porta Nuova curated by L. Vona 2009 Ecoartproject, curated by P. Fortunato Rome, Italy Viba Festival, ThisIsNotAGallery Buenos Aires, Argentina Hangar 09 Flying Circus, Creative room art gallery, Rome, Italy Yoveo video festival, New York, U.S.A. Suffolk space HAVENKWARTIER DEVENTER, Videoart festival, Holland Micromega - the Art of Wonder, Halles Saint-Géry Bruxelles, Belgium curated by D. Lora Intersecting Identities, Halles Saint-Géry Bruxelles , Belgium curated by D. Lora PostProduction.it, Arteba 09- Art Fairs International, Buenos Aires, Argentina, Lu.C.C.A. (Lucca Center of Contemporary Art) e Glocal Project Consulting curated by D. Lora 2008 Art in the nature and the nature in the art, Roma, Casina delle Civette Villa Torlonia curated by S. Manfredi and G. Magni Verna 2007 Seme from roots to Gent, Gent, Belgium, Art Track Gallery StArtTrek the next generation, Bomarzo, Orsini Palace Italy curated by A. Pisilli Premio Celeste 2007, Siena, Magazzini del sale curated by G. Marziani

Sign City, Roma, Monocromo art gallery curated by G. Marziani 2006 ArTerritory, Arte territorio e memoria, Centrale Montemartini Museum Rome curated by D. Lora FuturoPresente, Rome, Ufficio Federculture curated by M. Scaringella Segni del Sacro, Rome, Valle Giulia Museum curated by O. Lottini Riparte Napoli, Naples, Altri Lavori in corso Gallery and Vulcano Gallery Miart 2006, Milan San Carlo New Contemporary Gallery 2005 Digital Art, Naples Franco Riccardo Gallery Flash Art Fair, Altri Lavori in Corso art Gallery Rome Unmediated, Sergio Tossi Gallery Florencecurated by M. Basilé Premio Celeste 2005, San Gimignano curated by G. Marziani 2005 - “Riparte Naples” Naples, Altri Lavori in Corso Gallery Riparte Genova, Genoa, Il Ponte Contemporanea Gallery Sotto Pressione, Genoa, Guidi & Schoen art gallery curated by M. Sciaccaluga 2004 Oraziana, Bomarzo, Orsini Palace, curated by O. Lottini Caravillani 04, SC02 Gallery Rome, curated by G. Marziani Rome Point One, Seoul, Corea, PICI Gallery, curated by M. Coccia and M. De Candia Rome Point One, Tokyo, Japan Gotanda Design Center, curated by M. Coccia and M. De Candia Rome Point One, Osaka, Giappone Kuchu Tein Tenbodai Sky Gallery, curated by M. Coccia and M. De Candia Flash Art Fair, Milan, Altri Lavori in Corso Gallery 2002 In scatola, Rome, Altri Lavori in Corso Gallery, curated by D. Nardone Riparte International Art Fair, Rome, Altri Lavori in Corso Gallery


“ The Far Near”——Exhibition of Contemporary Famous Italian Artists Duration: 2011.5.28-6.24 Opening: 2011.5.28 AM10:30 Venue: Hubei Provincial Academy of Art Museum(No.368 Zhongshan Road,Wu Chang District, Wu Han City) Organizers: Chu Art Organization, Artists Association of Hubei Province Co-organizers: Istituto Italiano di Cultura di Pechino, Hubei Provincial Academy of Art Museum, China-Italy Artists Studio Artists: Matteo Basilé, Davide Sebastian, Tommaso Cascella, Ma Lin(Ethnic Chinese) Media: Oil on canvas, Image, Composite materials Curator: Dominique·Lora (Italy),Zhuo Shuang Artistic Director: Zhang Zhan Coordinator: Chunbing Liu, Yuqing Hu Design: Angelo Marineli Executive: Chunchang He, Chen Xi, Zhang Hong Translation: Yuqing Hu


展览名称:“远与近”——意大利当代著名艺术家作品展 展览时间:2011.5.28-6.24 开幕时间:2011.5.28上午10:30 展览地点:湖北省美术院美术馆(武汉市武昌区中山路368号) 主办单位:大楚艺术机构、湖北省美术家协会 协办单位:意大利驻华使馆文化处、湖北省美术院美术馆、中意艺术家工作室协会 参展艺术家:马特奥·巴西勒、大卫·瑟帕斯提香、托马斯·卡瑟拉、马林(华裔) 策 展 人:多美尼克·罗拉(意)、卓霜 展览总监: 张展 展览协助:刘春冰、胡宇清 展览设计:安杰拉·马里纳利 展览执行:何春长、陈曦、张红 翻译:胡宇清 作品形式:图片作品、影像作品、布面油画、综合材料等。



THE FAR NEAR